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1. Recording 162649 days agoDescribed as A Biagi composition sung by Jorge Ortiz, played to show the bandoneón's low tremolo under the vocal and Biagi's trick false ending.Recording 162649 days agoDescribed as A Biagi composition sung by Jorge Ortiz, played to show the bandoneón's low tremolo under the vocal and Biagi's trick false ending.
2. Recording 161689 days agoDescribed as An instrumental chosen to show Biagi's super-sharp, surprising marcato, with the piano filling in everywhere without dominating.Recording 161689 days agoDescribed as An instrumental chosen to show Biagi's super-sharp, surprising marcato, with the piano filling in everywhere without dominating.
3. Recording 106699 days agoDescribed as Picked for violinist Cayetano Puglisi's solo in the final 30 seconds, which Lavocah compares in his book to the sound of a bee.Recording 106699 days agoDescribed as Picked for violinist Cayetano Puglisi's solo in the final 30 seconds, which Lavocah compares in his book to the sound of a bee.
4. Recording 101959 days agoDescribed as The first recording with D'Arienzo's new singer Héctor Mauré, whose rich, creamy voice would shape the band for the next couple of years.Recording 101959 days agoDescribed as The first recording with D'Arienzo's new singer Héctor Mauré, whose rich, creamy voice would shape the band for the next couple of years.
5. Nocturno a mi barrio9 days agoDescribed as Troilo wrote the poem a few years before 1968 at a wake, where he turned to guitarist Ubaldo De Lío and asked for something in D minor; the recording has TroiloNocturno a mi barrio9 days agoDescribed as Troilo wrote the poem a few years before 1968 at a wake, where he turned to guitarist Ubaldo De Lío and asked for something in D minor; the recording has Troilo
6. Osvaldo Pugliese9 days agoDescribed as Pugliese worked on the 'triptych' of La yumba, Malandraca and Negracha for years — Malandraca was already being performed live as early as 1943 — but withheld aOsvaldo Pugliese9 days agoDescribed as Pugliese worked on the 'triptych' of La yumba, Malandraca and Negracha for years — Malandraca was already being performed live as early as 1943 — but withheld a
7. Guardia Nueva9 days agoDescribed as 1948-49 were the weakest years of the decade for new tango recordings; once censorship was lifted in 1950, D'Arienzo deliberately returned to his 1930s hard-beaGuardia Nueva9 days agoDescribed as 1948-49 were the weakest years of the decade for new tango recordings; once censorship was lifted in 1950, D'Arienzo deliberately returned to his 1930s hard-bea
8. Guardia Nueva9 days agoDescribed as The military government introduced tango lyric censorship to placate the political right and the Catholic Church; words and whole songs were banned or retitled Guardia Nueva9 days agoDescribed as The military government introduced tango lyric censorship to placate the political right and the Catholic Church; words and whole songs were banned or retitled
9. Alberto Castillo9 days agoDescribed as Castillo, performing under a stage name while practising as a gynaecologist, had to give up medicine once fans began queuing for consultations once his real ideAlberto Castillo9 days agoDescribed as Castillo, performing under a stage name while practising as a gynaecologist, had to give up medicine once fans began queuing for consultations once his real ide
10. Roberto Rufino9 days agoDescribed as At 17, nicknamed 'Terremoto' (Earthquake) for his powerful voice, Rufino's fame with Di Sarli caused him personal problems with fans that only settled once he mRoberto Rufino9 days agoDescribed as At 17, nicknamed 'Terremoto' (Earthquake) for his powerful voice, Rufino's fame with Di Sarli caused him personal problems with fans that only settled once he m
11. Rodolfo Biagi9 days agoDescribed as On leaving D'Arienzo in 1938 to start his own band, Biagi built his own off-beat piano feel into the whole orchestra's phrasing rather than just playing it himsRodolfo Biagi9 days agoDescribed as On leaving D'Arienzo in 1938 to start his own band, Biagi built his own off-beat piano feel into the whole orchestra's phrasing rather than just playing it hims
12. Aníbal Troilo9 days agoDescribed as Troilo's signature device, already present in 'Comme il Faut' (1938), is an abrupt mood shift from extroverted to introverted within a single piece, repeated thAníbal Troilo9 days agoDescribed as Troilo's signature device, already present in 'Comme il Faut' (1938), is an abrupt mood shift from extroverted to introverted within a single piece, repeated th
13. Aníbal Troilo9 days agoDescribed as Troilo's 1938 debut was a single unsigned test record for Odeon; it did not sell, so no further recordings followed for three years.Aníbal Troilo9 days agoDescribed as Troilo's 1938 debut was a single unsigned test record for Odeon; it did not sell, so no further recordings followed for three years.
14. José Pascual9 days agoDescribed as Pascual, pianist and composer of Laurenz's 'Arrabal' (recorded 1937 after at least two years of live performance), shows the same advanced style as Orlando GoñiJosé Pascual9 days agoDescribed as Pascual, pianist and composer of Laurenz's 'Arrabal' (recorded 1937 after at least two years of live performance), shows the same advanced style as Orlando Goñi
15. Juan Carlos Cobian9 days agoDescribed as Cobián, who composed 'Nostalgias,' is called one of tango's 'mystery men': hugely talented but repeatedly abandoned success at its peak to chase romantic affairJuan Carlos Cobian9 days agoDescribed as Cobián, who composed 'Nostalgias,' is called one of tango's 'mystery men': hugely talented but repeatedly abandoned success at its peak to chase romantic affair
16. Juan D'Arienzo9 days agoDescribed as D'Arienzo's new era began on New Year's Eve 1935 when Rodolfo Biagi joined as pianist, alongside a cabaret residency and a contract with the new, important RadiJuan D'Arienzo9 days agoDescribed as D'Arienzo's new era began on New Year's Eve 1935 when Rodolfo Biagi joined as pianist, alongside a cabaret residency and a contract with the new, important Radi
17. Los 36 Billares9 days agoDescribed as In 1935 Pedro Laurenz was performing at this Buenos Aires billiard bar with 36 tables, which still exists today.Los 36 Billares9 days agoDescribed as In 1935 Pedro Laurenz was performing at this Buenos Aires billiard bar with 36 tables, which still exists today.
18. Azucena Maizani9 days agoDescribed as Maizani's peak as a recording artist was 1927-28; by the mid-1930s, accelerated by Gardel's 1935 death, the era of star vocal soloists not meant for dancing wasAzucena Maizani9 days agoDescribed as Maizani's peak as a recording artist was 1927-28; by the mid-1930s, accelerated by Gardel's 1935 death, the era of star vocal soloists not meant for dancing was
19. Elvino Vardaro9 days agoDescribed as Vardaro's own orchestra made a test recording for RCA Victor so advanced that the label's commercial directors rejected it outright; Vardaro broke his own violiElvino Vardaro9 days agoDescribed as Vardaro's own orchestra made a test recording for RCA Victor so advanced that the label's commercial directors rejected it outright; Vardaro broke his own violi
20. Aníbal Troilo9 days agoDescribed as Per Lavocah's Troilo book, Maffia, Laurenz and Ciriaco Ortiz were the three main influences on Troilo's bandoneón playing; the 'conversando' (conversing) techniAníbal Troilo9 days agoDescribed as Per Lavocah's Troilo book, Maffia, Laurenz and Ciriaco Ortiz were the three main influences on Troilo's bandoneón playing; the 'conversando' (conversing) techni
21. Milonga sentimental9 days agoDescribed as Written by Sebastián Piana and Homero Manzi and first offered to, and rejected by, singer Azucena Maizani, who had commissioned it; it reached Mercedes Simone bMilonga sentimental9 days agoDescribed as Written by Sebastián Piana and Homero Manzi and first offered to, and rejected by, singer Azucena Maizani, who had commissioned it; it reached Mercedes Simone b
22. Agustin Irusta9 days agoDescribed as Irusta's 1932 vocal sounds markedly better than his 1927 recordings because he had, by then, moved from the loud, megaphone-style projection needed before microAgustin Irusta9 days agoDescribed as Irusta's 1932 vocal sounds markedly better than his 1927 recordings because he had, by then, moved from the loud, megaphone-style projection needed before micro
23. Sueño de juventud9 days agoDescribed as Composed by Enrique Santos Discépolo, a self-taught musician and close personal friend of Carlos Di Sarli who dictated his tunes for others to write down; Di SaSueño de juventud9 days agoDescribed as Composed by Enrique Santos Discépolo, a self-taught musician and close personal friend of Carlos Di Sarli who dictated his tunes for others to write down; Di Sa
24. Guardia Nueva9 days agoDescribed as The world economic crisis combined with the arrival of talking pictures devastated the Argentine tango-band business; many orchestras, including Di Sarli's in JGuardia Nueva9 days agoDescribed as The world economic crisis combined with the arrival of talking pictures devastated the Argentine tango-band business; many orchestras, including Di Sarli's in J
25. Eduardo Ponzio9 days agoDescribed as Ponzio is Lavocah's favourite of all Canaro's violinists for emotional character, even though later violinists were more technically accomplished; Canaro sackedEduardo Ponzio9 days agoDescribed as Ponzio is Lavocah's favourite of all Canaro's violinists for emotional character, even though later violinists were more technically accomplished; Canaro sacked
26. Francisco Canaro9 days agoDescribed as 1929 is argued to be Canaro's creative peak, helped by singer/muse Ada Falcón and strong musicians, at a time when he was less purely focused on commercial succFrancisco Canaro9 days agoDescribed as 1929 is argued to be Canaro's creative peak, helped by singer/muse Ada Falcón and strong musicians, at a time when he was less purely focused on commercial succ
27. Juan D'Arienzo9 days agoDescribed as The 'D'Arienzo formula' is four even beats per bar with no arrastre (dragging) — just faster and louder than other bands — and it is already audible as an influJuan D'Arienzo9 days agoDescribed as The 'D'Arienzo formula' is four even beats per bar with no arrastre (dragging) — just faster and louder than other bands — and it is already audible as an influ
28. Elvino Vardaro9 days agoDescribed as As an uncredited session violinist on many late-1920s Juan Maglio Victor recordings, Vardaro's distinctive tone and vibrato directly fed into the D'Arienzo sounElvino Vardaro9 days agoDescribed as As an uncredited session violinist on many late-1920s Juan Maglio Victor recordings, Vardaro's distinctive tone and vibrato directly fed into the D'Arienzo soun
29. Francisco De Caro9 days agoDescribed as Pianist Francisco De Caro, Julio's brother, was the real musical engine of the De Caro orchestra and a major influence on Osvaldo Pugliese's piano playing.Francisco De Caro9 days agoDescribed as Pianist Francisco De Caro, Julio's brother, was the real musical engine of the De Caro orchestra and a major influence on Osvaldo Pugliese's piano playing.
30. Osvaldo Fresedo9 days agoDescribed as Fresedo stopped recording in 1928 to go travelling, cutting short what Lavocah calls his best period, 1926-28.Osvaldo Fresedo9 days agoDescribed as Fresedo stopped recording in 1928 to go travelling, cutting short what Lavocah calls his best period, 1926-28.