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1. Golden Age9 days agoDescribed as Only two recordings of La Cumparsita were made in all of 1944: one by an obscure, rarely-played vocal orchestra, and the other by De Angelis with a long spoken Golden Age9 days agoDescribed as Only two recordings of La Cumparsita were made in all of 1944: one by an obscure, rarely-played vocal orchestra, and the other by De Angelis with a long spoken
2. Golden Age9 days agoDescribed as Argentina's official neutrality in WWII isolated the country musically: no foreign musical influences came in, and foreign labels couldn't import music, which MGolden Age9 days agoDescribed as Argentina's official neutrality in WWII isolated the country musically: no foreign musical influences came in, and foreign labels couldn't import music, which M
3. Golden Age9 days agoDescribed as During WWII the shellac used to press 78rpm records, a resin secreted by a beetle found near Siam (Thailand), became scarce because supply ships were being torpGolden Age9 days agoDescribed as During WWII the shellac used to press 78rpm records, a resin secreted by a beetle found near Siam (Thailand), became scarce because supply ships were being torp
4. Juan D'Arienzo9 days agoDescribed as By 1944 D'Arienzo is no longer setting the trend the way he did in 1937-39; he's now following Troilo's lyrical 'zeitgeist', and his July 1944 recording of AmarJuan D'Arienzo9 days agoDescribed as By 1944 D'Arienzo is no longer setting the trend the way he did in 1937-39; he's now following Troilo's lyrical 'zeitgeist', and his July 1944 recording of Amar
5. Golden Age9 days agoDescribed as A glosa was a spoken-word introduction, specially written (not the song's actual lyric) and recited by a dedicated announcer rather than the singer, before the Golden Age9 days agoDescribed as A glosa was a spoken-word introduction, specially written (not the song's actual lyric) and recited by a dedicated announcer rather than the singer, before the
6. Alfredo De Angelis9 days agoDescribed as In the mid-1940s De Angelis was only the fifth most popular orchestra in Buenos Aires behind the 'big four', nicknamed 'la típica de la simpatía' ('the nice orcAlfredo De Angelis9 days agoDescribed as In the mid-1940s De Angelis was only the fifth most popular orchestra in Buenos Aires behind the 'big four', nicknamed 'la típica de la simpatía' ('the nice orc
7. Elvino Vardaro9 days agoDescribed as Vardaro, the violinist famous from Orquesta Típica Victor's recordings, was a world-class musician who lacked the personal charisma and business sense needed toElvino Vardaro9 days agoDescribed as Vardaro, the violinist famous from Orquesta Típica Victor's recordings, was a world-class musician who lacked the personal charisma and business sense needed to
8. Alberto Marino9 days agoDescribed as Unlike Fiorentino, Marino had full bel canto opera training, letting him do things Fiorentino's voice couldn't — like dropping instantly from very loud to very Alberto Marino9 days agoDescribed as Unlike Fiorentino, Marino had full bel canto opera training, letting him do things Fiorentino's voice couldn't — like dropping instantly from very loud to very
9. Aníbal Troilo9 days agoDescribed as Troilo's star singer Francisco Fiorentino made his last recording with the orchestra in March 1944; Alberto Marino, recording with Troilo since 1943, became theAníbal Troilo9 days agoDescribed as Troilo's star singer Francisco Fiorentino made his last recording with the orchestra in March 1944; Alberto Marino, recording with Troilo since 1943, became the
10. Lucio Demare9 days agoDescribed as Demare, a pianist, wasn't recording yet in 1941; by 1944 his singer is Horacio Quintana, chosen partly because his voice resembles Juan Carlos Miranda, who sangLucio Demare9 days agoDescribed as Demare, a pianist, wasn't recording yet in 1941; by 1944 his singer is Horacio Quintana, chosen partly because his voice resembles Juan Carlos Miranda, who sang
11. Domingo Federico9 days agoDescribed as Federico's piano plays a clear, simple walking bass with the sustain pedal held down so the notes ring out legato — simpler than Caló's more syncopated marcato,Domingo Federico9 days agoDescribed as Federico's piano plays a clear, simple walking bass with the sustain pedal held down so the notes ring out legato — simpler than Caló's more syncopated marcato,
12. Domingo Federico9 days agoDescribed as Federico was Caló's bandoneón player and an important composer for them (Josué el tango, El compás del corazón) before starting his own orchestra in 1944; MichaDomingo Federico9 days agoDescribed as Federico was Caló's bandoneón player and an important composer for them (Josué el tango, El compás del corazón) before starting his own orchestra in 1944; Micha
13. Miguel Caló9 days agoDescribed as Caló isn't Michael's favourite of the big orchestras: he felt there was a rivalry with Troilo, and that Caló's experiments with syncopated marcato sometimes go Miguel Caló9 days agoDescribed as Caló isn't Michael's favourite of the big orchestras: he felt there was a rivalry with Troilo, and that Caló's experiments with syncopated marcato sometimes go
14. Miguel Caló9 days agoDescribed as Caló's 'orchestra of the stars' lineup was already breaking up by 1944: pianist/arranger Domingo Federico had left to start his own band, and Raúl Berón — who mMiguel Caló9 days agoDescribed as Caló's 'orchestra of the stars' lineup was already breaking up by 1944: pianist/arranger Domingo Federico had left to start his own band, and Raúl Berón — who m
15. Ángel D'Agostino9 days agoDescribed as D'Agostino's 1944 sound doesn't seem very different from 1941 on first listen, but the rhythmic part has become a lot more complex underneath — it's just hiddenÁngel D'Agostino9 days agoDescribed as D'Agostino's 1944 sound doesn't seem very different from 1941 on first listen, but the rhythmic part has become a lot more complex underneath — it's just hidden
16. Ricardo Tanturi9 days agoDescribed as With Campos, Tanturi's rhythm stays strong but the violins thicken and the melody comes forward, giving dancers a better balance of rhythm and melody than with Ricardo Tanturi9 days agoDescribed as With Campos, Tanturi's rhythm stays strong but the violins thicken and the melody comes forward, giving dancers a better balance of rhythm and melody than with
17. Ricardo Tanturi9 days agoDescribed as Tanturi's singer Alberto Castillo left in the middle of 1943 and was replaced by Enrique Campos; the saying in Argentina is that Castillo had the better voice, Ricardo Tanturi9 days agoDescribed as Tanturi's singer Alberto Castillo left in the middle of 1943 and was replaced by Enrique Campos; the saying in Argentina is that Castillo had the better voice,
18. Alberto Podestá9 days agoDescribed as Podestá and Di Sarli's own singer Roberto Rufino both had reputations for changing orchestras often, but Podestá's greater maturity meant it never hurt his careAlberto Podestá9 days agoDescribed as Podestá and Di Sarli's own singer Roberto Rufino both had reputations for changing orchestras often, but Podestá's greater maturity meant it never hurt his care
19. Carlos Di Sarli9 days agoDescribed as Di Sarli is quoted as saying 'if there is a melody which does not have the qualities I want for my orchestra, don't play it' — read at the time as a criticism oCarlos Di Sarli9 days agoDescribed as Di Sarli is quoted as saying 'if there is a melody which does not have the qualities I want for my orchestra, don't play it' — read at the time as a criticism o
20. Carlos Di Sarli9 days agoDescribed as Di Sarli's sound changes the least of the big orchestras: from 1941 to 1958 it stays essentially the same elegant, subtle style built around a smooth violin surCarlos Di Sarli9 days agoDescribed as Di Sarli's sound changes the least of the big orchestras: from 1941 to 1958 it stays essentially the same elegant, subtle style built around a smooth violin sur
21. Alberto Podestá9 days agoDescribed as Podestá made his recording debut at 17 singing 'José el tango' with Caló in 1941, and by 19 had recorded roughly 50 tracks across three major orchestras (Caló, Alberto Podestá9 days agoDescribed as Podestá made his recording debut at 17 singing 'José el tango' with Caló in 1941, and by 19 had recorded roughly 50 tracks across three major orchestras (Caló,
22. Pedro Laurenz9 days agoDescribed as Laurenz recorded 16 tracks in 1944, his most productive year ever, after changing record labels; he lost singer Alberto Podestá early in the year to Di Sarli anPedro Laurenz9 days agoDescribed as Laurenz recorded 16 tracks in 1944, his most productive year ever, after changing record labels; he lost singer Alberto Podestá early in the year to Di Sarli an
23. Golden Age9 days agoDescribed as 1944 is 'the year of lyricism': Troilo's slower, more complex, lyrical style has replaced D'Arienzo's rhythmic, up-tempo dominance of the late 1930s, and even DGolden Age9 days agoDescribed as 1944 is 'the year of lyricism': Troilo's slower, more complex, lyrical style has replaced D'Arienzo's rhythmic, up-tempo dominance of the late 1930s, and even D
24. Recording 2279 days agoDescribed as One of only two La Cumparsita recordings made in all of 1944, with a long spoken glosa at the start; chosen to close the show.Recording 2279 days agoDescribed as One of only two La Cumparsita recordings made in all of 1944, with a long spoken glosa at the start; chosen to close the show.
25. Recording 14889 days agoDescribed as Michael's one personal birthday request from all of 1944, for its counter-melody, later reused in Troilo's 1950s-60s guitar quartet.Recording 14889 days agoDescribed as Michael's one personal birthday request from all of 1944, for its counter-melody, later reused in Troilo's 1950s-60s guitar quartet.
26. Recording 143479 days agoDescribed as An instrumental, originally a De Caro composition, which Michael's book calls Pugliese transforming Caro into something richer.Recording 143479 days agoDescribed as An instrumental, originally a De Caro composition, which Michael's book calls Pugliese transforming Caro into something richer.
27. Recording 162239 days agoDescribed as Played right after D'Arienzo's El Huracán to compare Biagi's more romantic piano playing with Salamanca's.Recording 162239 days agoDescribed as Played right after D'Arienzo's El Huracán to compare Biagi's more romantic piano playing with Salamanca's.
28. Recording 104739 days agoDescribed as Written for Mauré but recorded by his replacement Laborde, who had three days to learn it before the band sailed for Uruguay.Recording 104739 days agoDescribed as Written for Mauré but recorded by his replacement Laborde, who had three days to learn it before the band sailed for Uruguay.
29. Recording 107349 days agoDescribed as Mauré's last recording with D'Arienzo, and Michael's pick for the high-water mark of lyricism in D'Arienzo's orchestra.Recording 107349 days agoDescribed as Mauré's last recording with D'Arienzo, and Michael's pick for the high-water mark of lyricism in D'Arienzo's orchestra.
30. Recording 3379 days agoDescribed as De Angelis's own composition, with a spoken glosa recited by announcer Néstor Rodi before the song proper.Recording 3379 days agoDescribed as De Angelis's own composition, with a spoken glosa recited by announcer Néstor Rodi before the song proper.