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1. Edmundo Rivero8 days agoDescribed as Rivero brought a different repertoire to Troilo, rooted in the broader Argentine countryside tradition and lunfardo, distinct from the strict urban tango lyric.Edmundo Rivero8 days agoDescribed as Rivero brought a different repertoire to Troilo, rooted in the broader Argentine countryside tradition and lunfardo, distinct from the strict urban tango lyric.
2. Edmundo Rivero8 days agoDescribed as Troilo recruited Rivero after hearing him sing late one night on the radio with Horacio Salgán's then-unrecorded orchestra; Troilo, unable to sleep, and his wifEdmundo Rivero8 days agoDescribed as Troilo recruited Rivero after hearing him sing late one night on the radio with Horacio Salgán's then-unrecorded orchestra; Troilo, unable to sleep, and his wif
3. Pedro Laurenz8 days agoDescribed as Given a choice to go back and hear one orchestra live, Lavocah would pick Pedro Laurenz: unlike heavily recorded bands, Laurenz's working repertoire of roughly Pedro Laurenz8 days agoDescribed as Given a choice to go back and hear one orchestra live, Lavocah would pick Pedro Laurenz: unlike heavily recorded bands, Laurenz's working repertoire of roughly
4. Armando Laborde8 days agoDescribed as Lavocah names Laborde his favourite D'Arienzo singer of the 1940s, over Echagüe, because Laborde carried the lyrical repertoire while Echagüe stuck to tougher sArmando Laborde8 days agoDescribed as Lavocah names Laborde his favourite D'Arienzo singer of the 1940s, over Echagüe, because Laborde carried the lyrical repertoire while Echagüe stuck to tougher s
5. Juan D'Arienzo8 days agoDescribed as D'Arienzo's late-1940s instrumentals are his most neglected recordings: he wasn't doing anything new, mostly recycling earlier repertoire, so dancers prefer hisJuan D'Arienzo8 days agoDescribed as D'Arienzo's late-1940s instrumentals are his most neglected recordings: he wasn't doing anything new, mostly recycling earlier repertoire, so dancers prefer his
6. Golden Age8 days agoDescribed as By 1947 wartime material shortages meant shellac was being recycled, making records noisier and harder to use for music with wide dynamic range, such as Troilo'Golden Age8 days agoDescribed as By 1947 wartime material shortages meant shellac was being recycled, making records noisier and harder to use for music with wide dynamic range, such as Troilo'
7. Enrique Camerano8 days agoDescribed as On N.N., violinist Enrique Camerano plays one of his greatest solos, including a long descending bow run, and in the closing variación Ruggiero plays a short twEnrique Camerano8 days agoDescribed as On N.N., violinist Enrique Camerano plays one of his greatest solos, including a long descending bow run, and in the closing variación Ruggiero plays a short tw
8. Golden Age8 days agoDescribed as Gobbi's father was the first person ever to record tango music, travelling to Paris in 1907 to record sung tango, not a dance orchestra.Golden Age8 days agoDescribed as Gobbi's father was the first person ever to record tango music, travelling to Paris in 1907 to record sung tango, not a dance orchestra.
9. Alfredo Gobbi8 days agoDescribed as Gobbi had led his own orchestra since 1943 but didn't record until 1947; he led from the violin, which is rare since most orchestra leaders are pianists and mosAlfredo Gobbi8 days agoDescribed as Gobbi had led his own orchestra since 1943 but didn't record until 1947; he led from the violin, which is rare since most orchestra leaders are pianists and mos
10. Osmar Maderna8 days agoDescribed as Maderna died in a plane crash in 1950, 15 years after Carlos Gardel's own plane-crash death; he was piloting stunts on an airfield and hit another aircraft.Osmar Maderna8 days agoDescribed as Maderna died in a plane crash in 1950, 15 years after Carlos Gardel's own plane-crash death; he was piloting stunts on an airfield and hit another aircraft.
11. Osmar Maderna8 days agoDescribed as Maderna was Caló's pianist and arranger, shaping Caló's delicate, romantic 'diaphanous' sound of the early 1940s, before leaving in 1945 to form his own orchestOsmar Maderna8 days agoDescribed as Maderna was Caló's pianist and arranger, shaping Caló's delicate, romantic 'diaphanous' sound of the early 1940s, before leaving in 1945 to form his own orchest
12. Roberto Rufino8 days agoDescribed as Rufino, nicknamed the 'terremoto' for his wild energy, met his future wife while recording Clavel Blanco with Francini-Pontier; she fell in love hearing him sinRoberto Rufino8 days agoDescribed as Rufino, nicknamed the 'terremoto' for his wild energy, met his future wife while recording Clavel Blanco with Francini-Pontier; she fell in love hearing him sin
13. Orquesta Francini-Pontier8 days agoDescribed as Francini-Pontier gave singers far more rhythmic freedom than Di Sarli; Alberto Podestá said singing for Di Sarli was strict tempo, 'bang bang bang,' completely Orquesta Francini-Pontier8 days agoDescribed as Francini-Pontier gave singers far more rhythmic freedom than Di Sarli; Alberto Podestá said singing for Di Sarli was strict tempo, 'bang bang bang,' completely
14. Orquesta Francini-Pontier8 days agoDescribed as Francini-Pontier was formed by two musicians who left Miguel Caló's orchestra: Enrique Francini, Caló's first violin, and Pontier; the band mixed Caló's romantiOrquesta Francini-Pontier8 days agoDescribed as Francini-Pontier was formed by two musicians who left Miguel Caló's orchestra: Enrique Francini, Caló's first violin, and Pontier; the band mixed Caló's romanti
15. Jorge Durán8 days agoDescribed as Durán's bass-baritone was a new kind of tango voice: before 1944 all recorded tango voices were tenors, which were easier both to record and to blend with the oJorge Durán8 days agoDescribed as Durán's bass-baritone was a new kind of tango voice: before 1944 all recorded tango voices were tenors, which were easier both to record and to blend with the o
16. Carlos Di Sarli8 days agoDescribed as In 1947 Di Sarli's only singer was the new bass-baritone Jorge Durán, who sang with him exclusively from 1945 to 1947 after losing Rufino and Podestá the year bCarlos Di Sarli8 days agoDescribed as In 1947 Di Sarli's only singer was the new bass-baritone Jorge Durán, who sang with him exclusively from 1945 to 1947 after losing Rufino and Podestá the year b
17. Golden Age8 days agoDescribed as 1947 is deep in the golden decade, which Lavocah dates from 1935-37 rather than 1940; new tango composition had fallen to under half of 1944's output because 19Golden Age8 days agoDescribed as 1947 is deep in the golden decade, which Lavocah dates from 1935-37 rather than 1940; new tango composition had fallen to under half of 1944's output because 19
18. Recording 55688 days agoDescribed as Both 1947 recordings of La Cumparsita were, in Dag's view, too poor to play, so he closed instead with this December 1946 Francini-Pontier version, Podestá onlyRecording 55688 days agoDescribed as Both 1947 recordings of La Cumparsita were, in Dag's view, too poor to play, so he closed instead with this December 1946 Francini-Pontier version, Podestá only
19. Recording 15328 days agoDescribed as Closes the Troilo set with a waltz, since the vals Dag really wanted, Lágrimas de mi corazón, was recorded in 1948.Recording 15328 days agoDescribed as Closes the Troilo set with a waltz, since the vals Dag really wanted, Lágrimas de mi corazón, was recorded in 1948.
20. Recording 12388 days agoDescribed as Part of the first record Troilo released in 1947, two Discépolo numbers; picked for its syncopation and emotional complexity.Recording 12388 days agoDescribed as Part of the first record Troilo released in 1947, two Discépolo numbers; picked for its syncopation and emotional complexity.
21. Recording 18648 days agoDescribed as A very old, much-recorded tango chosen so listeners can compare Piazzolla's own 1947 instrumental to the Troilo 1944 version he arranged.Recording 18648 days agoDescribed as A very old, much-recorded tango chosen so listeners can compare Piazzolla's own 1947 instrumental to the Troilo 1944 version he arranged.
22. Recording 146118 days agoDescribed as Co-written with Pedro Maffia; picked to let listeners hear the two composers' different musical personalities in the verse and chorus.Recording 146118 days agoDescribed as Co-written with Pedro Maffia; picked to let listeners hear the two composers' different musical personalities in the verse and chorus.
23. Recording 146358 days agoDescribed as Co-composed with Julio De Caro while Laurenz played in De Caro's band; De Caro added a few notes and took first billing.Recording 146358 days agoDescribed as Co-composed with Julio De Caro while Laurenz played in De Caro's band; De Caro added a few notes and took first billing.
24. Recording 143738 days agoDescribed as Called Dag's 'number four monument' alongside La Yumba, Negracha and Malandraca; chosen for its two-note main motif and Camerano's violin solo.Recording 143738 days agoDescribed as Called Dag's 'number four monument' alongside La Yumba, Negracha and Malandraca; chosen for its two-note main motif and Camerano's violin solo.
25. Recording 143978 days agoDescribed as A rare duet between Chanel and Morán, chosen because there are only about three such Pugliese recordings.Recording 143978 days agoDescribed as A rare duet between Chanel and Morán, chosen because there are only about three such Pugliese recordings.
26. Recording 7508 days agoDescribed as Picked for the family story: the waltz was written by Gobbi's own father, whom Carlos Gardel visited to rehearse it in 1927.Recording 7508 days agoDescribed as Picked for the family story: the waltz was written by Gobbi's own father, whom Carlos Gardel visited to rehearse it in 1927.
27. Recording 8098 days agoDescribed as Gobbi's very first recording session; chosen as a well-worn old tango to hear in his new, violin-led orchestra.Recording 8098 days agoDescribed as Gobbi's very first recording session; chosen as a well-worn old tango to hear in his new, violin-led orchestra.
28. Recording 106158 days agoDescribed as An instrumental that, as far as Dag could find, was only ever recorded in this one 1947 session.Recording 106158 days agoDescribed as An instrumental that, as far as Dag could find, was only ever recorded in this one 1947 session.
29. Recording 55828 days agoDescribed as The only recording either singer ever made with the other, chosen for the heavily phrased duet singing.Recording 55828 days agoDescribed as The only recording either singer ever made with the other, chosen for the heavily phrased duet singing.
30. Recording 133618 days agoDescribed as Played right after Caló's Plomo to show how differently Maderna, Caló's former pianist, uses the piano in his own romantic orchestra.Recording 133618 days agoDescribed as Played right after Caló's Plomo to show how differently Maderna, Caló's former pianist, uses the piano in his own romantic orchestra.