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1. Sebastián Piana8 days agoDescribed as Piana, composer of Milonga Sentimental and, per Lavocah, Pedro Maffia's brother-in-law, led his own orchestra, which recorded Felicia in a candombe-tinged styleSebastián Piana8 days agoDescribed as Piana, composer of Milonga Sentimental and, per Lavocah, Pedro Maffia's brother-in-law, led his own orchestra, which recorded Felicia in a candombe-tinged style
2. Golden Age8 days agoDescribed as European-based tango bands like Melfi's struggled to find local bandoneón players in Paris; there were almost none, forcing leaders to cover the gap through orcGolden Age8 days agoDescribed as European-based tango bands like Melfi's struggled to find local bandoneón players in Paris; there were almost none, forcing leaders to cover the gap through orc
3. Isabelita8 days agoDescribed as Isabelita, a vals told from a woman's point of view and used in a 1940 film, was probably the year's single biggest tango hit, bigger than now-canonical recordiIsabelita8 days agoDescribed as Isabelita, a vals told from a woman's point of view and used in a 1940 film, was probably the year's single biggest tango hit, bigger than now-canonical recordi
4. La cumparsita8 days agoDescribed as Across the whole tango Golden Age (300-plus recordings of the song), only two years have no recorded version of La Cumparsita at all, and 1941 is one of them.La cumparsita8 days agoDescribed as Across the whole tango Golden Age (300-plus recordings of the song), only two years have no recorded version of La Cumparsita at all, and 1941 is one of them.
5. Golden Age8 days agoDescribed as Many of 1940's star musicians were teenagers (Mauré and Di Arienzo's pianist Salamanca were both 19) because, without recorded music readily at hand, children lGolden Age8 days agoDescribed as Many of 1940's star musicians were teenagers (Mauré and Di Arienzo's pianist Salamanca were both 19) because, without recorded music readily at hand, children l
6. Héctor Mauré8 days agoDescribed as Mauré, a former boxer who had sung with Alberto Pugliese's orchestra, joined D'Arienzo at the very end of 1940 (debut recorded December 31) because the rebuilt,Héctor Mauré8 days agoDescribed as Mauré, a former boxer who had sung with Alberto Pugliese's orchestra, joined D'Arienzo at the very end of 1940 (debut recorded December 31) because the rebuilt,
7. Carlos Di Sarli8 days agoDescribed as Di Sarli's early-1940 recordings still feature violin solos and a rhythmically wild left-hand piano style, as in Catamarca, but he gradually eliminated violin sCarlos Di Sarli8 days agoDescribed as Di Sarli's early-1940 recordings still feature violin solos and a rhythmically wild left-hand piano style, as in Catamarca, but he gradually eliminated violin s
8. Roberto Rufino8 days agoDescribed as Rufino, still a teenager, repeatedly skipped Di Sarli sessions in 1940 after coming into sudden money and fame, forcing stand-ins Rodríguez Lezcano and Agustín Roberto Rufino8 days agoDescribed as Rufino, still a teenager, repeatedly skipped Di Sarli sessions in 1940 after coming into sudden money and fame, forcing stand-ins Rodríguez Lezcano and Agustín
9. Pedro Laurenz8 days agoDescribed as Despite being, in Lavocah's words, the best band in Buenos Aires, Laurenz's label RCA Victor gave him zero recording sessions in 1939 because the public wasn't Pedro Laurenz8 days agoDescribed as Despite being, in Lavocah's words, the best band in Buenos Aires, Laurenz's label RCA Victor gave him zero recording sessions in 1939 because the public wasn't
10. Pedro Laurenz8 days agoDescribed as Lavocah calls Laurenz's 1940 output more exciting and dynamic than Troilo's at the same date, though Troilo's full integration of lyric and music was still a yePedro Laurenz8 days agoDescribed as Lavocah calls Laurenz's 1940 output more exciting and dynamic than Troilo's at the same date, though Troilo's full integration of lyric and music was still a ye
11. Enrique Rodríguez8 days agoDescribed as Rodríguez's arrangements end on a quiet two-note tag played by a lone double bass; Lavocah found, by listening through the whole discography in date order, thatEnrique Rodríguez8 days agoDescribed as Rodríguez's arrangements end on a quiet two-note tag played by a lone double bass; Lavocah found, by listening through the whole discography in date order, that
12. Ricardo Ruiz8 days agoDescribed as Lavocah finds Ruiz's high, un-porteño-sounding voice completely wrong for Plegaria's solemn lyric about death, unlike the stately 1927 Bianco-Pachicha original.Ricardo Ruiz8 days agoDescribed as Lavocah finds Ruiz's high, un-porteño-sounding voice completely wrong for Plegaria's solemn lyric about death, unlike the stately 1927 Bianco-Pachicha original.
13. Ángel Vargas8 days agoDescribed as Across roughly 94 recordings with D'Agostino, Vargas sang all but 8 instrumentals; when the band tried a live instrumental after Vargas quit in 1943, the crowd Ángel Vargas8 days agoDescribed as Across roughly 94 recordings with D'Agostino, Vargas sang all but 8 instrumentals; when the band tried a live instrumental after Vargas quit in 1943, the crowd
14. Héctor Varela8 days agoDescribed as Varela assembled and rehearsed D'Arienzo's brand-new band in under a month while D'Arienzo kept the old lineup touring in Uruguay, producing a faster, more harmHéctor Varela8 days agoDescribed as Varela assembled and rehearsed D'Arienzo's brand-new band in under a month while D'Arienzo kept the old lineup touring in Uruguay, producing a faster, more harm
15. Juan D'Arienzo8 days agoDescribed as After three years as tango's undisputed king, D'Arienzo lost his entire orchestra over a pay dispute in early 1940; since all the band's musical ideas had come Juan D'Arienzo8 days agoDescribed as After three years as tango's undisputed king, D'Arienzo lost his entire orchestra over a pay dispute in early 1940; since all the band's musical ideas had come
16. Carlos Di Sarli8 days agoDescribed as Di Sarli became 1940's 'orchestra of the year', debuting in July at the Marabú cabaret in Buenos Aires (where Troilo had debuted in 1937) and holding that residCarlos Di Sarli8 days agoDescribed as Di Sarli became 1940's 'orchestra of the year', debuting in July at the Marabú cabaret in Buenos Aires (where Troilo had debuted in 1937) and holding that resid
17. Golden Age8 days agoDescribed as Carnival contracts for Buenos Aires venues were signed about a year ahead of the season, around March 1939, six months before D'Arienzo even had a record out, wGolden Age8 days agoDescribed as Carnival contracts for Buenos Aires venues were signed about a year ahead of the season, around March 1939, six months before D'Arienzo even had a record out, w
18. Recording 33558 days agoDescribed as Closed the Di Sarli set as an arrangement Lavocah called a 'work of genius' with no real comparison point.Recording 33558 days agoDescribed as Closed the Di Sarli set as an arrangement Lavocah called a 'work of genius' with no real comparison point.
19. Recording 160588 days agoDescribed as Firpo's own, sentimental take on the same waltz, discovered by Stenvoll to be a sped-up transfer running at a true 79 bpm.Recording 160588 days agoDescribed as Firpo's own, sentimental take on the same waltz, discovered by Stenvoll to be a sped-up transfer running at a true 79 bpm.
20. Recording 101488 days agoDescribed as Mauré's debut recording with D'Arienzo, cut on New Year's Eve, opening a four-year partnership.Recording 101488 days agoDescribed as Mauré's debut recording with D'Arienzo, cut on New Year's Eve, opening a four-year partnership.
21. Recording 100908 days agoDescribed as A milonga about gambling and love, with the title itself, 'I came out a loser,' noted as fitting.Recording 100908 days agoDescribed as A milonga about gambling and love, with the title itself, 'I came out a loser,' noted as fitting.
22. Recording 146478 days agoDescribed as Prompted Lavocah's claim that Laurenz's 1940 work is more exciting than Troilo's at the same point.Recording 146478 days agoDescribed as Prompted Lavocah's claim that Laurenz's 1940 work is more exciting than Troilo's at the same point.
23. Recording 146208 days agoDescribed as Chosen alongside No Me Extraña as one of only eight Laurenz tracks recorded all year.Recording 146208 days agoDescribed as Chosen alongside No Me Extraña as one of only eight Laurenz tracks recorded all year.
24. Recording 110988 days agoDescribed as An obscure pick neither host nor guest knew well, noted for an unusually old-fashioned, habanera-like rocking rhythm.Recording 110988 days agoDescribed as An obscure pick neither host nor guest knew well, noted for an unusually old-fashioned, habanera-like rocking rhythm.
25. Recording 33498 days agoDescribed as Notable for Di Sarli abandoning his usual restrained right-hand piano role to play a florid, attention-grabbing solo line throughout.Recording 33498 days agoDescribed as Notable for Di Sarli abandoning his usual restrained right-hand piano role to play a florid, attention-grabbing solo line throughout.
26. Recording 35128 days agoDescribed as One of Rufino's first two Di Sarli recordings in 1940.Recording 35128 days agoDescribed as One of Rufino's first two Di Sarli recordings in 1940.
27. Recording 33838 days agoDescribed as Picked for its unusually jazzy, rhythmically wild piano and violin counter-melody, from Di Sarli's first 1940 session.Recording 33838 days agoDescribed as Picked for its unusually jazzy, rhythmically wild piano and violin counter-melody, from Di Sarli's first 1940 session.
28. Recording 161978 days agoDescribed as Chosen to show an early Biagi waltz alongside his better-known tangos.Recording 161978 days agoDescribed as Chosen to show an early Biagi waltz alongside his better-known tangos.
29. Recording 137838 days agoDescribed as Played despite Lavocah calling Ruiz's high voice a bad fit for the song's solemn, deathly lyric, to frame the discussion of its dark wartime history.Recording 137838 days agoDescribed as Played despite Lavocah calling Ruiz's high voice a bad fit for the song's solemn, deathly lyric, to frame the discussion of its dark wartime history.
30. Recording 45508 days agoDescribed as A tango built on Chopin's Tristesse Etude (Op. 10 No. 3), a melody that had already become a popular Paris tango before reaching Buenos Aires.Recording 45508 days agoDescribed as A tango built on Chopin's Tristesse Etude (Op. 10 No. 3), a melody that had already become a popular Paris tango before reaching Buenos Aires.