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1. Carlos Di Sarli8 days agoDescribed as Di Sarli's recording career stayed remarkably consistent and danceable from 1928 to his final 1958 recordings, unlike the other Big Four orchestras, which tendeCarlos Di Sarli8 days agoDescribed as Di Sarli's recording career stayed remarkably consistent and danceable from 1928 to his final 1958 recordings, unlike the other Big Four orchestras, which tende
2. Elvino Vardaro8 days agoDescribed as Vardaro, the soloist heard playing in the 1929 episode, is by 1958 just one of around eight violinists in Di Sarli's orchestra, with no solos given, partly becaElvino Vardaro8 days agoDescribed as Vardaro, the soloist heard playing in the 1929 episode, is by 1958 just one of around eight violinists in Di Sarli's orchestra, with no solos given, partly beca
3. Carlos Di Sarli8 days agoDescribed as Di Sarli switched labels from RCA Victor to Polygram/Philips in 1958 after RCA introduced a new artistic-recording manager who took away bandleaders' control ovCarlos Di Sarli8 days agoDescribed as Di Sarli switched labels from RCA Victor to Polygram/Philips in 1958 after RCA introduced a new artistic-recording manager who took away bandleaders' control ov
4. Alberto Morán8 days agoDescribed as Before joining Pugliese, Morán sang everything at full volume; Pugliese taught him to sing at half power most of the time so his climaxes would land harder, butAlberto Morán8 days agoDescribed as Before joining Pugliese, Morán sang everything at full volume; Pugliese taught him to sing at half power most of the time so his climaxes would land harder, but
5. Adiós corazón8 days agoDescribed as Considered the song of 1958: Lavocah rates every version he knows, including Salamanca's, Di Sarli's, and D'Arienzo with Valdéz, as excellent.Adiós corazón8 days agoDescribed as Considered the song of 1958: Lavocah rates every version he knows, including Salamanca's, Di Sarli's, and D'Arienzo with Valdéz, as excellent.
6. Osvaldo Pugliese8 days agoDescribed as Pugliese records 16 tracks in 1958 with vocalists Miguel Montero and Jorge Maciel; a Buenos Aires blogger recalled dancing to Pugliese all night at Club Arakán Osvaldo Pugliese8 days agoDescribed as Pugliese records 16 tracks in 1958 with vocalists Miguel Montero and Jorge Maciel; a Buenos Aires blogger recalled dancing to Pugliese all night at Club Arakán
7. Edmundo Rivero8 days agoDescribed as Rivero became disillusioned with the recording industry later in life and privately recorded hundreds of songs he never released; the tapes remain with his widoEdmundo Rivero8 days agoDescribed as Rivero became disillusioned with the recording industry later in life and privately recorded hundreds of songs he never released; the tapes remain with his wido
8. Edmundo Rivero8 days agoDescribed as Since going solo after leaving Troilo around 1950, Rivero increasingly favours lunfardo-heavy material and becomes one of Buenos Aires's leading experts on it, Edmundo Rivero8 days agoDescribed as Since going solo after leaving Troilo around 1950, Rivero increasingly favours lunfardo-heavy material and becomes one of Buenos Aires's leading experts on it,
9. Floreal Ruiz8 days agoDescribed as Ruiz, along with Raúl Berón and Goyeneche, is considered one of tango's very best singers, a view Lavocah found echoed in his own research on Todo Tango.Floreal Ruiz8 days agoDescribed as Ruiz, along with Raúl Berón and Goyeneche, is considered one of tango's very best singers, a view Lavocah found echoed in his own research on Todo Tango.
10. Aníbal Troilo8 days agoDescribed as By 1958 Troilo's recordings, like 'Danzarín,' are nearly impossible to dance to because their sudden tempo shifts are never signalled to the dancer, unlike PuglAníbal Troilo8 days agoDescribed as By 1958 Troilo's recordings, like 'Danzarín,' are nearly impossible to dance to because their sudden tempo shifts are never signalled to the dancer, unlike Pugl
11. Roberto Goyeneche8 days agoDescribed as Goyeneche eventually becomes what the French call a diseur, speaking the lyric rather than singing it, a freedom Lavocah believes he reaches fully only once he Roberto Goyeneche8 days agoDescribed as Goyeneche eventually becomes what the French call a diseur, speaking the lyric rather than singing it, a freedom Lavocah believes he reaches fully only once he
12. La bordona8 days agoDescribed as Written by violinist Emilio Balcarce while he was in Pugliese's orchestra, the piece was turned down by Pugliese; Balcarce gave it to Troilo instead, whose 1958La bordona8 days agoDescribed as Written by violinist Emilio Balcarce while he was in Pugliese's orchestra, the piece was turned down by Pugliese; Balcarce gave it to Troilo instead, whose 1958
13. Aníbal Troilo8 days agoDescribed as Troilo abandons the low-fidelity TK label after a five-year experiment and signs with Odeón in 1958, the very label that had rejected his sophisticated sound baAníbal Troilo8 days agoDescribed as Troilo abandons the low-fidelity TK label after a five-year experiment and signs with Odeón in 1958, the very label that had rejected his sophisticated sound ba
14. Mariano Mores8 days agoDescribed as Mores, composer of 'Gricel,' joined Canaro's orchestra as pianist in 1940 and added decorative flourishes to Canaro's piano sound, a role Lavocah compares to SaMariano Mores8 days agoDescribed as Mores, composer of 'Gricel,' joined Canaro's orchestra as pianist in 1940 and added decorative flourishes to Canaro's piano sound, a role Lavocah compares to Sa
15. Anselmo Aieta8 days agoDescribed as Aieta, whose fame mostly dates to the 1920s, was a musically illiterate, intuitive composer who had friends transcribe melodies that came to his head; the brandAnselmo Aieta8 days agoDescribed as Aieta, whose fame mostly dates to the 1920s, was a musically illiterate, intuitive composer who had friends transcribe melodies that came to his head; the brand
16. Alfredo De Angelis8 days agoDescribed as In the late 1940s, people spoke of a 'big five,' not four, with De Angelis's inoffensive, family-friendly 'La Típica de la Simpatía' as the fifth; it still playAlfredo De Angelis8 days agoDescribed as In the late 1940s, people spoke of a 'big five,' not four, with De Angelis's inoffensive, family-friendly 'La Típica de la Simpatía' as the fifth; it still play
17. Nuevo8 days agoDescribed as Around 1952-54 the industry switched from metal 78 masters to tape masters; by the late 1950s engineers began adding more studio reverberation as a fashion, whiNuevo8 days agoDescribed as Around 1952-54 the industry switched from metal 78 masters to tape masters; by the late 1950s engineers began adding more studio reverberation as a fashion, whi
18. Fulvio Salamanca8 days agoDescribed as Salamanca's distinctive sound was not born from a deep artistic drive, unlike Troilo's; it emerged almost by accident while rehearsing one particular song afterFulvio Salamanca8 days agoDescribed as Salamanca's distinctive sound was not born from a deep artistic drive, unlike Troilo's; it emerged almost by accident while rehearsing one particular song after
19. Fulvio Salamanca8 days agoDescribed as Salamanca joined D'Arienzo's band at 19 in 1940 and is 37 in 1958, after 17 years with the orchestra.Fulvio Salamanca8 days agoDescribed as Salamanca joined D'Arienzo's band at 19 in 1940 and is 37 in 1958, after 17 years with the orchestra.
20. Juan D'Arienzo8 days agoDescribed as A major reorganization of D'Arienzo's band in 1957 came close to his retirement; pianist Fulvio Salamanca left to form his own orchestra, and the earlier pianisJuan D'Arienzo8 days agoDescribed as A major reorganization of D'Arienzo's band in 1957 came close to his retirement; pianist Fulvio Salamanca left to form his own orchestra, and the earlier pianis
21. Enrique Cadícamo8 days agoDescribed as A regular at the Chanteclerc Cabaret, Cadícamo was so upset by its 1958 closure that he wrote 'Adiós Chanteclér' about it, naming D'Arienzo in the lyric as one Enrique Cadícamo8 days agoDescribed as A regular at the Chanteclerc Cabaret, Cadícamo was so upset by its 1958 closure that he wrote 'Adiós Chanteclér' about it, naming D'Arienzo in the lyric as one
22. Juan D'Arienzo8 days agoDescribed as D'Arienzo records about 50 tracks in 1958, roughly twice his output in his 1930s-40s heyday, because his simplified 1950s style takes much less effort to arrangJuan D'Arienzo8 days agoDescribed as D'Arienzo records about 50 tracks in 1958, roughly twice his output in his 1930s-40s heyday, because his simplified 1950s style takes much less effort to arrang
23. Osmar Maderna8 days agoDescribed as Maderna, a playboy-ish amateur pilot like Fresedo, died in a private plane crash around 1950 or 1951; his orchestra continued afterward as an 'Orquesta Símbolo'Osmar Maderna8 days agoDescribed as Maderna, a playboy-ish amateur pilot like Fresedo, died in a private plane crash around 1950 or 1951; his orchestra continued afterward as an 'Orquesta Símbolo'
24. Nuevo8 days agoDescribed as Zucchi's ongoing multi-volume reference work on bandoneón players, started from 1890, had by 1958's broadcast still not reached the generation of 1940, despite Nuevo8 days agoDescribed as Zucchi's ongoing multi-volume reference work on bandoneón players, started from 1890, had by 1958's broadcast still not reached the generation of 1940, despite
25. Aníbal Troilo8 days agoDescribed as Troilo has been losing energy since around 1956, though he is still producing good work.Aníbal Troilo8 days agoDescribed as Troilo has been losing energy since around 1956, though he is still producing good work.
26. Nuevo8 days agoDescribed as By 1958 the Big Four sound more different from one another than ever: D'Arienzo has reverted to a traditional, simplified presentation while Pugliese keeps pushNuevo8 days agoDescribed as By 1958 the Big Four sound more different from one another than ever: D'Arienzo has reverted to a traditional, simplified presentation while Pugliese keeps push
27. Nuevo8 days agoDescribed as The golden age is generally agreed to end around 1955; by 1958 tango is in 'post golden age territory,' with far fewer people dancing and venues closing as a reNuevo8 days agoDescribed as The golden age is generally agreed to end around 1955; by 1958 tango is in 'post golden age territory,' with far fewer people dancing and venues closing as a re
28. Recording 113068 days agoDescribed as An explicitly non-dance 1927 Francisco De Caro melody, arranged by Argentino Galván's experimental project, possible in 1958 only because good musicians had litRecording 113068 days agoDescribed as An explicitly non-dance 1927 Francisco De Caro melody, arranged by Argentino Galván's experimental project, possible in 1958 only because good musicians had lit
29. Recording 144908 days agoDescribed as An old 1926 Gardel number reworked by Montero, who changes the lyric so the singer ends up looking for 'a good soul' rather than just another lover.Recording 144908 days agoDescribed as An old 1926 Gardel number reworked by Montero, who changes the lyric so the singer ends up looking for 'a good soul' rather than just another lover.
30. Recording 105678 days agoDescribed as A sincere tribute to mothers, offered as further proof that Bustos (and here Valdéz) had more emotional range than their tough-guy reputations suggest.Recording 105678 days agoDescribed as A sincere tribute to mothers, offered as further proof that Bustos (and here Valdéz) had more emotional range than their tough-guy reputations suggest.