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1. Francisco Canaro8 days agoDescribed as Canaro's arrangements typically alternate call and response between just two voices, bandoneón and violin, like a two-person conversation, unlike other orchestrFrancisco Canaro8 days agoDescribed as Canaro's arrangements typically alternate call and response between just two voices, bandoneón and violin, like a two-person conversation, unlike other orchestr
2. Miguel Caló8 days agoDescribed as Caló made his first-ever recording, the waltz Amarguras, in 1932; at this early stage he was firmly a follower of Julio De Caro's more complicated style, the opMiguel Caló8 days agoDescribed as Caló made his first-ever recording, the waltz Amarguras, in 1932; at this early stage he was firmly a follower of Julio De Caro's more complicated style, the op
3. Edgardo Donato8 days agoDescribed as After splitting from his former partner Rizzo and moving from the folded Brunswick label to Victor, Donato's first Victor recording, El Huracan, at the end of NEdgardo Donato8 days agoDescribed as After splitting from his former partner Rizzo and moving from the folded Brunswick label to Victor, Donato's first Victor recording, El Huracan, at the end of N
4. Julio De Caro8 days agoDescribed as On a 1931 tour of France, De Caro's band played a private gig for the Rothschild banking family on the Côte d'Azur; unlike every other band hired for such partiJulio De Caro8 days agoDescribed as On a 1931 tour of France, De Caro's band played a private gig for the Rothschild banking family on the Côte d'Azur; unlike every other band hired for such parti
5. Juan de Dios Filiberto8 days agoDescribed as Despite sounding European, Filiberto lived and died in the La Boca barrio of Buenos Aires, led his own Orquesta Porteña with heavy woodwind doubling, was a closJuan de Dios Filiberto8 days agoDescribed as Despite sounding European, Filiberto lived and died in the La Boca barrio of Buenos Aires, led his own Orquesta Porteña with heavy woodwind doubling, was a clos
6. Carlos Di Sarli8 days agoDescribed as Having lost his Victor recording contract, Di Sarli secretly backed singer Mercedes Carné on the Brunswick label; because his name never appeared on the record,Carlos Di Sarli8 days agoDescribed as Having lost his Victor recording contract, Di Sarli secretly backed singer Mercedes Carné on the Brunswick label; because his name never appeared on the record,
7. Teófilo Ibáñez8 days agoDescribed as Ibáñez sang with many different orchestras because he was Brunswick's house singer, used whenever a band wanted a vocal number, since most dance orchestras of tTeófilo Ibáñez8 days agoDescribed as Ibáñez sang with many different orchestras because he was Brunswick's house singer, used whenever a band wanted a vocal number, since most dance orchestras of t
8. Osvaldo Fresedo8 days agoDescribed as Fresedo's music turned deliberately thick and slow in 1931 to match the Depression's mood, then deliberately upbeat again in 1932, since the Depression never toOsvaldo Fresedo8 days agoDescribed as Fresedo's music turned deliberately thick and slow in 1931 to match the Depression's mood, then deliberately upbeat again in 1932, since the Depression never to
9. Juan Maglio8 days agoDescribed as Maglio made only four recordings in 1932, likely because of failing health; he died in 1934. He was an early pioneer of waltzes with long introductions, some laJuan Maglio8 days agoDescribed as Maglio made only four recordings in 1932, likely because of failing health; he died in 1934. He was an early pioneer of waltzes with long introductions, some la
10. Charlo8 days agoDescribed as Charlo was not a member of Lomuto's or Canaro's bands; he was a freelance singer contracted to the Odeon label who recorded with multiple orchestras without perCharlo8 days agoDescribed as Charlo was not a member of Lomuto's or Canaro's bands; he was a freelance singer contracted to the Odeon label who recorded with multiple orchestras without per
11. Francisco Lomuto8 days agoDescribed as A well-known photo shows Lomuto's orchestra playing for free on the public beach at Mar del Plata, in between a paid hotel gig during the Depression; he also stFrancisco Lomuto8 days agoDescribed as A well-known photo shows Lomuto's orchestra playing for free on the public beach at Mar del Plata, in between a paid hotel gig during the Depression; he also st
12. Guardia Nueva8 days agoDescribed as Before Milonga Sentimental, there was no separate category of "city milonga"; the only kind of milonga that existed was the countryside milonga, a distinction oGuardia Nueva8 days agoDescribed as Before Milonga Sentimental, there was no separate category of "city milonga"; the only kind of milonga that existed was the countryside milonga, a distinction o
13. Milonga sentimental8 days agoDescribed as Sebastián Piana and Homero Manzi wrote it on commission for Rosita Quiroga, who then rejected it; the sheet music reached Mercedes Simone by chance at a sheet-mMilonga sentimental8 days agoDescribed as Sebastián Piana and Homero Manzi wrote it on commission for Rosita Quiroga, who then rejected it; the sheet music reached Mercedes Simone by chance at a sheet-m
14. Adolfo Carabelli8 days agoDescribed as Carabelli was a jazz musician with no tango background when Victor hired him to organize its house orchestra; he soon handed off day-to-day conducting but stayeAdolfo Carabelli8 days agoDescribed as Carabelli was a jazz musician with no tango background when Victor hired him to organize its house orchestra; he soon handed off day-to-day conducting but staye
15. Aníbal Troilo8 days agoDescribed as In 1932 the 17- or 18-year-old Troilo was the fourth bandoneón in Siriaco Ortiz's Los Provincianos; Carlos Di Sarli, who had heard him with his sextet around 19Aníbal Troilo8 days agoDescribed as In 1932 the 17- or 18-year-old Troilo was the fourth bandoneón in Siriaco Ortiz's Los Provincianos; Carlos Di Sarli, who had heard him with his sextet around 19
16. Francisco Canaro8 days agoDescribed as Canaro's stage show La Muchachada del Centro, written with Ivo Pelay, opened in June 1932 near the Obelisk and ran for 900 performances; Te Quiero, sung in the Francisco Canaro8 days agoDescribed as Canaro's stage show La Muchachada del Centro, written with Ivo Pelay, opened in June 1932 near the Obelisk and ran for 900 performances; Te Quiero, sung in the
17. Francisco Canaro8 days agoDescribed as Canaro's 1932 output collapsed to about 100 tangos and waltzes plus one milonga, down from roughly 300 recordings the previous year.Francisco Canaro8 days agoDescribed as Canaro's 1932 output collapsed to about 100 tangos and waltzes plus one milonga, down from roughly 300 recordings the previous year.
18. Inspiración8 days agoDescribed as First recorded as an instrumental by Firpo around 1922 under a different, weaker title, it flopped and was forgotten until Pedro Maffia revived it around 1929; Inspiración8 days agoDescribed as First recorded as an instrumental by Firpo around 1922 under a different, weaker title, it flopped and was forgotten until Pedro Maffia revived it around 1929;
19. Guardia Nueva8 days agoDescribed as 1931 was the year the Depression really hit Argentina's tango business, with orchestras losing contracts and record companies going bust; by 1932 everyone hopesGuardia Nueva8 days agoDescribed as 1931 was the year the Depression really hit Argentina's tango business, with orchestras losing contracts and record companies going bust; by 1932 everyone hopes
20. Recording 51418 days agoDescribed as A five-minute duet from La Muchachada del Centro, played out of free tempo with pauses, impossible to use at a milonga.Recording 51418 days agoDescribed as A five-minute duet from La Muchachada del Centro, played out of free tempo with pauses, impossible to use at a milonga.
21. Recording 62628 days agoDescribed as A tango about being slaves to the milonga's rhythm, later also recorded by D'Arienzo in 1940.Recording 62628 days agoDescribed as A tango about being slaves to the milonga's rhythm, later also recorded by D'Arienzo in 1940.
22. Recording 120018 days agoDescribed as Caló's first-ever recording, still firmly following Julio De Caro's complex style rather than the simplified sound he became known for in the 1940s.Recording 120018 days agoDescribed as Caló's first-ever recording, still firmly following Julio De Caro's complex style rather than the simplified sound he became known for in the 1940s.
23. Recording 157898 days agoDescribed as A Firpo composition, played in the afterparty, that became hugely influential on Carlos Di Sarli's own later version.Recording 157898 days agoDescribed as A Firpo composition, played in the afterparty, that became hugely influential on Carlos Di Sarli's own later version.
24. Recording 43978 days agoDescribed as An older, much slower and heavier Brunswick-era recording, played to contrast with the new energy of El Huracan.Recording 43978 days agoDescribed as An older, much slower and heavier Brunswick-era recording, played to contrast with the new energy of El Huracan.
25. Recording 108588 days agoDescribed as An extremely sad instrumental from a composer who, despite sounding European to Stenvoll, lived his whole life in La Boca.Recording 108588 days agoDescribed as An extremely sad instrumental from a composer who, despite sounding European to Stenvoll, lived his whole life in La Boca.
26. Recording 138338 days agoDescribed as An instrumental built on the melody of Happy Days Are Here Again, from a cinema stage show where Fresedo deliberately played upbeat to signal the Depression wasRecording 138338 days agoDescribed as An instrumental built on the melody of Happy Days Are Here Again, from a cinema stage show where Fresedo deliberately played upbeat to signal the Depression was
27. Recording 155238 days agoDescribed as The one 1932 Firpo track chosen, prized for the jazzy piano touches underneath a still-strong walking beat, and for its clear influence on Di Sarli.Recording 155238 days agoDescribed as The one 1932 Firpo track chosen, prized for the jazzy piano touches underneath a still-strong walking beat, and for its clear influence on Di Sarli.
28. Recording 86458 days agoDescribed as A song about the real, still-central barrio of San Telmo, sung by a singer who freelanced for the Odeon label rather than belonging to Lomuto's band.Recording 86458 days agoDescribed as A song about the real, still-central barrio of San Telmo, sung by a singer who freelanced for the Odeon label rather than belonging to Lomuto's band.
29. Recording 127878 days agoDescribed as One of four waltzes this band recorded in 1932, played by the same musicians as Típica Victor but reshaped by Siriaco Ortiz's own, sweeter direction.Recording 127878 days agoDescribed as One of four waltzes this band recorded in 1932, played by the same musicians as Típica Victor but reshaped by Siriaco Ortiz's own, sweeter direction.
30. Pedro Maffia8 days agoDescribed as Maffia withdrew from tango around 1946 as the music grew louder and less suited to his tender, introverted style, but came back in 1957 to back singer Alberto GPedro Maffia8 days agoDescribed as Maffia withdrew from tango around 1946 as the music grew louder and less suited to his tender, introverted style, but came back in 1957 to back singer Alberto G