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1. Enzo Valentino8 days agoDescribed as Valentino made what many call the greatest recording of Cualquier cosa with Domingo Federico in 1951, then switched to Alfredo Attadía's lesser-known orchestra Enzo Valentino8 days agoDescribed as Valentino made what many call the greatest recording of Cualquier cosa with Domingo Federico in 1951, then switched to Alfredo Attadía's lesser-known orchestra
2. Oscar Alemán8 days agoDescribed as Argentine gypsy-jazz guitarist Alemán built a career in Europe, was thrown out of occupied Paris by the Germans, and made it back home to Argentina, where he keOscar Alemán8 days agoDescribed as Argentine gypsy-jazz guitarist Alemán built a career in Europe, was thrown out of occupied Paris by the Germans, and made it back home to Argentina, where he ke
3. Roberto Goyeneche8 days agoDescribed as A chat viewer supplied Goyeneche's nickname, "El Polaco" (The Pole), referencing his Polish ancestry.Roberto Goyeneche8 days agoDescribed as A chat viewer supplied Goyeneche's nickname, "El Polaco" (The Pole), referencing his Polish ancestry.
4. Roberto Goyeneche8 days agoDescribed as This 1952 Salgán recording is one of Goyeneche's very first; Troilo later poached him because, Michael says, Troilo could hear where Goyeneche's singing style wRoberto Goyeneche8 days agoDescribed as This 1952 Salgán recording is one of Goyeneche's very first; Troilo later poached him because, Michael says, Troilo could hear where Goyeneche's singing style w
5. Nelly Omar8 days agoDescribed as Omar recorded roughly ten sides with Francisco Canaro between 1946 and 1948, then built the rest of her career almost exclusively with guitar backing, using theNelly Omar8 days agoDescribed as Omar recorded roughly ten sides with Francisco Canaro between 1946 and 1948, then built the rest of her career almost exclusively with guitar backing, using the
6. Jorge Vidal8 days agoDescribed as Vidal told Pugliese directly he was quitting because staying another year would leave him stuck fronting a backing orchestra for good, when what he actually wanJorge Vidal8 days agoDescribed as Vidal told Pugliese directly he was quitting because staying another year would leave him stuck fronting a backing orchestra for good, when what he actually wan
7. Osvaldo Pugliese8 days agoDescribed as The government tried to shut Pugliese's orchestra down around 1948-49; its sound stayed dense and compressed under that pressure, then grew brighter from 1950'sOsvaldo Pugliese8 days agoDescribed as The government tried to shut Pugliese's orchestra down around 1948-49; its sound stayed dense and compressed under that pressure, then grew brighter from 1950's
8. Mario Demarco8 days agoDescribed as Bandoneonist Mario Demarco joined Pugliese's orchestra after a long career as a sideman in other bands.Mario Demarco8 days agoDescribed as Bandoneonist Mario Demarco joined Pugliese's orchestra after a long career as a sideman in other bands.
9. Golden Age8 days agoDescribed as Pugliese, a Communist who was repeatedly jailed by police, would never have recorded a lyric this fond of a policeman, unlike El agente de la esquina.Golden Age8 days agoDescribed as Pugliese, a Communist who was repeatedly jailed by police, would never have recorded a lyric this fond of a policeman, unlike El agente de la esquina.
10. Armando Laborde8 days agoDescribed as Michael calls Laborde his favorite D'Arienzo voice of the 1950s, half of the strongest vocal pairing (with Alberto Echagüe) the orchestra ever had.Armando Laborde8 days agoDescribed as Michael calls Laborde his favorite D'Arienzo voice of the 1950s, half of the strongest vocal pairing (with Alberto Echagüe) the orchestra ever had.
11. Julio De Caro8 days agoDescribed as Michael considers De Caro's final recording years, 1948-53, far fewer sides a year than his famous 1920s heyday, to be his creative peak, even though it had farJulio De Caro8 days agoDescribed as Michael considers De Caro's final recording years, 1948-53, far fewer sides a year than his famous 1920s heyday, to be his creative peak, even though it had far
12. Francisco De Caro8 days agoDescribed as Francisco De Caro, Julio De Caro's brother and the orchestra's pianist, composed Flores negras, one of the most beautiful tango melodies ever written; it has neFrancisco De Caro8 days agoDescribed as Francisco De Caro, Julio De Caro's brother and the orchestra's pianist, composed Flores negras, one of the most beautiful tango melodies ever written; it has ne
13. Edmundo Rivero8 days agoDescribed as Rivero's 1952 "Milonga y negro" is his own composition, based on wordplay traced back roughly 300 years to a Spanish colonial-era satirical poem, "Boda negra," Edmundo Rivero8 days agoDescribed as Rivero's 1952 "Milonga y negro" is his own composition, based on wordplay traced back roughly 300 years to a Spanish colonial-era satirical poem, "Boda negra,"
14. Orlando Goñi8 days agoDescribed as Pianist Orlando Goñi played for Troilo until mid-1943; Troilo's 1952 recording of Alfredo Gobbi's tribute composition named for him adds new arranging touches, Orlando Goñi8 days agoDescribed as Pianist Orlando Goñi played for Troilo until mid-1943; Troilo's 1952 recording of Alfredo Gobbi's tribute composition named for him adds new arranging touches,
15. Golden Age8 days agoDescribed as By the 1950s there are more good singers than bands to employ them, the reverse of the 1940s, when orchestra leaders had to hunt for and build up their own vocaGolden Age8 days agoDescribed as By the 1950s there are more good singers than bands to employ them, the reverse of the 1940s, when orchestra leaders had to hunt for and build up their own voca
16. Raúl Berón8 days agoDescribed as Berón stayed with Troilo for about four years before being sacked after Troilo asked him to turn his microphone volume down in a noisy cabaret and he turned it Raúl Berón8 days agoDescribed as Berón stayed with Troilo for about four years before being sacked after Troilo asked him to turn his microphone volume down in a noisy cabaret and he turned it
17. Aníbal Troilo8 days agoDescribed as The 1952 re-recording of Malena adds violins and cellos "weeping" after the opening piano, on top of the arrangement Héctor María Artola made for the 1942 FioreAníbal Troilo8 days agoDescribed as The 1952 re-recording of Malena adds violins and cellos "weeping" after the opening piano, on top of the arrangement Héctor María Artola made for the 1942 Fiore
18. Golden Age8 days agoDescribed as Preparing for the show, Michael kept finding himself picking songs from these four orchestras; the newer bands that broke through in 1950-51 mostly failed to suGolden Age8 days agoDescribed as Preparing for the show, Michael kept finding himself picking songs from these four orchestras; the newer bands that broke through in 1950-51 mostly failed to su
19. Golden Age8 days agoDescribed as Tango's single direction from the 1950-51 up-tempo revival has fractured: Troilo and Pugliese keep developing, while D'Arienzo and Di Sarli mostly repeat their Golden Age8 days agoDescribed as Tango's single direction from the 1950-51 up-tempo revival has fractured: Troilo and Pugliese keep developing, while D'Arienzo and Di Sarli mostly repeat their
20. Recording 32738 days agoDescribed as Michael flags a double piano glissando in the first phrase and mid-piece discords before a violin solo; together with Carasucia and Don Juan he calls it a trio Recording 32738 days agoDescribed as Michael flags a double piano glissando in the first phrase and mid-piece discords before a violin solo; together with Carasucia and Don Juan he calls it a trio
21. Recording 21828 days agoDescribed as A melody by pianist Juan Carlos Cobián, a personal friend of Di Sarli's from their shared Bahía Blanca days, that Michael says doesn't get played often enough.Recording 21828 days agoDescribed as A melody by pianist Juan Carlos Cobián, a personal friend of Di Sarli's from their shared Bahía Blanca days, that Michael says doesn't get played often enough.
22. Recording 34938 days agoDescribed as One more Serpa vocal, closing out his 1952 appearances in the episode.Recording 34938 days agoDescribed as One more Serpa vocal, closing out his 1952 appearances in the episode.
23. Recording 33108 days agoDescribed as Dag calls this the strongest arrastre (dragging bass pull) ever recorded in tango, growling and raw, compared to the smoother, more reverberant later RCA VictorRecording 33108 days agoDescribed as Dag calls this the strongest arrastre (dragging bass pull) ever recorded in tango, growling and raw, compared to the smoother, more reverberant later RCA Victor
24. Recording 31908 days agoDescribed as A 1952 re-recording the hosts call stronger and more vigorous than Di Sarli's original 1945 version.Recording 31908 days agoDescribed as A 1952 re-recording the hosts call stronger and more vigorous than Di Sarli's original 1945 version.
25. Recording 34158 days agoDescribed as Italian for "tomorrow"; one of Michael's favorites, with Pomar's more proper, straight voice contrasted against Serpa's style elsewhere in the night.Recording 34158 days agoDescribed as Italian for "tomorrow"; one of Michael's favorites, with Pomar's more proper, straight voice contrasted against Serpa's style elsewhere in the night.
26. Recording 11258 days agoDescribed as Written by Astor Piazzolla for Troilo's early-50s band; Michael likes that it is one of Piazzolla's less overdone arrangements for the orchestra.Recording 11258 days agoDescribed as Written by Astor Piazzolla for Troilo's early-50s band; Michael likes that it is one of Piazzolla's less overdone arrangements for the orchestra.
27. Recording 14728 days agoDescribed as A Troilo milonga re-recording that rarely gets aired because the famous 1940s original is usually preferred; Michael, after hearing it, still prefers the 1940s Recording 14728 days agoDescribed as A Troilo milonga re-recording that rarely gets aired because the famous 1940s original is usually preferred; Michael, after hearing it, still prefers the 1940s
28. Recording 81028 days agoDescribed as A milonga with a joke ending Michael says is risky to play at a real milonga, since dancers enjoy the first three minutes then give the DJ a look when the trickRecording 81028 days agoDescribed as A milonga with a joke ending Michael says is risky to play at a real milonga, since dancers enjoy the first three minutes then give the DJ a look when the trick
29. Recording 13778 days agoDescribed as Closes the main show; Dag reads out a contemporary 1952 magazine review praising Troilo's restrained, ensemble-balanced version over directors who overdo the soRecording 13778 days agoDescribed as Closes the main show; Dag reads out a contemporary 1952 magazine review praising Troilo's restrained, ensemble-balanced version over directors who overdo the so
30. Recording 138268 days agoDescribed as Fresedo's own composition, first recorded in 1933 with Roberto Rey singing; Michael still prefers the original for the spirit of its era.Recording 138268 days agoDescribed as Fresedo's own composition, first recorded in 1933 with Roberto Rey singing; Michael still prefers the original for the spirit of its era.