Live edits

Activity

1. Ismael Spitalnik8 days agoDescribed as Spitalnik, composer of Troilo's Bien Milonga, was a trained industrial chemist who treated music as a side activity while freelancing as an arranger.Ismael Spitalnik8 days agoDescribed as Spitalnik, composer of Troilo's Bien Milonga, was a trained industrial chemist who treated music as a side activity while freelancing as an arranger.
2. José Basso8 days agoDescribed as Basso, Troilo's pianist from the mid-1940s, led his own successful orchestra by 1951 and was known for paying his singers well, recording with Fiorentino and FlJosé Basso8 days agoDescribed as Basso, Troilo's pianist from the mid-1940s, led his own successful orchestra by 1951 and was known for paying his singers well, recording with Fiorentino and Fl
3. Golden Age8 days agoDescribed as The Pugliese orchestra was run as a cooperative/meritocracy with points awarded for arranging, composing and loyalty; because singers rarely composed, they earnGolden Age8 days agoDescribed as The Pugliese orchestra was run as a cooperative/meritocracy with points awarded for arranging, composing and loyalty; because singers rarely composed, they earn
4. Golden Age8 days agoDescribed as By 1951 the era of the solo singer (Mercedes Simone, Ignacio Corsini, Charlo) was ending: labels had stopped signing new ones even as established names like CasGolden Age8 days agoDescribed as By 1951 the era of the solo singer (Mercedes Simone, Ignacio Corsini, Charlo) was ending: labels had stopped signing new ones even as established names like Cas
5. Mario Demarco8 days agoDescribed as Bandoneonist Mario Demarco led his own, commercially unsuccessful orchestra before joining Pugliese in the early 1950s, bringing with him a theme that became onMario Demarco8 days agoDescribed as Bandoneonist Mario Demarco led his own, commercially unsuccessful orchestra before joining Pugliese in the early 1950s, bringing with him a theme that became on
6. Edgardo Donato8 days agoDescribed as Donato also modernised his sound around this time after losing personnel, but less successfully and appealingly than the 'advanced' orchestras of the period.Edgardo Donato8 days agoDescribed as Donato also modernised his sound around this time after losing personnel, but less successfully and appealingly than the 'advanced' orchestras of the period.
7. El refrán8 days agoDescribed as El Refran, the tango Pugliese made famous, was composed by Roberto Pepe, who joined Pugliese's orchestra in 1952; before that he wrote it for another orchestra,El refrán8 days agoDescribed as El Refran, the tango Pugliese made famous, was composed by Roberto Pepe, who joined Pugliese's orchestra in 1952; before that he wrote it for another orchestra,
8. Raúl Kaplun8 days agoDescribed as Kaplun's orchestra was not very successful, recording only about eight tracks on four discs, all on the Teca label.Raúl Kaplun8 days agoDescribed as Kaplun's orchestra was not very successful, recording only about eight tracks on four discs, all on the Teca label.
9. Raúl Kaplun8 days agoDescribed as Raul Kaplun was first violin in the Miguel Calo orchestra's early years; Enrique Francini played second violin to him and only became first violin after Kaplun Raúl Kaplun8 days agoDescribed as Raul Kaplun was first violin in the Miguel Calo orchestra's early years; Enrique Francini played second violin to him and only became first violin after Kaplun
10. Osvaldo Pugliese8 days agoDescribed as Pugliese chose not to record some of Francisco De Caro's late, non-danceable pieces like Flores Negras, because Pugliese's orchestra was organised primarily forOsvaldo Pugliese8 days agoDescribed as Pugliese chose not to record some of Francisco De Caro's late, non-danceable pieces like Flores Negras, because Pugliese's orchestra was organised primarily for
11. Golden Age8 days agoDescribed as Duo (voice-and-instrument) recordings were rare for serious tango orchestras like Pugliese and Di Sarli, and only occasional for Troilo; the waltz Esmeralda is Golden Age8 days agoDescribed as Duo (voice-and-instrument) recordings were rare for serious tango orchestras like Pugliese and Di Sarli, and only occasional for Troilo; the waltz Esmeralda is
12. Julio De Caro8 days agoDescribed as In the Julio De Caro orchestra, Julio was the violinist and business organiser, but pianist Francisco De Caro was the true musical architect; most of the best-rJulio De Caro8 days agoDescribed as In the Julio De Caro orchestra, Julio was the violinist and business organiser, but pianist Francisco De Caro was the true musical architect; most of the best-r
13. Las mirlas8 days agoDescribed as Las Mirlas is presented as a waltz but is actually a bambuco, a rhythm from Colombia's coast, converted into waltz form; closest in feel to a Peruvian waltz (e.Las mirlas8 days agoDescribed as Las Mirlas is presented as a waltz but is actually a bambuco, a rhythm from Colombia's coast, converted into waltz form; closest in feel to a Peruvian waltz (e.
14. Horacio Salgan8 days agoDescribed as Salgan had been active since around 1944 but could not get recorded, partly because a label disliked the unusually deep ('weird') bass voice of his vocalist EdmHoracio Salgan8 days agoDescribed as Salgan had been active since around 1944 but could not get recorded, partly because a label disliked the unusually deep ('weird') bass voice of his vocalist Edm
15. Carlos Figari8 days agoDescribed as Carlos Figari, not Orlando Goni, was Troilo's pianist on the 1951 recording of Inspiracion.Carlos Figari8 days agoDescribed as Carlos Figari, not Orlando Goni, was Troilo's pianist on the 1951 recording of Inspiracion.
16. Aníbal Troilo8 days agoDescribed as In 1951 Troilo, previously in tension with Piazzolla as an orchestra member in the 1940s, fully embraced Piazzolla's modern ideas, both as an arranger (PreparenAníbal Troilo8 days agoDescribed as In 1951 Troilo, previously in tension with Piazzolla as an orchestra member in the 1940s, fully embraced Piazzolla's modern ideas, both as an arranger (Preparen
17. Florindo Sassone8 days agoDescribed as Sassone's singer at the time, Roberto Chanel, had quit Pugliese's orchestra in 1948 due to its pressures and ended up working for Sassone, who was known as diffFlorindo Sassone8 days agoDescribed as Sassone's singer at the time, Roberto Chanel, had quit Pugliese's orchestra in 1948 due to its pressures and ended up working for Sassone, who was known as diff
18. Victor D'Amario8 days agoDescribed as D'Amario, long based in La Plata, finally got his broadcasts relayed by Radio El Mundo and made his first studio recordings on 16 June 1951.Victor D'Amario8 days agoDescribed as D'Amario, long based in La Plata, finally got his broadcasts relayed by Radio El Mundo and made his first studio recordings on 16 June 1951.
19. Jorge Vidal8 days agoDescribed as Jorge Vidal left Osvaldo Pugliese's orchestra in 1951 to go solo, specifically so he could perform accompanied by guitars again.Jorge Vidal8 days agoDescribed as Jorge Vidal left Osvaldo Pugliese's orchestra in 1951 to go solo, specifically so he could perform accompanied by guitars again.
20. Rodolfo Biagi8 days agoDescribed as Biagi never played with his own band on Sundays; the band performed without him while he went to the horse races, being a committed gambler.Rodolfo Biagi8 days agoDescribed as Biagi never played with his own band on Sundays; the band performed without him while he went to the horse races, being a committed gambler.
21. Carlos Di Sarli8 days agoDescribed as By 1951 Di Sarli had two vocalists, Oscar Serpa and Mario Pomar; of the first 20 tracks recorded for the new Musica label, only one had a vocal, and releasing tCarlos Di Sarli8 days agoDescribed as By 1951 Di Sarli had two vocalists, Oscar Serpa and Mario Pomar; of the first 20 tracks recorded for the new Musica label, only one had a vocal, and releasing t
22. Golden Age8 days agoDescribed as The era of the vocal 'tango song,' begun mid-1938 under Troilo's influence, was effectively over by 1951; that year's repertoire was mostly instrumental.Golden Age8 days agoDescribed as The era of the vocal 'tango song,' begun mid-1938 under Troilo's influence, was effectively over by 1951; that year's repertoire was mostly instrumental.
23. De vuelta8 days agoDescribed as The waltz De Vuelta, best known from Carlos Di Sarli, was actually composed by bandoneonist Carlos Lazzari, who joined D'Arienzo's orchestra around 1951 and broDe vuelta8 days agoDescribed as The waltz De Vuelta, best known from Carlos Di Sarli, was actually composed by bandoneonist Carlos Lazzari, who joined D'Arienzo's orchestra around 1951 and bro
24. Juan D'Arienzo8 days agoDescribed as By 1951 D'Arienzo had split from arranger Hector Varela and dropped the lyrical, 1940s-style arrangements, returning to the simpler, harder-driving 1930s formulJuan D'Arienzo8 days agoDescribed as By 1951 D'Arienzo had split from arranger Hector Varela and dropped the lyrical, 1940s-style arrangements, returning to the simpler, harder-driving 1930s formul
25. Recording 41118 days agoDescribed as The night's closing number, one of 1951's big hits; a listener noted Valentino sounds like Charlo, especially on a high note. Chosen as a danceable finish afterRecording 41118 days agoDescribed as The night's closing number, one of 1951's big hits; a listener noted Valentino sounds like Charlo, especially on a high note. Chosen as a danceable finish after
26. Recording 144988 days agoDescribed as A second rendition played to compare with Lucho Demare's earlier version; features a roughly two-minute dialogue between violinist Enrique Camerano and bandoneoRecording 144988 days agoDescribed as A second rendition played to compare with Lucho Demare's earlier version; features a roughly two-minute dialogue between violinist Enrique Camerano and bandoneo
27. Recording 14708 days agoDescribed as Composed by Ismael Spitalnik, a trained industrial chemist who treated music as a side activity; more danceable than Piazzolla's arrangements for Troilo from thRecording 14708 days agoDescribed as Composed by Ismael Spitalnik, a trained industrial chemist who treated music as a side activity; more danceable than Piazzolla's arrangements for Troilo from th
28. Recording 95718 days agoDescribed as An old Gardel-era number; Basso, Troilo's former pianist, was known for paying his singers well. Contradictory macho lyric: the singer insists a man shouldn't cRecording 95718 days agoDescribed as An old Gardel-era number; Basso, Troilo's former pianist, was known for paying his singers well. Contradictory macho lyric: the singer insists a man shouldn't c
29. Recording 78878 days agoDescribed as Backed on guitar by Roberto Grela; an exception, since by 1951 labels had largely stopped signing new solo singers.Recording 78878 days agoDescribed as Backed on guitar by Roberto Grela; an exception, since by 1951 labels had largely stopped signing new solo singers.
30. Recording 19288 days agoDescribed as Recorded by a short-lived orchestra Piazzolla pulled together in 1951, between dissolving his own orquesta tipica (1946-48) and working mainly as an arranger unRecording 19288 days agoDescribed as Recorded by a short-lived orchestra Piazzolla pulled together in 1951, between dissolving his own orquesta tipica (1946-48) and working mainly as an arranger un