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1. Golden Age8 days agoDescribed as Lavocah has finished a second edition of his Troilo book (first edition for Troilo's 11 July 2014 centenary) and the Turkish translation of his first book, its Golden Age8 days agoDescribed as Lavocah has finished a second edition of his Troilo book (first edition for Troilo's 11 July 2014 centenary) and the Turkish translation of his first book, its
2. La cumparsita8 days agoDescribed as Between 1926 and 1969 there are over 300 recordings of La cumparsita, but none from 1941 or 1945, so the show has no Cumparsita this time.La cumparsita8 days agoDescribed as Between 1926 and 1969 there are over 300 recordings of La cumparsita, but none from 1941 or 1945, so the show has no Cumparsita this time.
3. Carlos Marcucci8 days agoDescribed as Marcucci was a technically able bandoneonist and the composer of Mi dolor; he recorded just two sides in 1945 and a few in 1929-31.Carlos Marcucci8 days agoDescribed as Marcucci was a technically able bandoneonist and the composer of Mi dolor; he recorded just two sides in 1945 and a few in 1929-31.
4. Carlos Dante8 days agoDescribed as D'Arienzo's first orchestra in the late 1920s was formed to back Carlos Dante.Carlos Dante8 days agoDescribed as D'Arienzo's first orchestra in the late 1920s was formed to back Carlos Dante.
5. Alfredo De Angelis8 days agoDescribed as De Angelis has two singers in 1945: Carlos Dante, super-experienced and retired to an oil company job before De Angelis tempted him back, and the young Julio MaAlfredo De Angelis8 days agoDescribed as De Angelis has two singers in 1945: Carlos Dante, super-experienced and retired to an oil company job before De Angelis tempted him back, and the young Julio Ma
6. Ángel D'Agostino8 days agoDescribed as D'Agostino conducts from the piano and plays limpid, minimalist music; the introduction to Hotel Victoria is one of the most perfect solos in tango and consistsÁngel D'Agostino8 days agoDescribed as D'Agostino conducts from the piano and plays limpid, minimalist music; the introduction to Hotel Victoria is one of the most perfect solos in tango and consists
7. El sueño del pibe8 days agoDescribed as A football tango whose dream is scoring the winning goal in a cup final; football was a huge part of 1940s culture in Argentina and elsewhere.El sueño del pibe8 days agoDescribed as A football tango whose dream is scoring the winning goal in a cup final; football was a huge part of 1940s culture in Argentina and elsewhere.
8. Roberto Chanel8 days agoDescribed as Chanel has a 'street voice with class': slightly nasal, so a working-class listener can identify with it.Roberto Chanel8 days agoDescribed as Chanel has a 'street voice with class': slightly nasal, so a working-class listener can identify with it.
9. Osvaldo Pugliese8 days agoDescribed as Dag calls 1950 his favourite Pugliese year; Lavocah says Pugliese, unlike others, does not suggest but demands, asking dancers for a surrender that deepens in tOsvaldo Pugliese8 days agoDescribed as Dag calls 1950 his favourite Pugliese year; Lavocah says Pugliese, unlike others, does not suggest but demands, asking dancers for a surrender that deepens in t
10. Osvaldo Pugliese8 days agoDescribed as In 1945 Pugliese is still romantic and joyful in his instrumentals (Las marionetas, Raza criolla); his harder Pugliese style is 'bubbling under' and shows from Osvaldo Pugliese8 days agoDescribed as In 1945 Pugliese is still romantic and joyful in his instrumentals (Las marionetas, Raza criolla); his harder Pugliese style is 'bubbling under' and shows from
11. Osvaldo Pugliese8 days agoDescribed as Pugliese recorded things only when they were ready: La yumba took three years (recorded 1946), Negracha six (1948) and Malandraca nine (1949), all begun around Osvaldo Pugliese8 days agoDescribed as Pugliese recorded things only when they were ready: La yumba took three years (recorded 1946), Negracha six (1948) and Malandraca nine (1949), all begun around
12. Astor Piazzolla8 days agoDescribed as People did not dance to Piazzolla's early orchestra, so the venues it played at complained, although the music is rich and interesting.Astor Piazzolla8 days agoDescribed as People did not dance to Piazzolla's early orchestra, so the venues it played at complained, although the music is rich and interesting.
13. Golden Age8 days agoDescribed as The arranger is more important in 1945 than ever: the music is scripted, with changes only made in rehearsal.Golden Age8 days agoDescribed as The arranger is more important in 1945 than ever: the music is scripted, with changes only made in rehearsal.
14. Floreal Ruiz8 days agoDescribed as Ruiz is a great singer in 1945 but his best performances with Troilo are yet to come.Floreal Ruiz8 days agoDescribed as Ruiz is a great singer in 1945 but his best performances with Troilo are yet to come.
15. Alberto Marino8 days agoDescribed as Marino can move from very loud to very quiet while keeping perfect articulation, which Lavocah puts down to bel canto training.Alberto Marino8 days agoDescribed as Marino can move from very loud to very quiet while keeping perfect articulation, which Lavocah puts down to bel canto training.
16. David Díaz8 days agoDescribed as Troilo's violinist David Díaz is one of tango's best, yet the band gives him only very short solos, the opposite of Di Sarli; Caló by contrast features virtuosoDavid Díaz8 days agoDescribed as Troilo's violinist David Díaz is one of tango's best, yet the band gives him only very short solos, the opposite of Di Sarli; Caló by contrast features virtuoso
17. Aníbal Troilo8 days agoDescribed as 1945 is as good a Troilo year as 1947: full of quality and sophistication, with 1947 a bit more punchy.Aníbal Troilo8 days agoDescribed as 1945 is as good a Troilo year as 1947: full of quality and sophistication, with 1947 a bit more punchy.
18. José Betinotti8 days agoDescribed as Betinotti was one of the great payadores (travelling minstrels) who composed important early pieces, and the Ortiz milonga is a tribute to him.José Betinotti8 days agoDescribed as Betinotti was one of the great payadores (travelling minstrels) who composed important early pieces, and the Ortiz milonga is a tribute to him.
19. Alberto Castillo8 days agoDescribed as Castillo was a flamboyant stage performer with his top button undone and tie loose, waving a handkerchief; Lavocah suggests that is why his volume moves in the Alberto Castillo8 days agoDescribed as Castillo was a flamboyant stage performer with his top button undone and tie loose, waving a handkerchief; Lavocah suggests that is why his volume moves in the
20. Alberto Castillo8 days agoDescribed as Asked whether he would like Castillo in his orchestra, Troilo said he was a very good singer but not for his orchestra and would not elaborate.Alberto Castillo8 days agoDescribed as Asked whether he would like Castillo in his orchestra, Troilo said he was a very good singer but not for his orchestra and would not elaborate.
21. Alberto Castillo8 days agoDescribed as Castillo went solo in 1943 and made 15 recordings in 1945, accompanied through the 1940s mainly by Emilio Balcarce's orchestra and Enrique D'Alessio's.Alberto Castillo8 days agoDescribed as Castillo went solo in 1943 and made 15 recordings in 1945, accompanied through the 1940s mainly by Emilio Balcarce's orchestra and Enrique D'Alessio's.
22. Ricardo Tanturi8 days agoDescribed as Before a recent Tango Tunes release, the 1945-46 Tanturi recordings could not be heard in good quality anywhere.Ricardo Tanturi8 days agoDescribed as Before a recent Tango Tunes release, the 1945-46 Tanturi recordings could not be heard in good quality anywhere.
23. Ricardo Tanturi8 days agoDescribed as Enrique Campos makes his last recordings with Tanturi in 1945 and Roberto Videla takes over.Ricardo Tanturi8 days agoDescribed as Enrique Campos makes his last recordings with Tanturi in 1945 and Roberto Videla takes over.
24. Juan D'Arienzo8 days agoDescribed as Vocal duets are rare in D'Arienzo's music, a macho orchestra; they begin in 1945 with Aparcero.Juan D'Arienzo8 days agoDescribed as Vocal duets are rare in D'Arienzo's music, a macho orchestra; they begin in 1945 with Aparcero.
25. Juan D'Arienzo8 days agoDescribed as D'Arienzo took on Armando Laborde, a darker voice, to replace Héctor Mauré; the band and arranger are unchanged, but the change of main vocalist starts moving DJuan D'Arienzo8 days agoDescribed as D'Arienzo took on Armando Laborde, a darker voice, to replace Héctor Mauré; the band and arranger are unchanged, but the change of main vocalist starts moving D
26. Juan D'Arienzo8 days agoDescribed as D'Arienzo's sound shifts in 1945 from Héctor Mauré's lyrical style to Armando Laborde's, while Alberto Echagüe is still there and probably more popular; Dag preJuan D'Arienzo8 days agoDescribed as D'Arienzo's sound shifts in 1945 from Héctor Mauré's lyrical style to Armando Laborde's, while Alberto Echagüe is still there and probably more popular; Dag pre
27. Juan D'Arienzo8 days agoDescribed as In the second half of the 40s D'Arienzo plays his same repertoire in a softer, more decorated way; compare Sábado inglés 1935 with the 1946-47 version, La Loca Juan D'Arienzo8 days agoDescribed as In the second half of the 40s D'Arienzo plays his same repertoire in a softer, more decorated way; compare Sábado inglés 1935 with the 1946-47 version, La Loca
28. Francisco Lomuto8 days agoDescribed as Lomuto adapted to the 40s better than Canaro in musical terms, though Canaro was far more commercially successful; he keeps heavy, 'elephant-like' beats and hisFrancisco Lomuto8 days agoDescribed as Lomuto adapted to the 40s better than Canaro in musical terms, though Canaro was far more commercially successful; he keeps heavy, 'elephant-like' beats and his
29. Domingo Federico8 days agoDescribed as Federico's signature sound is the piano's walking bass with the left-hand notes ringing out legato, an approach Lavocah credits to Orlando Goñi, Troilo's early-Domingo Federico8 days agoDescribed as Federico's signature sound is the piano's walking bass with the left-hand notes ringing out legato, an approach Lavocah credits to Orlando Goñi, Troilo's early-
30. Osvaldo Fresedo8 days agoDescribed as Fresedo's instrumentals are old in feel, so building an instrumental set of him means choosing pieces years apart that still cohere.Osvaldo Fresedo8 days agoDescribed as Fresedo's instrumentals are old in feel, so building an instrumental set of him means choosing pieces years apart that still cohere.