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1. Juan D'Arienzo8 days agoDescribed as Héctor Varela, who had basically run the D'Arienzo band since 1940 (first bandoneón, arranger and chooser of material), leaves mid-1950 to form his own orchestrJuan D'Arienzo8 days agoDescribed as Héctor Varela, who had basically run the D'Arienzo band since 1940 (first bandoneón, arranger and chooser of material), leaves mid-1950 to form his own orchestr
2. Horacio Salgan8 days agoDescribed as Salgán's happy sound comes from repeatedly stressing the upbeat; musicians call his bubbling marcato 'umpa umpa', and he always plays the piano himself.Horacio Salgan8 days agoDescribed as Salgán's happy sound comes from repeatedly stressing the upbeat; musicians call his bubbling marcato 'umpa umpa', and he always plays the piano himself.
3. Horacio Salgan8 days agoDescribed as After Salgán's debut at a café, which played to an audience of musicians, Pugliese embraced him and said that he had captured something of his soul.Horacio Salgan8 days agoDescribed as After Salgán's debut at a café, which played to an audience of musicians, Pugliese embraced him and said that he had captured something of his soul.
4. Horacio Salgan8 days agoDescribed as Salgán had existed for six years without recording; in the 1940s his singers included Edmundo Rivero and Jorge Durán. His first record was Pugliese's Recuerdo.Horacio Salgan8 days agoDescribed as Salgán had existed for six years without recording; in the 1940s his singers included Edmundo Rivero and Jorge Durán. His first record was Pugliese's Recuerdo.
5. Raúl Kaplun8 days agoDescribed as The closest reference point for Kaplun is Gobbi, another violinist-led orchestra with advanced, colourful music that Lavocah says is a real gap in his first booRaúl Kaplun8 days agoDescribed as The closest reference point for Kaplun is Gobbi, another violinist-led orchestra with advanced, colourful music that Lavocah says is a real gap in his first boo
6. Raúl Kaplun8 days agoDescribed as Kaplun led his orchestra from the violin, as few did (about half are led from the piano, most of the rest from the bandoneón); he had played the strong violin mRaúl Kaplun8 days agoDescribed as Kaplun led his orchestra from the violin, as few did (about half are led from the piano, most of the rest from the bandoneón); he had played the strong violin m
7. Francisco Fiorentino8 days agoDescribed as Away from Troilo, Fiorentino's phrasing is freer and he sits more at the front of an orchestra less flexible than Troilo's.Francisco Fiorentino8 days agoDescribed as Away from Troilo, Fiorentino's phrasing is freer and he sits more at the front of an orchestra less flexible than Troilo's.
8. Francisco Fiorentino8 days agoDescribed as Mancione told an interviewer that Fiorentino was late for a recording session of Te aconsejo que me olvides because he had missed a flight from Mar del Plata thFrancisco Fiorentino8 days agoDescribed as Mancione told an interviewer that Fiorentino was late for a recording session of Te aconsejo que me olvides because he had missed a flight from Mar del Plata th
9. Alberto Mancione8 days agoDescribed as Mancione signed Fiorentino for two years, though he did not last that long. Victor may have recorded Mancione to fill the gap left by Troilo, who changed label Alberto Mancione8 days agoDescribed as Mancione signed Fiorentino for two years, though he did not last that long. Victor may have recorded Mancione to fill the gap left by Troilo, who changed label
10. Golden Age8 days agoDescribed as 1949 to 1950 is the biggest change tango music ever had: after a crisis brought on largely by government censorship, the censorship lifts and tango refines and Golden Age8 days agoDescribed as 1949 to 1950 is the biggest change tango music ever had: after a crisis brought on largely by government censorship, the censorship lifts and tango refines and
11. Recording 144598 days agoDescribed as The final song of the night, the last of the remaining Vidal numbers.Recording 144598 days agoDescribed as The final song of the night, the last of the remaining Vidal numbers.
12. Recording 142618 days agoDescribed as Dag explains barra as a gang of friends, an Argentine Spanish word with no English equivalent.Recording 142618 days agoDescribed as Dag explains barra as a gang of friends, an Argentine Spanish word with no English equivalent.
13. Recording 144818 days agoDescribed as A long-lyric milonga about a benefit dance for a man out of jail that gets out of hand.Recording 144818 days agoDescribed as A long-lyric milonga about a benefit dance for a man out of jail that gets out of hand.
14. Recording 143688 days agoDescribed as A very little known instrumental; Lavocah thought the title meant horsefly, but the chat suggested it means a horse.Recording 143688 days agoDescribed as A very little known instrumental; Lavocah thought the title meant horsefly, but the chat suggested it means a horse.
15. Recording 144748 days agoDescribed as A Mario Canaro piece (main version by Francisco Canaro) that Pugliese turns into drama and tension, as he did with Pinta brava in 1949.Recording 144748 days agoDescribed as A Mario Canaro piece (main version by Francisco Canaro) that Pugliese turns into drama and tension, as he did with Pinta brava in 1949.
16. Recording 144508 days agoDescribed as First of the Pugliese fest: an advanced instrumental that Lavocah says is Beethoven.Recording 144508 days agoDescribed as First of the Pugliese fest: an advanced instrumental that Lavocah says is Beethoven.
17. Recording 111518 days agoDescribed as A vocal number by the same singer as Mi dolor, showing another side of De Caro; the double bass is now clearly audible.Recording 111518 days agoDescribed as A vocal number by the same singer as Mi dolor, showing another side of De Caro; the double bass is now clearly audible.
18. Recording 111478 days agoDescribed as A warmer treatment of an exciting but cool piece; Pugliese had recorded it in 1948 to support De Caro's comeback.Recording 111478 days agoDescribed as A warmer treatment of an exciting but cool piece; Pugliese had recorded it in 1948 to support De Caro's comeback.
19. Recording 136238 days agoDescribed as A song Rivero sang with Troilo; Dag asks what it would have sounded like with Troilo in 1950.Recording 136238 days agoDescribed as A song Rivero sang with Troilo; Dag asks what it would have sounded like with Troilo in 1950.
20. Recording 120678 days agoDescribed as A charming milonga written by Troilo; Troilo, out of contract, did not record it until later.Recording 120678 days agoDescribed as A charming milonga written by Troilo; Troilo, out of contract, did not record it until later.
21. Recording 101468 days agoDescribed as A less known third D'Arienzo instrumental that mixes well with the other two; Dag mentions listeners in Belgium play it.Recording 101468 days agoDescribed as A less known third D'Arienzo instrumental that mixes well with the other two; Dag mentions listeners in Belgium play it.
22. Recording 107648 days agoDescribed as Second of the three D'Arienzo instrumentals played as a small set.Recording 107648 days agoDescribed as Second of the three D'Arienzo instrumentals played as a small set.
23. Recording 104388 days agoDescribed as First of three D'Arienzo instrumentals; the chromatic opening scale shows where the 1950s style is heading.Recording 104388 days agoDescribed as First of three D'Arienzo instrumentals; the chromatic opening scale shows where the 1950s style is heading.
24. Recording 151508 days agoDescribed as A Di Sarli-like orchestra filling the gap left by Di Sarli's absence, but with an ordinary bandoneón marcato rather than the violin-led Di Sarli one.Recording 151508 days agoDescribed as A Di Sarli-like orchestra filling the gap left by Di Sarli's absence, but with an ordinary bandoneón marcato rather than the violin-led Di Sarli one.
25. Recording 92318 days agoDescribed as Salgán's debut record, a Pugliese composition; the famous bandoneón variation from the trio section is played on the piano, in the middle of the tango.Recording 92318 days agoDescribed as Salgán's debut record, a Pugliese composition; the famous bandoneón variation from the trio section is played on the piano, in the middle of the tango.
26. Recording 5808 days agoDescribed as A tango from the woman's point of view warning a man that girls are not toys, in a vigorous De Angelis year.Recording 5808 days agoDescribed as A tango from the woman's point of view warning a man that girls are not toys, in a vigorous De Angelis year.
27. Recording 7548 days agoDescribed as A rarely heard Gobbi instrumental whose long opening 'chicharra' (a sound effect like a cicada) Lavocah calls sexy.Recording 7548 days agoDescribed as A rarely heard Gobbi instrumental whose long opening 'chicharra' (a sound effect like a cicada) Lavocah calls sexy.
28. Recording 150738 days agoDescribed as Replayed at the afterparty because listeners asked to hear it again.Recording 150738 days agoDescribed as Replayed at the afterparty because listeners asked to hear it again.
29. Recording 144028 days agoDescribed as A late-1920s tango whose lyric is a man telling his own brother to take everything but not his woman; Lavocah calls it one of Morán's best.Recording 144028 days agoDescribed as A late-1920s tango whose lyric is a man telling his own brother to take everything but not his woman; Lavocah calls it one of Morán's best.
30. Recording 144268 days agoDescribed as One of only three compositions by violinist Julio Carrasco, with wild orchestral aggression and one of the most beautiful violin solos in tango.Recording 144268 days agoDescribed as One of only three compositions by violinist Julio Carrasco, with wild orchestral aggression and one of the most beautiful violin solos in tango.