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1. Recording 13718 days agoDescribed as From Fiorentino's last recording session with Troilo; a Contursi lyric about seeing and smelling a lost love in tobacco smoke, where Troilo shifts the marcato bRecording 13718 days agoDescribed as From Fiorentino's last recording session with Troilo; a Contursi lyric about seeing and smelling a lost love in tobacco smoke, where Troilo shifts the marcato b
2. Recording 15068 days agoDescribed as Chosen to show Orlando Goñi's piano technique (double articulation) and the shimmering violins.Recording 15068 days agoDescribed as Chosen to show Orlando Goñi's piano technique (double articulation) and the shimmering violins.
3. Recording 14018 days agoDescribed as Played as an example of Troilo's last, concert-era recordings; the only Troilo recording of a piece Laurenz, Caló, Biagi and Canaro had recorded in 1944-45.Recording 14018 days agoDescribed as Played as an example of Troilo's last, concert-era recordings; the only Troilo recording of a piece Laurenz, Caló, Biagi and Canaro had recorded in 1944-45.
4. Recording 15288 days agoDescribed as One of two special-guest recordings Rivero made with Troilo in 1956; Cátulo Castillo's lyric about drinking the last bitter cup, and the subject of a full chaptRecording 15288 days agoDescribed as One of two special-guest recordings Rivero made with Troilo in 1956; Cátulo Castillo's lyric about drinking the last bitter cup, and the subject of a full chapt
5. Roberto Caló8 days agoDescribed as Roberto Caló's orchestra of the early 1950s sounds more like Troilo than like Miguel Caló and was more popular than Miguel's; Roberto Rufino joined in 1956, whiRoberto Caló8 days agoDescribed as Roberto Caló's orchestra of the early 1950s sounds more like Troilo than like Miguel Caló and was more popular than Miguel's; Roberto Rufino joined in 1956, whi
6. Carlos Di Sarli8 days agoDescribed as Di Sarli's marcato is violin-driven: the bandoneons play softly, without arrastre, so the violin dominates the end of each beat, which needs restraint from the Carlos Di Sarli8 days agoDescribed as Di Sarli's marcato is violin-driven: the bandoneons play softly, without arrastre, so the violin dominates the end of each beat, which needs restraint from the
7. Carlos Di Sarli8 days agoDescribed as Di Sarli made no recordings in 1950: he stayed home in Olivos 'in lockdown for a whole year', leaving a space that Ricardo Pedevilla's orchestra moved into.Carlos Di Sarli8 days agoDescribed as Di Sarli made no recordings in 1950: he stayed home in Olivos 'in lockdown for a whole year', leaving a space that Ricardo Pedevilla's orchestra moved into.
8. Alfredo De Angelis8 days agoDescribed as 1949-50 is De Angelis's most vigorous period with strong beats; Lavocah recommends it to listeners who find his music too sugary and violin-heavy.Alfredo De Angelis8 days agoDescribed as 1949-50 is De Angelis's most vigorous period with strong beats; Lavocah recommends it to listeners who find his music too sugary and violin-heavy.
9. Alberto Morán8 days agoDescribed as In Quiero verte una vez más, a Canaro-family piece, Morán makes the listener believe the desperation; Lavocah says the lyric includes 'I can't even remember whyAlberto Morán8 days agoDescribed as In Quiero verte una vez más, a Canaro-family piece, Morán makes the listener believe the desperation; Lavocah says the lyric includes 'I can't even remember why
10. Llevátelo todo8 days agoDescribed as The 'all' in the title is everything a man offers his own brother (money, the shirt off his back) except the woman he loves.Llevátelo todo8 days agoDescribed as The 'all' in the title is everything a man offers his own brother (money, the shirt off his back) except the woman he loves.
11. Vieja recova8 days agoDescribed as The tango is about a man who gives a coin to a beggar woman who hides her face, then recognises her as a former cabaret hostess of more than ten years before; 'Vieja recova8 days agoDescribed as The tango is about a man who gives a coin to a beggar woman who hides her face, then recognises her as a former cabaret hostess of more than ten years before; '
12. Julio Carrasco8 days agoDescribed as Carrasco, third violin of Pugliese's orchestra and composer of Flor de tango (1945) and De floreo, turned down the first-violin post when Camerano retired in 19Julio Carrasco8 days agoDescribed as Carrasco, third violin of Pugliese's orchestra and composer of Flor de tango (1945) and De floreo, turned down the first-violin post when Camerano retired in 19
13. Jorge Vidal8 days agoDescribed as Vidal is a deep baritone with an almost violent power that mirrors the orchestra's collision of beauty and violence, whom Dag calls his favourite Pugliese singeJorge Vidal8 days agoDescribed as Vidal is a deep baritone with an almost violent power that mirrors the orchestra's collision of beauty and violence, whom Dag calls his favourite Pugliese singe
14. Osvaldo Pugliese8 days agoDescribed as The 1950 Pugliese band 'is on fire': 16 recordings, at least ten outstanding, Morán for romantic songs and Vidal for the rest; Lavocah says Pugliese finds his sOsvaldo Pugliese8 days agoDescribed as The 1950 Pugliese band 'is on fire': 16 recordings, at least ten outstanding, Morán for romantic songs and Vidal for the rest; Lavocah says Pugliese finds his s
15. Orquesta Francini-Pontier8 days agoDescribed as Francini-Pontier is a truly co-led orchestra: piano, violin, bandoneón and bass all take turns, singers were billed in order of seniority or alphabetically rathOrquesta Francini-Pontier8 days agoDescribed as Francini-Pontier is a truly co-led orchestra: piano, violin, bandoneón and bass all take turns, singers were billed in order of seniority or alphabetically rath
16. Francisco Lomuto8 days agoDescribed as Lavocah says Lomuto died at exactly the right moment because as a member of the old guard he could not compete musically with Troilo, Fresedo and Pugliese.Francisco Lomuto8 days agoDescribed as Lavocah says Lomuto died at exactly the right moment because as a member of the old guard he could not compete musically with Troilo, Fresedo and Pugliese.
17. Francisco Lomuto8 days agoDescribed as Lomuto recorded his last sides on 27 October 1950 and died in December 1950; he toured Spain for almost two years around 1948 when tango was almost snuffed out Francisco Lomuto8 days agoDescribed as Lomuto recorded his last sides on 27 October 1950 and died in December 1950; he toured Spain for almost two years around 1948 when tango was almost snuffed out
18. Luis Visca8 days agoDescribed as Visca was one of D'Arienzo's pianists in 1934-35 (between Biagi's predecessor and Biagi); he left after his father's death in 1934 and was described as melanchoLuis Visca8 days agoDescribed as Visca was one of D'Arienzo's pianists in 1934-35 (between Biagi's predecessor and Biagi); he left after his father's death in 1934 and was described as melancho
19. Edmundo Rivero8 days agoDescribed as Rivero recorded with Troilo from 1947 to 1949 and left in 1950 on friendly terms to be a soloist again; he signed with Victor and made half his recordings with Edmundo Rivero8 days agoDescribed as Rivero recorded with Troilo from 1947 to 1949 and left in 1950 on friendly terms to be a soloist again; he signed with Victor and made half his recordings with
20. Francisco Rotundo8 days agoDescribed as Rotundo's orchestra is not as complex as Troilo's or Pugliese's: it bangs out the beat with little colour, and quality jumps whenever Ruiz sings, like Canaro wiFrancisco Rotundo8 days agoDescribed as Rotundo's orchestra is not as complex as Troilo's or Pugliese's: it bangs out the beat with little colour, and quality jumps whenever Ruiz sings, like Canaro wi
21. Francisco Rotundo8 days agoDescribed as Rotundo, a rich man whose wife was a senator and who did well under Perón, poached Floreal Ruiz from Troilo with a transfer fee of about 100,000 pesos (part goiFrancisco Rotundo8 days agoDescribed as Rotundo, a rich man whose wife was a senator and who did well under Perón, poached Floreal Ruiz from Troilo with a transfer fee of about 100,000 pesos (part goi
22. Alberto Marino8 days agoDescribed as On solo recordings Marino's voice is clearer than with Troilo because he is closer to the microphone and the label's microphones differ; Troilo kept singers froAlberto Marino8 days agoDescribed as On solo recordings Marino's voice is clearer than with Troilo because he is closer to the microphone and the label's microphones differ; Troilo kept singers fro
23. Héctor María Artola8 days agoDescribed as Artola was Troilo's main arranger in 1941-42 (writing about two arrangements a day) while playing in Fresedo's orchestra; later Argentino Galván and others sharHéctor María Artola8 days agoDescribed as Artola was Troilo's main arranger in 1941-42 (writing about two arrangements a day) while playing in Fresedo's orchestra; later Argentino Galván and others shar
24. Osvaldo Fresedo8 days agoDescribed as Besides Troilo, Fresedo's orchestra also championed Piazzolla's new ideas in 1950-51, a surprise Lavocah and Dag recall from the 1951 show.Osvaldo Fresedo8 days agoDescribed as Besides Troilo, Fresedo's orchestra also championed Piazzolla's new ideas in 1950-51, a surprise Lavocah and Dag recall from the 1951 show.
25. Aníbal Troilo8 days agoDescribed as In 1950 Troilo runs two streams: the vocal-led tango he is known for, and Piazzolla's new repertoire, with Piazzolla as principal arranger under Troilo's correcAníbal Troilo8 days agoDescribed as In 1950 Troilo runs two streams: the vocal-led tango he is known for, and Piazzolla's new repertoire, with Piazzolla as principal arranger under Troilo's correc
26. Aníbal Troilo8 days agoDescribed as Troilo left Victor in 1949 in a bitter breakup because executives wanted him to keep selling the same thing as his music grew more advanced; unreleased Victor rAníbal Troilo8 days agoDescribed as Troilo left Victor in 1949 in a bitter breakup because executives wanted him to keep selling the same thing as his music grew more advanced; unreleased Victor r
27. Julio De Caro8 days agoDescribed as De Caro dislikes the double bass: the only photograph of him in a recording studio shows the bass player in the far corner away from the microphone, whereas in Julio De Caro8 days agoDescribed as De Caro dislikes the double bass: the only photograph of him in a recording studio shows the bass player in the far corner away from the microphone, whereas in
28. Carlos Marcucci8 days agoDescribed as Marcucci wrote Mi dolor c.1930 and recorded it with his sextet; out of work, he got a bandoneón job in De Caro's orchestra and brought the piece with him.Carlos Marcucci8 days agoDescribed as Marcucci wrote Mi dolor c.1930 and recorded it with his sextet; out of work, he got a bandoneón job in De Caro's orchestra and brought the piece with him.
29. Julio De Caro8 days agoDescribed as De Caro's music from this period is much warmer than before, as if he had a blood transfusion from Pugliese, with more bass and human warmth; Lavocah calls it hJulio De Caro8 days agoDescribed as De Caro's music from this period is much warmer than before, as if he had a blood transfusion from Pugliese, with more bass and human warmth; Lavocah calls it h
30. Roberto Lemos8 days agoDescribed as Lemos made only seven recordings with D'Arienzo (1950-51: three waltzes, four tangos), later sang with Sassone, and in a Todo Tango interview never mentions D'ARoberto Lemos8 days agoDescribed as Lemos made only seven recordings with D'Arienzo (1950-51: three waltzes, four tangos), later sang with Sassone, and in a Todo Tango interview never mentions D'A