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1. La cumparsita8 days agoDescribed as Troilo's first radio performance of La cumparsita in early 1938 got only two stars out of five from a reviewer, who called it arbitrary with variations completeLa cumparsita8 days agoDescribed as Troilo's first radio performance of La cumparsita in early 1938 got only two stars out of five from a reviewer, who called it arbitrary with variations complete
2. Golden Age8 days agoDescribed as Lavocah says he made the second edition because he learned how to write an orchestra book, because the dance community now understands Troilo-Ruiz (in the 1990sGolden Age8 days agoDescribed as Lavocah says he made the second edition because he learned how to write an orchestra book, because the dance community now understands Troilo-Ruiz (in the 1990s
3. Golden Age8 days agoDescribed as Sophisticated bands (Di Sarli, Troilo, Pugliese) rarely recorded waltzes and milongas because they needed less arranging and were improvised at dances; Troilo'sGolden Age8 days agoDescribed as Sophisticated bands (Di Sarli, Troilo, Pugliese) rarely recorded waltzes and milongas because they needed less arranging and were improvised at dances; Troilo's
4. Nocturno a mi barrio8 days agoDescribed as In 1968 at a wake Troilo told a guitarist friend to give him something in D minor and improvised the poem, which recalls the coal man Jacquemin, who always playNocturno a mi barrio8 days agoDescribed as In 1968 at a wake Troilo told a guitarist friend to give him something in D minor and improvised the poem, which recalls the coal man Jacquemin, who always play
5. Roberto Goyeneche8 days agoDescribed as Troilo pushed Goyeneche out of the orchestra, hiring Rivero for a stage show instead; Lavocah says Troilo heard in Goyeneche a new way of interpreting tango lyrRoberto Goyeneche8 days agoDescribed as Troilo pushed Goyeneche out of the orchestra, hiring Rivero for a stage show instead; Lavocah says Troilo heard in Goyeneche a new way of interpreting tango lyr
6. Aníbal Troilo8 days agoDescribed as In 1946-47 the syncopation of Troilo's orchestra intensifies: Lavocah quotes an LP back-cover essayist who wrote that it 'hits you like a wave', as in Mi tango Aníbal Troilo8 days agoDescribed as In 1946-47 the syncopation of Troilo's orchestra intensifies: Lavocah quotes an LP back-cover essayist who wrote that it 'hits you like a wave', as in Mi tango
7. Aníbal Troilo8 days agoDescribed as From 1938 to 1949 arrangements take over, reducing room for improvisation and making the music more sophisticated; Lavocah argues that is why Goñi's departure iAníbal Troilo8 days agoDescribed as From 1938 to 1949 arrangements take over, reducing room for improvisation and making the music more sophisticated; Lavocah argues that is why Goñi's departure i
8. Floreal Ruiz8 days agoDescribed as Lavocah suggests Ruiz would have left a bigger legacy had he stayed with Troilo past 1947, and says singers were better with Troilo than anywhere.Floreal Ruiz8 days agoDescribed as Lavocah suggests Ruiz would have left a bigger legacy had he stayed with Troilo past 1947, and says singers were better with Troilo than anywhere.
9. Alberto Marino8 days agoDescribed as Marino, 'the golden voice of tango', had true bel canto operatic training that allowed him to sing super loud then suddenly quiet; Troilo, all about colour, useAlberto Marino8 days agoDescribed as Marino, 'the golden voice of tango', had true bel canto operatic training that allowed him to sing super loud then suddenly quiet; Troilo, all about colour, use
10. Alberto Marino8 days agoDescribed as Troilo went to hear Emilio Balcarce's orchestra intending to hire Roberto Rufino but came away with Marino (as with Fiorentino, a second choice); Balcarce's gooAlberto Marino8 days agoDescribed as Troilo went to hear Emilio Balcarce's orchestra intending to hire Roberto Rufino but came away with Marino (as with Fiorentino, a second choice); Balcarce's goo
11. Raúl Berón8 days agoDescribed as Berón's contribution in the 1950s is important to the Troilo orchestra; Lavocah says even Teresa, famous for hating his voice, admitted he's good with Troilo.Raúl Berón8 days agoDescribed as Berón's contribution in the 1950s is important to the Troilo orchestra; Lavocah says even Teresa, famous for hating his voice, admitted he's good with Troilo.
12. Roberto Rufino8 days agoDescribed as Rufino joined Troilo in 1963, 24 years after joining Di Sarli in 1939, and Lavocah says he finally met the maestro who could take his singing to the next level;Roberto Rufino8 days agoDescribed as Rufino joined Troilo in 1963, 24 years after joining Di Sarli in 1939, and Lavocah says he finally met the maestro who could take his singing to the next level;
13. Homero Expósito8 days agoDescribed as Troilo told his wife Zita he was popping out to meet a friend and would be back in an hour; he ran into Expósito at a café and returned 27 hours later.Homero Expósito8 days agoDescribed as Troilo told his wife Zita he was popping out to meet a friend and would be back in an hour; he ran into Expósito at a café and returned 27 hours later.
14. Quedémonos aquí8 days agoDescribed as The tango dates from about 1956 and is an Expósito lyric that explores the grey area between black and white love; Troilo did not record it then, possibly becauQuedémonos aquí8 days agoDescribed as The tango dates from about 1956 and is an Expósito lyric that explores the grey area between black and white love; Troilo did not record it then, possibly becau
15. Mensaje8 days agoDescribed as After Discépolo died in December 1951, his widow Tania gave Cátulo Castillo an unfinished manuscript with only the melody; Castillo struggled until Discépolo apMensaje8 days agoDescribed as After Discépolo died in December 1951, his widow Tania gave Cátulo Castillo an unfinished manuscript with only the melody; Castillo struggled until Discépolo ap
16. Julio De Caro8 days agoDescribed as De Caro's early project lacked underpinning bass notes; Lavocah says dancers need bass notes to walk.Julio De Caro8 days agoDescribed as De Caro's early project lacked underpinning bass notes; Lavocah says dancers need bass notes to walk.
17. Kicho Díaz8 days agoDescribed as Díaz played double bass with a bow, a more versatile technique than plucking; he left Troilo for Piazzolla in the later 50s, and Piazzolla said he was like an eKicho Díaz8 days agoDescribed as Díaz played double bass with a bow, a more versatile technique than plucking; he left Troilo for Piazzolla in the later 50s, and Piazzolla said he was like an e
18. Pedro Maffia8 days agoDescribed as Maffia played legato in phrases where notes ran into each other, a big influence on Troilo's phrasing as a bandoneonist and bandleader.Pedro Maffia8 days agoDescribed as Maffia played legato in phrases where notes ran into each other, a big influence on Troilo's phrasing as a bandoneonist and bandleader.
19. Roberto Grela8 days agoDescribed as Grela was a concert-level guitarist who matched Troilo with counter-melodies and also made classical recordings; the quartet's other members were bassist Kicho Roberto Grela8 days agoDescribed as Grela was a concert-level guitarist who matched Troilo with counter-melodies and also made classical recordings; the quartet's other members were bassist Kicho
20. Francisco Fiorentino8 days agoDescribed as Fiorentino created the template of the orchestra singer: the synthesis with the orchestra is perfect, with neither dominating, giving the dancer freedom betweenFrancisco Fiorentino8 days agoDescribed as Fiorentino created the template of the orchestra singer: the synthesis with the orchestra is perfect, with neither dominating, giving the dancer freedom between
21. Aníbal Troilo8 days agoDescribed as In Tabaco Troilo changes marcato between four beats and two beats to the bar and many other kinds; Lavocah says each orchestra has its own way (D'Arienzo bang bAníbal Troilo8 days agoDescribed as In Tabaco Troilo changes marcato between four beats and two beats to the bar and many other kinds; Lavocah says each orchestra has its own way (D'Arienzo bang b
22. Orlando Goñi8 days agoDescribed as Lavocah says Troilo's first orchestra would have been nothing without Goñi, who helped choose the repertoire and developed the sound of 1937-43; Troilo never spOrlando Goñi8 days agoDescribed as Lavocah says Troilo's first orchestra would have been nothing without Goñi, who helped choose the repertoire and developed the sound of 1937-43; Troilo never sp
23. Orlando Goñi8 days agoDescribed as Goñi left Troilo in August 1943 along with two others; he drank himself to death aged 31. He never got a studio contract with his own orchestra, but four radio Orlando Goñi8 days agoDescribed as Goñi left Troilo in August 1943 along with two others; he drank himself to death aged 31. He never got a studio contract with his own orchestra, but four radio
24. Orlando Goñi8 days agoDescribed as Goñi's piano style has double articulation (left-hand bass notes ring out legato, right-hand melody staccato, and he did not use the pedals) and 'marcación bordOrlando Goñi8 days agoDescribed as Goñi's piano style has double articulation (left-hand bass notes ring out legato, right-hand melody staccato, and he did not use the pedals) and 'marcación bord
25. Francisco Fiorentino8 days agoDescribed as Fiorentino's last solo recordings are from 1951; he died in a car accident in 1955, just as he was about to return to Troilo.Francisco Fiorentino8 days agoDescribed as Fiorentino's last solo recordings are from 1951; he died in a car accident in 1955, just as he was about to return to Troilo.
26. Francisco Fiorentino8 days agoDescribed as Fiorentino was not Troilo's first choice (he wanted Antonio Rodríguez Lesende, and the second edition has new research on why that failed); Lavocah calls TroiloFrancisco Fiorentino8 days agoDescribed as Fiorentino was not Troilo's first choice (he wanted Antonio Rodríguez Lesende, and the second edition has new research on why that failed); Lavocah calls Troilo
27. Aníbal Troilo8 days agoDescribed as A hit song's number of recordings reflects its repercussion (eight for a huge hit, four for medium, one for small); Trenzas was a medium hit that Troilo liked bAníbal Troilo8 days agoDescribed as A hit song's number of recordings reflects its repercussion (eight for a huge hit, four for medium, one for small); Trenzas was a medium hit that Troilo liked b
28. Aníbal Troilo8 days agoDescribed as Troilo, who had an Odeon contract that did not allow him to record for three years, made no studio recordings after 1938 until 1941; only radio recordings like Aníbal Troilo8 days agoDescribed as Troilo, who had an Odeon contract that did not allow him to record for three years, made no studio recordings after 1938 until 1941; only radio recordings like
29. Aníbal Troilo8 days agoDescribed as Troilo's career divides into three: traditional dance music to the end of the 40s; a transition in the early 50s as he embraces Piazzolla, still danceable; and Aníbal Troilo8 days agoDescribed as Troilo's career divides into three: traditional dance music to the end of the 40s; a transition in the early 50s as he embraces Piazzolla, still danceable; and
30. Aníbal Troilo8 days agoDescribed as When forming his orchestra in 1937, Troilo said he wanted the whole band to phrase as a unit in the manner of Gardel; Lavocah compares Gardel's role in creatingAníbal Troilo8 days agoDescribed as When forming his orchestra in 1937, Troilo said he wanted the whole band to phrase as a unit in the manner of Gardel; Lavocah compares Gardel's role in creating