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1. Edgardo Donato8 days agoDescribed as Lavocah resists calling Donato a bridge to D'Arienzo as too simple; other bands such as Ernesto Ponzio's also played fast tangos with violin pizzicato, but withEdgardo Donato8 days agoDescribed as Lavocah resists calling Donato a bridge to D'Arienzo as too simple; other bands such as Ernesto Ponzio's also played fast tangos with violin pizzicato, but with
2. Guardia Nueva8 days agoDescribed as 1933 was a very strong year for tango in Poland, with many artists; Hawaiian guitar was a worldwide phenomenon at the time, not a strange intrusion into ArgentiGuardia Nueva8 days agoDescribed as 1933 was a very strong year for tango in Poland, with many artists; Hawaiian guitar was a worldwide phenomenon at the time, not a strange intrusion into Argenti
3. La cumparsita8 days agoDescribed as Canaro recorded La cumparsita in 1927, 1929 and 1933, always coupled with the same B-side and, confusingly, with the same matrix number; the 1933 version is theLa cumparsita8 days agoDescribed as Canaro recorded La cumparsita in 1927, 1929 and 1933, always coupled with the same B-side and, confusingly, with the same matrix number; the 1933 version is the
4. Elvino Vardaro8 days agoDescribed as Victor judged Vardaro's Tigre viejo test pressing too uncommercial and refused to press it or give him a contract; his nephew Osvaldo told Lavocah that Vardaro Elvino Vardaro8 days agoDescribed as Victor judged Vardaro's Tigre viejo test pressing too uncommercial and refused to press it or give him a contract; his nephew Osvaldo told Lavocah that Vardaro
5. Elvino Vardaro8 days agoDescribed as In 1933 Vardaro, who had a failed sextet with the young Pugliese in 1929-30, formed a new sextet with Troilo on first bandoneón, José Pascual on piano, Hugo BarElvino Vardaro8 days agoDescribed as In 1933 Vardaro, who had a failed sextet with the young Pugliese in 1929-30, formed a new sextet with Troilo on first bandoneón, José Pascual on piano, Hugo Bar
6. Milonga triste8 days agoDescribed as Milonga triste (music Sebastián Piana, words Homero Manzi) by the team behind Milonga sentimental pushes the milonga toward sadness; the 1933 Corsini recording Milonga triste8 days agoDescribed as Milonga triste (music Sebastián Piana, words Homero Manzi) by the team behind Milonga sentimental pushes the milonga toward sadness; the 1933 Corsini recording
7. Pedro Maffia8 days agoDescribed as Ventarrón was written by Maffia in 1930; Maffia himself had no recording contract in 1933.Pedro Maffia8 days agoDescribed as Ventarrón was written by Maffia in 1930; Maffia himself had no recording contract in 1933.
8. Ada Falcón8 days agoDescribed as Falcón is arguably the most important artist of 1933 if the scene is considered beyond dance orchestras, and recorded only with Canaro's backing.Ada Falcón8 days agoDescribed as Falcón is arguably the most important artist of 1933 if the scene is considered beyond dance orchestras, and recorded only with Canaro's backing.
9. Ernesto Famá8 days agoDescribed as Lavocah thinks Famá's greatest vocal performances with Canaro are in 1932-33 rather than later.Ernesto Famá8 days agoDescribed as Lavocah thinks Famá's greatest vocal performances with Canaro are in 1932-33 rather than later.
10. Francisco Canaro8 days agoDescribed as Canaro's music hardens between 1932 and 1933 and the tender Canaro of the 20s is going, as the Serie Sinfónica ends; Pinta brava is one of its last tracks.Francisco Canaro8 days agoDescribed as Canaro's music hardens between 1932 and 1933 and the tender Canaro of the 20s is going, as the Serie Sinfónica ends; Pinta brava is one of its last tracks.
11. Edgardo Donato8 days agoDescribed as Donato's playfulness is quite sophisticated: the violin often comes in on the offbeat as an echo of the melody.Edgardo Donato8 days agoDescribed as Donato's playfulness is quite sophisticated: the violin often comes in on the offbeat as an echo of the melody.
12. Edgardo Donato8 days agoDescribed as Donato is on the rise in 1933, and waltzes like Penas and Veneración show what he would become; his brother's cello has been in the band since the 1920s, and PeEdgardo Donato8 days agoDescribed as Donato is on the rise in 1933, and waltzes like Penas and Veneración show what he would become; his brother's cello has been in the band since the 1920s, and Pe
13. Guardia Nueva8 days agoDescribed as Orchestras generally recorded new hits, so a good song like Cómo se muere de amor could go unrecorded by others; in 1951-52 Canaro recorded Tomo mate, a milongaGuardia Nueva8 days agoDescribed as Orchestras generally recorded new hits, so a good song like Cómo se muere de amor could go unrecorded by others; in 1951-52 Canaro recorded Tomo mate, a milonga
14. Francisco Lomuto8 days agoDescribed as 'Pancho Laguna' is Lomuto's pen name as a lyricist, so he wrote both music and words of several tangos.Francisco Lomuto8 days agoDescribed as 'Pancho Laguna' is Lomuto's pen name as a lyricist, so he wrote both music and words of several tangos.
15. Francisco Lomuto8 days agoDescribed as Lomuto is fourth in 1933 behind Fresedo, Canaro and Firpo, not competing for top spot.Francisco Lomuto8 days agoDescribed as Lomuto is fourth in 1933 behind Fresedo, Canaro and Firpo, not competing for top spot.
16. Guardia Nueva8 days agoDescribed as 1933 is the year milonga becomes a dance-band rhythm: Canaro popularised it, building on Mercedes Simone's sentimental milongas of the year before.Guardia Nueva8 days agoDescribed as 1933 is the year milonga becomes a dance-band rhythm: Canaro popularised it, building on Mercedes Simone's sentimental milongas of the year before.
17. Azucena Maizani8 days agoDescribed as In the 1910s-20s women such as Azucena Maizani and Rosita Quiroga performed in men's dinner jackets; everyone knew they were women. Quiroga quit about 1931 in tAzucena Maizani8 days agoDescribed as In the 1910s-20s women such as Azucena Maizani and Rosita Quiroga performed in men's dinner jackets; everyone knew they were women. Quiroga quit about 1931 in t
18. Carlos Gardel8 days agoDescribed as Gardel was happy to sing superficial lyrics but also lyrics that would have been controversial from anyone else; Lavocah likens his universality to 'Everyman', Carlos Gardel8 days agoDescribed as Gardel was happy to sing superficial lyrics but also lyrics that would have been controversial from anyone else; Lavocah likens his universality to 'Everyman',
19. Carlos Gardel8 days agoDescribed as Gardel aims at global stardom in 1933 (Paramount films in Paris), so his sound becomes more romantic and lyrical, less tanguero and less Argentine; he recorded Carlos Gardel8 days agoDescribed as Gardel aims at global stardom in 1933 (Paramount films in Paris), so his sound becomes more romantic and lyrical, less tanguero and less Argentine; he recorded
20. Guardia Nueva8 days agoDescribed as Because many sextets were culled, what survives on 1933 records represents music that could make money, not the whole scene.Guardia Nueva8 days agoDescribed as Because many sextets were culled, what survives on 1933 records represents music that could make money, not the whole scene.
21. Elvino Vardaro8 days agoDescribed as Vardaro's violin tone is unmistakable, above all his vibrato: 'a second, half a second, we know it's enough'; Lavocah can't imagine Típica Victor, Carabelli andElvino Vardaro8 days agoDescribed as Vardaro's violin tone is unmistakable, above all his vibrato: 'a second, half a second, we know it's enough'; Lavocah can't imagine Típica Victor, Carabelli and
22. Charlo8 days agoDescribed as Charlo had been contracted to Odeon for several years, singing mainly with Canaro and with Lomuto, until Victor tempted him away in 1933 with a solo contract; hCharlo8 days agoDescribed as Charlo had been contracted to Odeon for several years, singing mainly with Canaro and with Lomuto, until Victor tempted him away in 1933 with a solo contract; h
23. Osvaldo Fresedo8 days agoDescribed as Fresedo was huge in 1933 partly because he was good and partly because competitors vanished; he travelled to North America three times and was very influenced bOsvaldo Fresedo8 days agoDescribed as Fresedo was huge in 1933 partly because he was good and partly because competitors vanished; he travelled to North America three times and was very influenced b
24. Osvaldo Fresedo8 days agoDescribed as Fresedo's 1933 may be his best year: he has found a light, romantic style quite different from the heavier 1927-29 sextet, with a piano that is not the backboneOsvaldo Fresedo8 days agoDescribed as Fresedo's 1933 may be his best year: he has found a light, romantic style quite different from the heavier 1927-29 sextet, with a piano that is not the backbone
25. Guardia Nueva8 days agoDescribed as The 1933 big three are Canaro, Fresedo and Firpo, none of them among the 1940s golden-decade big four; Típica Victor and Canaro bring a more European feel.Guardia Nueva8 days agoDescribed as The 1933 big three are Canaro, Fresedo and Firpo, none of them among the 1940s golden-decade big four; Típica Victor and Canaro bring a more European feel.
26. Guardia Nueva8 days agoDescribed as The first Argentine talking film's poster puts the soloists such as Mercedes Simone in lights, with dance orchestras like Fresedo, D'Arienzo and Típica Victor iGuardia Nueva8 days agoDescribed as The first Argentine talking film's poster puts the soloists such as Mercedes Simone in lights, with dance orchestras like Fresedo, D'Arienzo and Típica Victor i
27. Guardia Nueva8 days agoDescribed as The most sophisticated bands were eliminated: Marcucci, Petrucelli and Brignolo are gone, Maffia and De Caro have no contract at the start of the year, and Di SGuardia Nueva8 days agoDescribed as The most sophisticated bands were eliminated: Marcucci, Petrucelli and Brignolo are gone, Maffia and De Caro have no contract at the start of the year, and Di S
28. Guardia Nueva8 days agoDescribed as Talking pictures and the Great Depression together caused a huge cull of musicians and orchestras in 1931-32, and about 50% of record companies went bust, leaviGuardia Nueva8 days agoDescribed as Talking pictures and the Great Depression together caused a huge cull of musicians and orchestras in 1931-32, and about 50% of record companies went bust, leavi
29. Recording 45518 days agoDescribed as First of three Donato numbers, a fast tango relying on violin pizzicato, played as a bridge to what D'Arienzo would do.Recording 45518 days agoDescribed as First of three Donato numbers, a fast tango relying on violin pizzicato, played as a bridge to what D'Arienzo would do.
30. Recording 2218 days agoDescribed as A less well-known foxtrot with a singer in a more English style and a much slower pace.Recording 2218 days agoDescribed as A less well-known foxtrot with a singer in a more English style and a much slower pace.