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1. Osvaldo Pugliese8 days agoDescribed as While the rest of the year is low-energy, Pugliese not only maintained but increased his energy and intensity; Lavocah describes the pressure as turning carbon Osvaldo Pugliese8 days agoDescribed as While the rest of the year is low-energy, Pugliese not only maintained but increased his energy and intensity; Lavocah describes the pressure as turning carbon
2. Osvaldo Pugliese8 days agoDescribed as In 1948 the government made its most intense efforts to wipe Pugliese off the map: arriving in a small Córdoba province town, Pugliese was told by police he wasOsvaldo Pugliese8 days agoDescribed as In 1948 the government made its most intense efforts to wipe Pugliese off the map: arriving in a small Córdoba province town, Pugliese was told by police he was
3. Golden Age8 days agoDescribed as Women singers are nearly absent from 1948; Nelly Omar, who sang for Canaro, is missing.Golden Age8 days agoDescribed as Women singers are nearly absent from 1948; Nelly Omar, who sang for Canaro, is missing.
4. Alberto Castillo8 days agoDescribed as Troilo respected Castillo's pitch ('I never heard him make a mistake') but when asked whether Castillo could sing with the orchestra answered 'no, not in my orcAlberto Castillo8 days agoDescribed as Troilo respected Castillo's pitch ('I never heard him make a mistake') but when asked whether Castillo could sing with the orchestra answered 'no, not in my orc
5. Golden Age8 days agoDescribed as Tango reached Finland perhaps as early as 1913-14; after the Second World War, when most places moved to rock and roll, Finland carried on dancing tango and it Golden Age8 days agoDescribed as Tango reached Finland perhaps as early as 1913-14; after the Second World War, when most places moved to rock and roll, Finland carried on dancing tango and it
6. Juan D'Arienzo8 days agoDescribed as D'Arienzo's 1948 instrumentals already sound like his 1950 style but slower: they reuse his 1930s arrangements rather than new ones by Héctor Varela, with fewerJuan D'Arienzo8 days agoDescribed as D'Arienzo's 1948 instrumentals already sound like his 1950 style but slower: they reuse his 1930s arrangements rather than new ones by Héctor Varela, with fewer
7. Osvaldo Fresedo8 days agoDescribed as The 1948 Fresedo with Roberto Ray is a brief darker, restrained interlude before Fresedo changes style in 1950 like many bands.Osvaldo Fresedo8 days agoDescribed as The 1948 Fresedo with Roberto Ray is a brief darker, restrained interlude before Fresedo changes style in 1950 like many bands.
8. Rodolfo Biagi8 days agoDescribed as Biagi's milongas put the accent on the beat before the one, making an upward feeling; listen to Campo afuera for the idea carried all the way through.Rodolfo Biagi8 days agoDescribed as Biagi's milongas put the accent on the beat before the one, making an upward feeling; listen to Campo afuera for the idea carried all the way through.
9. Alfredo De Angelis8 days agoDescribed as De Angelis is one of the top five orchestras of the period with cracking 1948 tracks, especially waltzes, though it is fashionable to be down on him.Alfredo De Angelis8 days agoDescribed as De Angelis is one of the top five orchestras of the period with cracking 1948 tracks, especially waltzes, though it is fashionable to be down on him.
10. Golden Age8 days agoDescribed as Eva Perón would phone orchestras to ask them to play free concerts for her foundation, and it was hard to say no. De Angelis writes in his memoirs that he did iGolden Age8 days agoDescribed as Eva Perón would phone orchestras to ask them to play free concerts for her foundation, and it was hard to say no. De Angelis writes in his memoirs that he did i
11. Carlos Di Sarli8 days agoDescribed as Di Sarli recorded only two tracks in 1948 and dissolved his orchestra not in 1948 but in 1949.Carlos Di Sarli8 days agoDescribed as Di Sarli recorded only two tracks in 1948 and dissolved his orchestra not in 1948 but in 1949.
12. Florindo Sassone8 days agoDescribed as Sassone had a short-lived orchestra at the start of the 1940s, gave up before getting famous in 1943 and returned; when Roberto Chanel left Pugliese he went to Florindo Sassone8 days agoDescribed as Sassone had a short-lived orchestra at the start of the 1940s, gave up before getting famous in 1943 and returned; when Roberto Chanel left Pugliese he went to
13. Roberto Rufino8 days agoDescribed as The calmer Rufino of the Francini-Pontier years was getting ready for marriage in 1949.Roberto Rufino8 days agoDescribed as The calmer Rufino of the Francini-Pontier years was getting ready for marriage in 1949.
14. Alfredo Gobbi8 days agoDescribed as Gobbi and Pugliese are both followers of De Caro, wanting complex but danceable music.Alfredo Gobbi8 days agoDescribed as Gobbi and Pugliese are both followers of De Caro, wanting complex but danceable music.
15. Jorge Maciel8 days agoDescribed as Maciel's first recording was Remembranza with Gobbi in 1948; he later brought the repertoire to Pugliese after Morán left in 1954. With Pugliese he is a dramatiJorge Maciel8 days agoDescribed as Maciel's first recording was Remembranza with Gobbi in 1948; he later brought the repertoire to Pugliese after Morán left in 1954. With Pugliese he is a dramati
16. Golden Age8 days agoDescribed as The orchestra showing the most development in 1948 is Pugliese; Troilo's work is very sophisticated; and the year offers many recordings by Alfredo Gobbi, an orGolden Age8 days agoDescribed as The orchestra showing the most development in 1948 is Pugliese; Troilo's work is very sophisticated; and the year offers many recordings by Alfredo Gobbi, an or
17. Golden Age8 days agoDescribed as 1948 has hardly any recordings: Canaro records 13, D'Arienzo 12, Biagi four, Laurenz zero. Tango is at a low point, partly because the censorship enforced sinceGolden Age8 days agoDescribed as 1948 has hardly any recordings: Canaro records 13, D'Arienzo 12, Biagi four, Laurenz zero. Tango is at a low point, partly because the censorship enforced since
18. Recording 13898 days agoDescribed as The last tango of the night: Vicente Greco's composition (perhaps from 1910) in which Troilo finds more in it than was written.Recording 13898 days agoDescribed as The last tango of the night: Vicente Greco's composition (perhaps from 1910) in which Troilo finds more in it than was written.
19. Recording 13308 days agoDescribed as After-party: a very significant tango from 1948.Recording 13308 days agoDescribed as After-party: a very significant tango from 1948.
20. Recording 106058 days agoDescribed as A nice D'Arienzo-Laborde track; Lavocah prefers Laborde in the second half of the 1940s.Recording 106058 days agoDescribed as A nice D'Arienzo-Laborde track; Lavocah prefers Laborde in the second half of the 1940s.
21. Recording 153788 days agoDescribed as A complaint about how much attention foreign music (the bolero) gets, also recorded by Pugliese in 1947.Recording 153788 days agoDescribed as A complaint about how much attention foreign music (the bolero) gets, also recorded by Pugliese in 1947.
22. Recording 153678 days agoDescribed as A less conventional high voice (Ribó) that Lavocah asks listeners to give a chance; title means cut paper.Recording 153678 days agoDescribed as A less conventional high voice (Ribó) that Lavocah asks listeners to give a chance; title means cut paper.
23. Recording 58288 days agoDescribed as A waltz duet, starting with an octave piano introduction.Recording 58288 days agoDescribed as A waltz duet, starting with an octave piano introduction.
24. Recording 14748 days agoDescribed as Lavocah's 'monster of a tango' in his Troilo book: Manzi's lyric encodes his lost love and impending death, and 'south' means the authentic poor side of the citRecording 14748 days agoDescribed as Lavocah's 'monster of a tango' in his Troilo book: Manzi's lyric encodes his lost love and impending death, and 'south' means the authentic poor side of the cit
25. Recording 144938 days agoDescribed as An exercise in polyrhythm, introduced by a special gloss; Pugliese dropped it after about a year because it was too modern for his audience.Recording 144938 days agoDescribed as An exercise in polyrhythm, introduced by a special gloss; Pugliese dropped it after about a year because it was too modern for his audience.
26. Recording 142658 days agoDescribed as 'One of the best tangos ever', composed by the second bandoneonist Jorge Caldara, with a rising opening motif and a dead stop in the band.Recording 142658 days agoDescribed as 'One of the best tangos ever', composed by the second bandoneonist Jorge Caldara, with a rising opening motif and a dead stop in the band.
27. Recording 103738 days agoDescribed as Instrumental waltz, played with the year's only D'Arienzo milonga.Recording 103738 days agoDescribed as Instrumental waltz, played with the year's only D'Arienzo milonga.
28. Recording 106648 days agoDescribed as The second of two D'Arienzo instrumentals with the old 1930s arrangement, with Fulvio Salamanca's left hand clearly audible.Recording 106648 days agoDescribed as The second of two D'Arienzo instrumentals with the old 1930s arrangement, with Fulvio Salamanca's left hand clearly audible.
29. Recording 32108 days agoDescribed as One of only two Di Sarli tracks of the year, with new singer Serpa; a beautiful, if less punchy, interpretation of a sailor's lament for a girl who left with a Recording 32108 days agoDescribed as One of only two Di Sarli tracks of the year, with new singer Serpa; a beautiful, if less punchy, interpretation of a sailor's lament for a girl who left with a
30. Recording 54858 days agoDescribed as An early Sassone instrumental, between Fresedo and Di Sarli in sound, heavier and more playful than the later creamy Sassone.Recording 54858 days agoDescribed as An early Sassone instrumental, between Fresedo and Di Sarli in sound, heavier and more playful than the later creamy Sassone.