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1. Juan Maglio8 days agoDescribed as Troilo played in Maglio's orchestra for a few months as a boy of 15 or 16 (c. 1929-30) and said Maglio barely understood the music by then: on the night they opJuan Maglio8 days agoDescribed as Troilo played in Maglio's orchestra for a few months as a boy of 15 or 16 (c. 1929-30) and said Maglio barely understood the music by then: on the night they op
2. Guardia Nueva8 days agoDescribed as More than a thousand recordings were made in 1928; Stenvoll had about 100 on his computer and used listener suggestions to build the list.Guardia Nueva8 days agoDescribed as More than a thousand recordings were made in 1928; Stenvoll had about 100 on his computer and used listener suggestions to build the list.
3. Charlo8 days agoDescribed as Canaro and Lomuto both started using Charlo as an estribillista in 1928, when estribillistas had hardly been used before; Charlo, spotted by Odeon's artistic diCharlo8 days agoDescribed as Canaro and Lomuto both started using Charlo as an estribillista in 1928, when estribillistas had hardly been used before; Charlo, spotted by Odeon's artistic di
4. Julio De Caro8 days agoDescribed as The new guard (Julio De Caro, Pedro Maffia, Luis Petrucelli) were beginning to record and influence the scene in 1928 but not selling many records; they would tJulio De Caro8 days agoDescribed as The new guard (Julio De Caro, Pedro Maffia, Luis Petrucelli) were beginning to record and influence the scene in 1928 but not selling many records; they would t
5. Guardia Nueva8 days agoDescribed as 1928 has a big three, not a big four: Canaro, Firpo and Fresedo, plus Gardel as the fourth big name; none of the 1940s big four is yet at the top.Guardia Nueva8 days agoDescribed as 1928 has a big three, not a big four: Canaro, Firpo and Fresedo, plus Gardel as the fourth big name; none of the 1940s big four is yet at the top.
6. Recording 115968 days agoDescribed as After-party: a link to last week's D'Agostino-Vargas version from 1941, here 13 years earlier with Vardaro on violin.Recording 115968 days agoDescribed as After-party: a link to last week's D'Agostino-Vargas version from 1941, here 13 years earlier with Vardaro on violin.
7. Recording 159898 days agoDescribed as After-party: Lavocah's 'compasita of the night' with 3-3-2 syncopation, pizzicato on top and the double bass slapping the bow on the strings.Recording 159898 days agoDescribed as After-party: Lavocah's 'compasita of the night' with 3-3-2 syncopation, pizzicato on top and the double bass slapping the bow on the strings.
8. Recording 157218 days agoDescribed as After-party: Lavocah calls it one of the most romantic tango melodies; Firpo wrote it after a 4am tram ride home, with hammering factory workers heard in the peRecording 157218 days agoDescribed as After-party: Lavocah calls it one of the most romantic tango melodies; Firpo wrote it after a 4am tram ride home, with hammering factory workers heard in the pe
9. Recording 139998 days agoDescribed as After-party: a sad Fresedo, one of his intense 1928 recordings.Recording 139998 days agoDescribed as After-party: a sad Fresedo, one of his intense 1928 recordings.
10. Recording 65258 days agoDescribed as After-party: a Pedro Maffia composition entered in the 1928 Gran Concurso and a top-prize winner; complex advanced music played by Canaro with exquisite phrasinRecording 65258 days agoDescribed as After-party: a Pedro Maffia composition entered in the 1928 Gran Concurso and a top-prize winner; complex advanced music played by Canaro with exquisite phrasin
11. Recording 160128 days agoDescribed as A hypnotic Firpo waltz that reminds of Maglio's waltzes of the year.Recording 160128 days agoDescribed as A hypnotic Firpo waltz that reminds of Maglio's waltzes of the year.
12. Recording 160438 days agoDescribed as Firpo, 'in my view the best band of the year' for Stenvoll; a cabaret lyric.Recording 160438 days agoDescribed as Firpo, 'in my view the best band of the year' for Stenvoll; a cabaret lyric.
13. Recording 140048 days agoDescribed as Not the Pedro Laurenz tango of the same name; Stenvoll's note says 'six-star masterpiece'. A heavy lyric looking back to knife fights.Recording 140048 days agoDescribed as Not the Pedro Laurenz tango of the same name; Stenvoll's note says 'six-star masterpiece'. A heavy lyric looking back to knife fights.
14. Recording 136678 days agoDescribed as One of the Gran Concurso tangos of Max Glücksmann's competition, a medium hit; Stenvoll prefers the Fresedo version. The orchestra stops and Famá sings with guiRecording 136678 days agoDescribed as One of the Gran Concurso tangos of Max Glücksmann's competition, a medium hit; Stenvoll prefers the Fresedo version. The orchestra stops and Famá sings with gui
15. Recording 139738 days agoDescribed as A tango with a lesser-known singer, perhaps named after a racehorse or football player; Lavocah notes there is a whole genre of football tango.Recording 139738 days agoDescribed as A tango with a lesser-known singer, perhaps named after a racehorse or football player; Lavocah notes there is a whole genre of football tango.
16. Recording 97528 days agoDescribed as Cobián's last year of recording before he leaves; Fiorentino is not yet at his Troilo best, and Vardaro plays violin.Recording 97528 days agoDescribed as Cobián's last year of recording before he leaves; Fiorentino is not yet at his Troilo best, and Vardaro plays violin.
17. Recording 61408 days agoDescribed as A lyric about a blind street violinist who one day isn't there; the bandoneón variación without a break is probably Minotto.Recording 61408 days agoDescribed as A lyric about a blind street violinist who one day isn't there; the bandoneón variación without a break is probably Minotto.
18. Recording 64938 days agoDescribed as A man waiting for his lover in a room; Charlo jumps up an octave, 'how long I have waited', and has beaten death to be with her. Stenvoll says it 'kills me everRecording 64938 days agoDescribed as A man waiting for his lover in a room; Charlo jumps up an octave, 'how long I have waited', and has beaten death to be with her. Stenvoll says it 'kills me ever
19. Recording 20588 days agoDescribed as A composition by Sebastián Piana and Pedro Maffia; the accompaniment is weaker than in the first song.Recording 20588 days agoDescribed as A composition by Sebastián Piana and Pedro Maffia; the accompaniment is weaker than in the first song.
20. Recording 86038 days agoDescribed as An instrumental with a nice violin counter-melody and a bandoneón variación at the end; a Pedro Maffia composition.Recording 86038 days agoDescribed as An instrumental with a nice violin counter-melody and a bandoneón variación at the end; a Pedro Maffia composition.
21. Recording 26738 days agoDescribed as Discépolo's first tango, perhaps the most popular of the year, with guitar backing; a man sees his ex coming out of a nightclub, ruined, and decides to get drunRecording 26738 days agoDescribed as Discépolo's first tango, perhaps the most popular of the year, with guitar backing; a man sees his ex coming out of a nightclub, ruined, and decides to get drun
22. Golden Age8 days agoDescribed as 1941 was an explosion of creativity as lots of new bands were finally recorded; the creativity had already been happening in 1939 and 1940 but the bands were loGolden Age8 days agoDescribed as 1941 was an explosion of creativity as lots of new bands were finally recorded; the creativity had already been happening in 1939 and 1940 but the bands were lo
23. Golden Age8 days agoDescribed as Peggy Lee sang Where or When with Benny Goodman, recorded in New York on New Year's Eve 1941 not long after Pearl Harbor; Lavocah reads its lyric as about synchGolden Age8 days agoDescribed as Peggy Lee sang Where or When with Benny Goodman, recorded in New York on New Year's Eve 1941 not long after Pearl Harbor; Lavocah reads its lyric as about synch
24. Golden Age8 days agoDescribed as In the 19th century the Blues were the unionists and the Reds (punzó) the federalists. Rosas, leader of the Reds, was sympathetic to the black population and atGolden Age8 days agoDescribed as In the 19th century the Blues were the unionists and the Reds (punzó) the federalists. Rosas, leader of the Reds, was sympathetic to the black population and at
25. Aníbal Troilo8 days agoDescribed as In Troilo's music the mood changes within one song, unlike other bands which choose extrovert or introvert songs; in Tinta roja Fiorentino begins strong and masAníbal Troilo8 days agoDescribed as In Troilo's music the mood changes within one song, unlike other bands which choose extrovert or introvert songs; in Tinta roja Fiorentino begins strong and mas
26. Carlos Di Sarli8 days agoDescribed as Di Sarli's smooth violins hide polyrhythm already in 1941: in Don Juan the left-hand piano plays three against four. Lavocah suggests DJs should play the 1940s Carlos Di Sarli8 days agoDescribed as Di Sarli's smooth violins hide polyrhythm already in 1941: in Don Juan the left-hand piano plays three against four. Lavocah suggests DJs should play the 1940s
27. Carlos Di Sarli8 days agoDescribed as Di Sarli's widow died a few days before the programme, aged almost 100, survived by daughters María Cristina and Dora; Di Sarli himself died in 1960. BandoneoniCarlos Di Sarli8 days agoDescribed as Di Sarli's widow died a few days before the programme, aged almost 100, survived by daughters María Cristina and Dora; Di Sarli himself died in 1960. Bandoneoni
28. Juan D'Arienzo8 days agoDescribed as In the 1930s D'Arienzo's marcato is straight beats; in the 1940s orchestra led by Héctor Varela there are many kinds of marcato, with 3-3-2 and triplets, as in Juan D'Arienzo8 days agoDescribed as In the 1930s D'Arienzo's marcato is straight beats; in the 1940s orchestra led by Héctor Varela there are many kinds of marcato, with 3-3-2 and triplets, as in
29. Azucena Maizani8 days agoDescribed as Maizani was a tragic figure, bad at being independent and always making bad choices about men, and often dressed as a man on stage. Tita Merello once told her tAzucena Maizani8 days agoDescribed as Maizani was a tragic figure, bad at being independent and always making bad choices about men, and often dressed as a man on stage. Tita Merello once told her t
30. Francisco Lomuto8 days agoDescribed as Lomuto's qualities are understatement but solid, with a lot going on when you pay attention; his singers Jorge Omar and Fernando Díaz suit him because they are Francisco Lomuto8 days agoDescribed as Lomuto's qualities are understatement but solid, with a lot going on when you pay attention; his singers Jorge Omar and Fernando Díaz suit him because they are