Live edits

Activity

1. Recording 15498 days agoDescribed as Spitalnik's 1948 arrangement re-recorded, more expressive; first time in Tango By Year.Recording 15498 days agoDescribed as Spitalnik's 1948 arrangement re-recorded, more expressive; first time in Tango By Year.
2. Recording 14638 days agoDescribed as First recording of the song (Troilo-Rufino version is 1965); the lyric from Cátulo Castillo, said to have been dictated by Homero Manzi in a dream.Recording 14638 days agoDescribed as First recording of the song (Troilo-Rufino version is 1965); the lyric from Cátulo Castillo, said to have been dictated by Homero Manzi in a dream.
3. Recording 136408 days agoDescribed as With guitar backing, which they prefer to his orchestra recordings; Lavocah reads his own English translation of the lyric.Recording 136408 days agoDescribed as With guitar backing, which they prefer to his orchestra recordings; Lavocah reads his own English translation of the lyric.
4. Recording 115098 days agoDescribed as Solo piano; Lavocah hears the link to Weimar cabaret and Chopin. Demare had dissolved his orchestra in 1945.Recording 115098 days agoDescribed as Solo piano; Lavocah hears the link to Weimar cabaret and Chopin. Demare had dissolved his orchestra in 1945.
5. Recording 142598 days agoDescribed as The B side of the October disc, an instrumental; start time approximate (lost in a long Whisper gap).Recording 142598 days agoDescribed as The B side of the October disc, an instrumental; start time approximate (lost in a long Whisper gap).
6. Recording 145078 days agoDescribed as An extreme interpretation: Morán sings both verses, violins at white heat, a long near-empty passage and a Biagi-style fake ending.Recording 145078 days agoDescribed as An extreme interpretation: Morán sings both verses, violins at white heat, a long near-empty passage and a Biagi-style fake ending.
7. Recording 144368 days agoDescribed as Lavocah's note on it: 'From darkness to light'. Pugliese adds far more than the 1930 composition holds; Camarano's violin and Ruggiero's bandoneón.Recording 144368 days agoDescribed as Lavocah's note on it: 'From darkness to light'. Pugliese adds far more than the 1930 composition holds; Camarano's violin and Ruggiero's bandoneón.
8. Recording 7528 days agoDescribed as Lavocah on Gobbi: modest violin, tempo that flexes organically, but a milonguero orchestra and still inspiring to sextets today.Recording 7528 days agoDescribed as Lavocah on Gobbi: modest violin, tempo that flexes organically, but a milonguero orchestra and still inspiring to sextets today.
9. Recording 105048 days agoDescribed as An energetic instrumental, in better fidelity than before because D'Arienzo is now on tape masters; has the Puglisi one-note violin solo.Recording 105048 days agoDescribed as An energetic instrumental, in better fidelity than before because D'Arienzo is now on tape masters; has the Puglisi one-note violin solo.
10. Recording 110218 days agoDescribed as Played for historical interest: Polito, D'Arienzo's pianist after Biagi, with a simple banging-the-beat band that sounds like the early 1940s.Recording 110218 days agoDescribed as Played for historical interest: Polito, D'Arienzo's pianist after Biagi, with a simple banging-the-beat band that sounds like the early 1940s.
11. Recording 91848 days agoDescribed as A duet by Varela's orchestra; a sweet piece that Lavocah says he plays mixed in at milongas.Recording 91848 days agoDescribed as A duet by Varela's orchestra; a sweet piece that Lavocah says he plays mixed in at milongas.
12. Recording 35898 days agoDescribed as A Di Sarli milonga (his own composition, recorded before in 1945) picked for its cadencia, the swing of a phrase.Recording 35898 days agoDescribed as A Di Sarli milonga (his own composition, recorded before in 1945) picked for its cadencia, the swing of a phrase.
13. Recording 33788 days agoDescribed as Lavocah prefers it to Troilo's version, for the spacious texture that puts the moaning low bandoneón line in dialogue with the violins.Recording 33788 days agoDescribed as Lavocah prefers it to Troilo's version, for the spacious texture that puts the moaning low bandoneón line in dialogue with the violins.
14. Recording 35058 days agoDescribed as A knife-fight song with a very strong rastra and what Lavocah calls the strongest violin marcato in tango; the open texture lets you hear the bandoneón.Recording 35058 days agoDescribed as A knife-fight song with a very strong rastra and what Lavocah calls the strongest violin marcato in tango; the open texture lets you hear the bandoneón.
15. Recording 67718 days agoDescribed as Charlo, a veteran who was the big singer of 1928, still sings in tune; the milonga is not for dancing and still has a flute that sounds pre-1920.Recording 67718 days agoDescribed as Charlo, a veteran who was the big singer of 1928, still sings in tune; the milonga is not for dancing and still has a flute that sounds pre-1920.
16. Recording 8598 days agoDescribed as A bitter vals about friends and women paying back with treason; Lavocah suspects irony. A listener hears Peruvian rhythm in it.Recording 8598 days agoDescribed as A bitter vals about friends and women paying back with treason; Lavocah suspects irony. A listener hears Peruvian rhythm in it.
17. Recording 8468 days agoDescribed as Castillo's version of the Donato classic about a bachelor flat at Corrientes 348; Dag points to how Castillo phrases 'Corrientes'.Recording 8468 days agoDescribed as Castillo's version of the Donato classic about a bachelor flat at Corrientes 348; Dag points to how Castillo phrases 'Corrientes'.
18. Ramona8 days agoDescribed as Ramona was the theme of a 1928 United Artists silent film starring Dolores del Río; the Gene Austin version sold a million records, Paul Whiteman had three weekRamona8 days agoDescribed as Ramona was the theme of a 1928 United Artists silent film starring Dolores del Río; the Gene Austin version sold a million records, Paul Whiteman had three week
19. Pedro Maffia8 days agoDescribed as Maffia left Julio De Caro in 1926 and formed his own orchestra but got no record contract; Odeon recorded a couple of bandoneón duos of him and De Franco, and hPedro Maffia8 days agoDescribed as Maffia left Julio De Caro in 1926 and formed his own orchestra but got no record contract; Odeon recorded a couple of bandoneón duos of him and De Franco, and h
20. Guardia Nueva8 days agoDescribed as Stenvoll's plan is to cover the years from 1928 (the earliest) up to 1955, plus 1958 as an exception; remaining years in chronological order are 1931, 1938, 194Guardia Nueva8 days agoDescribed as Stenvoll's plan is to cover the years from 1928 (the earliest) up to 1955, plus 1958 as an exception; remaining years in chronological order are 1931, 1938, 194
21. Alfredo Eusebio Gobbi8 days agoDescribed as Gobbi, composer of Sin madre, is the father of the Gobbi of the 1940s; he went to Paris around 1908-09 with his wife to record, since you couldn't record in ArgAlfredo Eusebio Gobbi8 days agoDescribed as Gobbi, composer of Sin madre, is the father of the Gobbi of the 1940s; he went to Paris around 1908-09 with his wife to record, since you couldn't record in Arg
22. Azucena Maizani8 days agoDescribed as Maizani wore men's clothes such as a dinner jacket on stage, partly as a woman in a man's world (Mercedes Simone is also photographed in such clothes); she was Azucena Maizani8 days agoDescribed as Maizani wore men's clothes such as a dinner jacket on stage, partly as a woman in a man's world (Mercedes Simone is also photographed in such clothes); she was
23. Oscar Alemán8 days agoDescribed as Alemán, an Argentine black jazz guitarist who later played alongside Django Reinhardt in Paris, formed a guitar duo in 1927 with a Brazilian, Gastão Bueno Lobo,Oscar Alemán8 days agoDescribed as Alemán, an Argentine black jazz guitarist who later played alongside Django Reinhardt in Paris, formed a guitar duo in 1927 with a Brazilian, Gastão Bueno Lobo,
24. Guardia Nueva8 days agoDescribed as In tango the piano replaced the guitar as accompanist once tango moved indoors: in 1913 Firpo won the competition to be the new house band at the Armenonville aGuardia Nueva8 days agoDescribed as In tango the piano replaced the guitar as accompanist once tango moved indoors: in 1913 Firpo won the competition to be the new house band at the Armenonville a
25. Osvaldo Fresedo8 days agoDescribed as Fresedo in 1928 is intense, with a heavier beat that is not a walking beat but great for dancing, and a strength he doesn't have in the 1940s; Lavocah calls it Osvaldo Fresedo8 days agoDescribed as Fresedo in 1928 is intense, with a heavier beat that is not a walking beat but great for dancing, and a strength he doesn't have in the 1940s; Lavocah calls it
26. Juan Carlos Cobian8 days agoDescribed as Cobián had a disorganised love life: he had a whirlwind affair with a rich American woman known by her initials, married her, and she then asked for a quick divJuan Carlos Cobian8 days agoDescribed as Cobián had a disorganised love life: he had a whirlwind affair with a rich American woman known by her initials, married her, and she then asked for a quick div
27. Julio De Caro8 days agoDescribed as De Caro played for a select audience; the tango band hired to play at the ball when the Prince of Wales visited in 1925 was De Caro's, not Canaro's. In his bandJulio De Caro8 days agoDescribed as De Caro played for a select audience; the tango band hired to play at the ball when the Prince of Wales visited in 1925 was De Caro's, not Canaro's. In his band
28. Julio De Caro8 days agoDescribed as In 1928 De Caro first recorded several works later famous from other orchestras: El monito, Mala pinta (Pugliese 1944) and Maipo (D'Arienzo 1939, though it's anJulio De Caro8 days agoDescribed as In 1928 De Caro first recorded several works later famous from other orchestras: El monito, Mala pinta (Pugliese 1944) and Maipo (D'Arienzo 1939, though it's an
29. Julio De Caro8 days agoDescribed as 'De Caro' means two first names: Julio, the violinist and organiser, and Francisco, the pianist, who is the better musician, the motor of the orchestra and a clJulio De Caro8 days agoDescribed as 'De Caro' means two first names: Julio, the violinist and organiser, and Francisco, the pianist, who is the better musician, the motor of the orchestra and a cl
30. Luis Petrucelli8 days agoDescribed as Petrucelli was the first bandoneonist in the first lineup of the De Caro brothers' sextet and left because the band was named De Caro, after they had agreed it Luis Petrucelli8 days agoDescribed as Petrucelli was the first bandoneonist in the first lineup of the De Caro brothers' sextet and left because the band was named De Caro, after they had agreed it