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1. Lucio Demare8 days agoDescribed as Demare dissolved his orchestra in 1945 for an offer to go to Cuba with the Trío Argentino, and only made two solo piano recordings in 1953; he also had his own Lucio Demare8 days agoDescribed as Demare dissolved his orchestra in 1945 for an offer to go to Cuba with the Trío Argentino, and only made two solo piano recordings in 1953; he also had his own
2. Los Chalchaleros8 days agoDescribed as Los Chalchaleros made their first EP in 1953 and performed for over 50 years with few line-up changes; they are the go-to band for zamba.Los Chalchaleros8 days agoDescribed as Los Chalchaleros made their first EP in 1953 and performed for over 50 years with few line-up changes; they are the go-to band for zamba.
3. Lorenzo Barbero8 days agoDescribed as Barbero's orchestra benefits from the 1953 government policy of promoting native music, mixing folk and tango, with a drummer on an African drum.Lorenzo Barbero8 days agoDescribed as Barbero's orchestra benefits from the 1953 government policy of promoting native music, mixing folk and tango, with a drummer on an African drum.
4. Aníbal Troilo8 days agoDescribed as A milonga written by Troilo in 1953 was not recorded by Troilo, though his band presumably played it at dances; Canaro recorded it.Aníbal Troilo8 days agoDescribed as A milonga written by Troilo in 1953 was not recorded by Troilo, though his band presumably played it at dances; Canaro recorded it.
5. Pedro Laurenz8 days agoDescribed as Laurenz recorded La cumparsita only twice, the first time in 1926; the 1950s version Lavocah first heard at a festival is particularly hard to find, only on obsPedro Laurenz8 days agoDescribed as Laurenz recorded La cumparsita only twice, the first time in 1926; the 1950s version Lavocah first heard at a festival is particularly hard to find, only on obs
6. Jorge Casal8 days agoDescribed as Troilo's 1950s singers Casal and Berón get better the more you listen, though they have fewer dance-floor hours behind them than Fiorentino and Marino.Jorge Casal8 days agoDescribed as Troilo's 1950s singers Casal and Berón get better the more you listen, though they have fewer dance-floor hours behind them than Fiorentino and Marino.
7. Raúl Berón8 days agoDescribed as Troilo's early 1950s recordings with Berón are amazing, and Troilo never made a mistake choosing a singer; the 1953 Mensaje is introverted compared with Rufino'Raúl Berón8 days agoDescribed as Troilo's early 1950s recordings with Berón are amazing, and Troilo never made a mistake choosing a singer; the 1953 Mensaje is introverted compared with Rufino'
8. Mensaje8 days agoDescribed as After Homero Manzi died at the end of 1951, his partner Tania gave unfinished music to fellow musicians; Cátulo Castillo struggled with the lyric for Mensaje unMensaje8 days agoDescribed as After Homero Manzi died at the end of 1951, his partner Tania gave unfinished music to fellow musicians; Cátulo Castillo struggled with the lyric for Mensaje un
9. Osvaldo Pugliese8 days agoDescribed as Troilo and Pugliese, the two most technically advanced dance orchestras of the time, both have very modest leaders who play little as soloists.Osvaldo Pugliese8 days agoDescribed as Troilo and Pugliese, the two most technically advanced dance orchestras of the time, both have very modest leaders who play little as soloists.
10. Aníbal Troilo8 days agoDescribed as In the Troilo-Grela quartet you hear Troilo's bandoneón much more; he vibrates the instrument between his hands, and the format let him be intimate and introverAníbal Troilo8 days agoDescribed as In the Troilo-Grela quartet you hear Troilo's bandoneón much more; he vibrates the instrument between his hands, and the format let him be intimate and introver
11. Anselmo Aieta8 days agoDescribed as Aieta is a guardia vieja giant; D'Arienzo started out playing violin in one of Aieta's cinema bands; he composed Palomita blanca, Pavadita and Alma en pena.Anselmo Aieta8 days agoDescribed as Aieta is a guardia vieja giant; D'Arienzo started out playing violin in one of Aieta's cinema bands; he composed Palomita blanca, Pavadita and Alma en pena.
12. Edmundo Rivero8 days agoDescribed as Rivero may have the most masculine voice in tango and kept his quality through the 1950s; guitar-backed recordings are now preferred over orchestra-backed.Edmundo Rivero8 days agoDescribed as Rivero may have the most masculine voice in tango and kept his quality through the 1950s; guitar-backed recordings are now preferred over orchestra-backed.
13. Aldo Calderón8 days agoDescribed as Calderón's silky voice suits Troilo's style but lacks the range for the powerful punch, which is why he didn't last in the band.Aldo Calderón8 days agoDescribed as Calderón's silky voice suits Troilo's style but lacks the range for the powerful punch, which is why he didn't last in the band.
14. Ismael Spitalnik8 days agoDescribed as Spitalnik, who arranged for Troilo in the late 1940s (including Ojos negros), joined Pugliese's orchestra in 1953 after Roberto Peppe died in an accident.Ismael Spitalnik8 days agoDescribed as Spitalnik, who arranged for Troilo in the late 1940s (including Ojos negros), joined Pugliese's orchestra in 1953 after Roberto Peppe died in an accident.
15. Osvaldo Pugliese8 days agoDescribed as Pugliese's arrangements go beyond the composition, and he hears things in old tangos that were not in the music but should have been, as with La mariposa and GaOsvaldo Pugliese8 days agoDescribed as Pugliese's arrangements go beyond the composition, and he hears things in old tangos that were not in the music but should have been, as with La mariposa and Ga
16. Alberto Morán8 days agoDescribed as Morán is Dag's favourite Pugliese singer; with Pugliese he is 'like pouring oil on a fire' after a modest opening.Alberto Morán8 days agoDescribed as Morán is Dag's favourite Pugliese singer; with Pugliese he is 'like pouring oil on a fire' after a modest opening.
17. Alfredo Gobbi8 days agoDescribed as Gobbi was a complete bohemian, and Lavocah calls it a miracle that he made the recordings he did.Alfredo Gobbi8 days agoDescribed as Gobbi was a complete bohemian, and Lavocah calls it a miracle that he made the recordings he did.
18. Alfredo Gobbi8 days agoDescribed as Gobbi's tempo flexes organically and the music is complex yet milonguero, made for dancing; sextets playing in the Gobbi style are still exciting.Alfredo Gobbi8 days agoDescribed as Gobbi's tempo flexes organically and the music is complex yet milonguero, made for dancing; sextets playing in the Gobbi style are still exciting.
19. Elvino Vardaro8 days agoDescribed as Vardaro moves from a line to double stopping (as in Tchaikovsky's concerto) to very fast articulated notes and still sounds like tango violin, unlike Francini wElvino Vardaro8 days agoDescribed as Vardaro moves from a line to double stopping (as in Tchaikovsky's concerto) to very fast articulated notes and still sounds like tango violin, unlike Francini w
20. Osvaldo Pugliese8 days agoDescribed as Pugliese said his ABC was Arolas, Bardi and Cobián; in the 1980s he wrote an arrangement of Pico de oro, handed it out at rehearsal, let the musicians get excitOsvaldo Pugliese8 days agoDescribed as Pugliese said his ABC was Arolas, Bardi and Cobián; in the 1980s he wrote an arrangement of Pico de oro, handed it out at rehearsal, let the musicians get excit
21. Elvino Vardaro8 days agoDescribed as Vardaro's 1933 test recording, which Victor never issued, is the only song repeated in Tango By Year (in Tango 1933); the 1953 disc is a second and last chance Elvino Vardaro8 days agoDescribed as Vardaro's 1933 test recording, which Victor never issued, is the only song repeated in Tango By Year (in Tango 1933); the 1953 disc is a second and last chance
22. Elvino Vardaro8 days agoDescribed as Columbia's artistic director Martín Darré invited Vardaro to form an all-star orchestra for one disc (Pico de oro and the Bardi tango), arranged by Argentino GaElvino Vardaro8 days agoDescribed as Columbia's artistic director Martín Darré invited Vardaro to form an all-star orchestra for one disc (Pico de oro and the Bardi tango), arranged by Argentino Ga
23. Juan Polito8 days agoDescribed as In 1953 Polito's band is of 'intermediate complexity', bangs out the beats and sounds like the early 1940s.Juan Polito8 days agoDescribed as In 1953 Polito's band is of 'intermediate complexity', bangs out the beats and sounds like the early 1940s.
24. Juan Polito8 days agoDescribed as Polito, D'Arienzo's pianist after Biagi, has led his own band since the whole D'Arienzo orchestra quit in February 1940; that band never got a recording contracJuan Polito8 days agoDescribed as Polito, D'Arienzo's pianist after Biagi, has led his own band since the whole D'Arienzo orchestra quit in February 1940; that band never got a recording contrac
25. Héctor Varela8 days agoDescribed as Varela's orchestra shows little development in the 1950s; his best tracks are the very early ones from 1950, and the hit En tres años is from 1956.Héctor Varela8 days agoDescribed as Varela's orchestra shows little development in the 1950s; his best tracks are the very early ones from 1950, and the hit En tres años is from 1956.
26. Osvaldo Pugliese8 days agoDescribed as Pugliese played Desde el alma in dances as early as 1946, but it was recorded only in 1975, once a formal arrangement was written; serious bands recorded few miOsvaldo Pugliese8 days agoDescribed as Pugliese played Desde el alma in dances as early as 1946, but it was recorded only in 1975, once a formal arrangement was written; serious bands recorded few mi
27. Carlos Di Sarli8 days agoDescribed as Di Sarli is very good at cadencia; a D'Arienzo milonga is like a horse, but in Di Sarli's you feel the sentences swing.Carlos Di Sarli8 days agoDescribed as Di Sarli is very good at cadencia; a D'Arienzo milonga is like a horse, but in Di Sarli's you feel the sentences swing.
28. Carlos Di Sarli8 days agoDescribed as A typical vocal tango has six blocks of music; Di Sarli uses four (instrumental verse and chorus, then singer verse and chorus), so his tangos are short, often Carlos Di Sarli8 days agoDescribed as A typical vocal tango has six blocks of music; Di Sarli uses four (instrumental verse and chorus, then singer verse and chorus), so his tangos are short, often
29. Juan Carlos Copes8 days agoDescribed as Copes had died the week before; he danced to Troilo's Quejas de bandoneón at the end of his show and kept show tango alive through the decades.Juan Carlos Copes8 days agoDescribed as Copes had died the week before; he danced to Troilo's Quejas de bandoneón at the end of his show and kept show tango alive through the decades.
30. Carlos Di Sarli8 days agoDescribed as Di Sarli told his bandoneonists to play like an organ, no flourishes; in Duelo criollo the low solo line is like a funeral oration.Carlos Di Sarli8 days agoDescribed as Di Sarli told his bandoneonists to play like an organ, no flourishes; in Duelo criollo the low solo line is like a funeral oration.