Tango in 1944

Juan D'Arienzo — 24 recordings1944[1]

Carlos Di Sarli — 14 recordings1944[1]

Aníbal Troilo — 28 recordings1944[1]

Osvaldo Pugliese — 16 recordings1944[1]

Miguel Caló — 22 recordings1944[1]

Ricardo Tanturi — 20 recordings1944[1]

Ángel D'Agostino — 19 recordings1944[1]

Pedro Laurenz — 16 recordings1944[1]

Lucio Demare — 11 recordings1944[1]

Rodolfo Biagi — 10 recordings1944[1]

Osvaldo Fresedo — 16 recordings1944[1]

Edgardo Donato — 2 recordings1944[1]

Esposito Genaro dies in Paris during the occupation.[2]

Jorge Durán makes his first recordings, folk songs as Alfonso Durán, with Buenaventura Luna's Tropilla de Huachi Pampa.[3][47]

Julio Martel plays the Dancing Tibidabo with De Angelis.[4]

Típica Victor: Last session on 9 May: Uno que ha sido marino and Sobre las olas, sung by Jaime Moreno and Lito Bayardo.[5]

Alberto Amor records Nada with Biagi, his first big seller.[6]

Elsa María Bórquez: Born on 25 June in La Boca.[7]

Héctor Mauré: Last D'Arienzo recording, "Amarras", closing 50 sides with the orchestra.[8]

Juan Sanchez Gorio: First RCA Victor recording, his tango Oriente and the vals Claveles mendocinos, both sung by Mendoza.[9]

Pablo Ziegler: Born in Buenos Aires.[10]

Orlando Medina: Last Malerba recording, Palais de Glace.[11]

Antonio Maida records Media noche with Ricardo Malerba for Odeon.[12]

Carlos Dante returns with Alfredo De Angelis's orchestra at Café Marzotto on Corrientes, replacing Floreal Ruiz.[13]

Armando Moreno performs with Rodríguez at Luna Park for Odeon's 25th anniversary.[14]

Guillermo Rico: First recording with Francisco Canaro's orchestra, the vals Incomprensión, as Guillermo Coral.[15]

Guillermo Coral: First record with Canaro, the vals Incomprensión, for Odeon.[15][45]

Alberto Rivera records Desagravio with Lomuto for Victor.[16]

Armando Laborde: First records with D'Arienzo: 'Magdala' and 'Color de cielo'.[17]

Ricardo Vidort: Dancing in the salons by his mid-teens and first feels the 'milonguero feeling' around 1944–45.[18]

Francisco Rotundo wins an orchestra contest at the Palermo Palace salon.[19]

Leopoldo Federico records with Juan Carlos Cobián's orchestra, one of his first jobs.[20]

Osvaldo Berlingieri turns professional as pianist of the orchestra backing Héctor Mauré, debuting at the Marabú.[21]

Roberto Goyeneche: After winning a new-voices contest, starts singing with Raúl Kaplún's orchestra at eighteen.[22]

José Rótulo writes Firuletear de bandoneón with Ángel Domínguez, introduced simultaneously by Pedro Laurenz and Alfredo De Angelis; Parece un cuento wins the Radio Canción contest.[23]

Carlos Waiss writes A suerte y verdad with Carlos Parodi, A mí me llaman Juan Tango with Tito Ribero and No nos veremos nunca with D'Arienzo.[24]

Orlando Tripodi releases his first tango, Ninguno de los dos.[25]

Roberto Pansera debuts in Cristóbal Herreros's sextet alongside José Libertella.[26]

Arturo Penón starts in the orchestras of Di Adamo-Flores, Manuel Buzón and Edgardo Donato.[27]

Ubaldo De Lío joins the staff guitarists of Radio Belgrano.[28]

Roberto Videla joins Juan Carlos Caviello's group and debuts on LR2 Radio Argentina; short spells with Donato and Kaplún.[29]

Raúl Ledesma: Hired by Francisco Plano's orchestra in Rosario.[30]

Virulazo: Around age 18 gets the nickname 'Virulazo' playing bocce.[31]

Edmundo Rivero joins Horacio Salgán's orchestra, staying about three years; no recordings are made.[32]

Luciano Leocata joins Alberto Castillo's orchestra, until 1954.[33]

Carlos Figari plays piano in Francisco Fiorentino's orchestra, directed by Piazzolla, on Radio Belgrano and at the Picadilly café.[34]

Hugo Diaz moves to Buenos Aires with Domingo Cura.[35]

Carlos Almada joins Víctor D'Amario's orchestra beside Adolfo Rivas.[36]

Osvaldo Ribo sings as Julio Lucero with Alfredo Gobbi's orchestra at the Sans Souci cabaret.[37]

Domingo Federico: First record: Saludos, backed with La culpa la tuve yo sung by Ignacio Díaz.[38]

Virgilio Expósito composes Naranjo en flor and Oro falso.[39]

Oscar Rubens: Lloran las campanas is recorded by Carlos Di Sarli with Alberto Podestá.[40]

Arturo Gallucci writes Cero al as with Francisco Bohigas, recorded by Di Sarli and by De Angelis.[41]

Marvil writes Y sonó el despertador, words and music.[42]

Jorge Caldara: During military service plays in Emilio Orlando's orchestra on Radio El Mundo; around then joins Osvaldo Pugliese.[43]

Ismael Spitalnik: Founding member of Horacio Salgán's first orchestra.[44]

Alberto Echague returns to D'Arienzo for his longest and most successful stage, lasting until 1957.[46]

Homero Expósito writes Naranjo en flor with Virgilio and Yuyo verde with Federico.[39]

Horacio Sanguinetti: Carlos Di Sarli and Alberto Podestá make the first recording of Nada, with José Dames's music.[48]

Manuel Sucher writes Nada más que un corazón and Como el hornero.[49]

Alberto Mastra: Troilo records his milonga Con permiso with Alberto Marino.[50]

Leopoldo Díaz Vélez joins SADAIC's committee for ceremonies and tributes.[51]

Osvaldo Sosa Cordero writes the milonga Clavel and the vals No comprendes.[52]

Enrique Alessio leaves Pugliese at the end of the year to arrange for and direct Alberto Castillo's orchestra.[53]

Angel Dominguez joins the Francini-Pontier orchestra.[54]

Aníbal Troilo: Francisco Fiorentino leaves the orchestra after almost seven years.[55]

Alfredo De Angelis: Carlos Dante joins, forming the duet with Julio Martel.[56]

Astor Piazzolla leaves Troilo to direct the orchestra accompanying singer Francisco Fiorentino; they record 24 pieces.[57]

Horacio Salgan forms his first orchestra, with Edmundo Rivero, playing El Germinal, El Nacional, Marzotto, Tango Bar and the Novelty.[58]

Adiós Bardi — Composed by Osvaldo Pugliese.1944[59]

Golden Age — Occurred at Argentina.1944[60]

Torrente — 1944[61]

Solamente ella — 1944[62]

Naranjo en flor — 1944[63]

Yuyo verde — 1944[64]

Oro falso — 1944[65]

Shusheta — 1944[66]

Magdala — 1944[67]

Nada más que un corazón — 1944[68]

En carne propia — 1944[69]

Tabaco — 1944[70]

La vi llegar — 1944[71]

De igual a igual — 1944[72]

Tú, el cielo y tú — 1944[73]

La capilla blanca — 1944[74]

Nada — 1944[75]

Alhucema — 1944[76]

Arlette — 1944[77]

Como el hornero — 1944[78]

Parece un cuento — 1944[79]

Mas solo que nunca — 1944[80]

Lloran las campanas — 1944[81]

A suerte y verdad — 1944[82]

A mi me llaman Juan Tango — 1944[83]

No nos veremos nunca — 1944[84]

Cero al as — 1944[85]

Llueve otra vez — 1944[86]

Así era el tango — 1944[87]

Hoy al recordarla — 1944[88]

De seis a siete — 1944[89]

Pincelada — 1944[90]

Y sonó el despertador — 1944[91]

Mi tango es triste — 1944[92]

El barco María — 1944[93]

Clavel — 1944[94]

No comprendes — 1944[95]

Mas alla de mi rencor — 1944[96]

Que solo estoy — 1944[97]

Julio Jorge Nelson — Played in Radio Mitre.1944[98]

Armando Cupo — Played in Enrique Rodríguez.1944[100]

Leopoldo Federico — Played in Juan Carlos Cobian.1944[101]

Roberto Guisado — Played in Carlos Di Sarli.1944[102]

Ángel Goicoechea — Played in Carlos Di Sarli.1944[102]

Alfredo Pérez — Played in Carlos Di Sarli.1944[102]

Antonio Rossi — Played in Carlos Di Sarli.1944[102]

Félix Verdi — Played in Carlos Di Sarli.1944[102]

Domingo Sánchez — Played in Carlos Di Sarli.1944[102]

Federico Scorticati — Played in Carlos Di Sarli.1944[102]

Enrique Alessio — Played in Osvaldo Pugliese.1944[105]

Osvaldo Ruggiero — Played in Osvaldo Pugliese.1944[105][106]

Radio Mitre — Julio Jorge Nelson's Gardel programme 'El bronce que sonríe' moved from Radio Callao to Radio Mitre in 1944; his 'El éxito de cada orquesta' also1944[98]

Golden Age — Chile: the bandoneonist Gabriel Clausi (El Chula) settled with his orchestra in Viña del Mar between 1944 and 1953 and composed 'En un rincón del1944[99]

Shusheta — In 1944 D'Agostino asked Cadícamo to adapt Shusheta because the government had banned lunfardo in tangos; it temporarily became El aristócrata1944[103]

Mano a mano — 1944 Lomuto recording with Alberto Rivera opens Te recuerdo en mi tristeza y al final veo que has sido / en mi existencia azarosa más1944[104]

Milonguita — In 1944 Osvaldo Fresedo recorded censored Milonguita as an instrumental under the title Esthercita1944[104]