Juan Maglio

22 records across 7 episodes (6 play here), plus 2 chapters that mention them, in the order the music happened.

Records played, by recording year

19261932

Singer0 of 22 heard

1926

Campanita
Lavocah argues this strong-melody, strong-beat band is the direct ancestor of D'Arienzo's later sound.
Only in the episode
La Chiflada
A second, wilder Maglio track played on request after listeners responded to the first.
Only in the episode
Ataja por Pompeya
A rare, little-heard Maglio instrumental with a strong beat reminiscent of D'Arienzo.
Only in the episode
Leguizamo solo
José Galarza & choir
A choral number named for champion jockey Irineo Leguizamo; unusual for having vocals in a year of mostly instrumentals.
Only in the episode
Arrepentido
A unique instrumental recording Stenvoll hadn't found in other versions, praised for its mysterious mood and for Elvino Vardaro's violin.

ChapterMaglio didn't recognise his own band
Juan Maglio sat in the audience and said: I don't understand this music.
A record not yet identified
José Galarza
One of two Maglio tangos, played to show his new, irresistible four-strong-beats compás and stop-time that remind one of D'Arienzo.
Only in the episode
El nocturno
Carlos Viván
The second Maglio tango, with Viván singing; Maglio's music is more complex than before because younger musicians are evolving his style.
Only in the episode
Recordando tus promesas
Carlos Viván
A quite fast waltz, unusually fast for the period, which Stenvoll believes is at the right speed.
Only in the episode
Qué vachaché
Carlos Viván
After-party: a Discépolo piece, played because Maglio has one of the strongest beats of 1928.
La cuyanita
Carlos Viván
After-party: an untypical Maglio with a bandoneón variación that begins after only 19 seconds, which Lavocah thinks may be a record; the lineup is unknown because members changed monthly.
Only in the episode

Organito del Suburbio
Roberto Baso
Maglio's own bandoneón technique could no longer keep pace with De Caro-school players, but his band, filled with young recruits, still carried his old-guard beat and hits.
Only in the episode
El Rincón de Café
Carlos Viván
A 15-year-old Aníbal Troilo was in Maglio's bandoneón section in 1929; Lavocah thinks the closing bandoneón variation here is more likely fellow bandoneonist Federico Scorticati than Troilo.
Only in the episode
ChapterThe Beat That Taught D'Arienzo Everything
Before D'Arienzo had 'the beat,' Juan Maglio had it first.

Almagro
An instrumental with an irresistible walking beat the hosts call a direct precursor of the D'Arienzo sound.
Siete Palabras
Carlos Vivan
Played partly as a listening game, to hear whether the singer actually says what the 'seven words' of the title are.
Bella Vista
A rare Maglio track, played in the afterparty because this was one of his strongest years.
Only in the episode
El Orgullo del Plata
A simple, enjoyable title made famous later by D'Arienzo.
Only in the episode
Flor Otoñal
A more complex, less-known Maglio side played right after the simpler Orgullo del Plata.
Only in the episode

Princesa
Maglio's violin comes in at once; played as a prototype of the D'Arienzo band.
Plegaria
A strong walking beat with a big role for the piano, 'just as Biagi will'.
Only in the episode
Juan Maglio tanda
A run of Maglio tangos that drew a strong positive reaction from the chat.
Only in the episode

Tristeza Gaucha
Carlos Viván
One of only four recordings Maglio made in 1932, likely because of failing health; he died in 1934.
Pobre Flor
An instrumental waltz with a long introduction, of the kind later covered and often trimmed by D'Arienzo and others.
Only in the episode

Tango By Year is Dag Stenvoll and Michael Lavocah's, published here with their permission. The audio plays from SoundCloud.