Juan Maglio
22 discos en 7 episodios (6 suenan aquí), más 2 capítulos que los mencionan, en el orden en que ocurrió la música.
19261932
1926
Campanita
Lavocah argues this strong-melody, strong-beat band is the direct ancestor of D'Arienzo's later sound.
Solo en el episodio
La Chiflada
A second, wilder Maglio track played on request after listeners responded to the first.
Solo en el episodio
Ataja por Pompeya
A rare, little-heard Maglio instrumental with a strong beat reminiscent of D'Arienzo.
Solo en el episodio
Leguizamo solo
José Galarza & choir
A choral number named for champion jockey Irineo Leguizamo; unusual for having vocals in a year of mostly instrumentals.
Solo en el episodio
Arrepentido
A unique instrumental recording Stenvoll hadn't found in other versions, praised for its mysterious mood and for Elvino Vardaro's violin.
1928
CapítuloMaglio didn't recognise his own band
Juan Maglio sat in the audience and said: I don't understand this music.
Un disco aún sin identificar
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.
Solo en el episodio
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.
Solo en el episodio
Recordando tus promesas
Carlos Viván
A quite fast waltz, unusually fast for the period, which Stenvoll believes is at the right speed.
Solo en el episodio
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.
Solo en el episodio
1929
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.
Solo en el episodio
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.
Solo en el episodio
CapítuloThe Beat That Taught D'Arienzo Everything
Before D'Arienzo had 'the beat,' Juan Maglio had it first.
1930
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.
Solo en el episodio
El Orgullo del Plata
A simple, enjoyable title made famous later by D'Arienzo.
Solo en el episodio
Flor Otoñal
A more complex, less-known Maglio side played right after the simpler Orgullo del Plata.
Solo en el episodio
1931
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'.
Solo en el episodio
Juan Maglio tanda
A run of Maglio tangos that drew a strong positive reaction from the chat.
Solo en el episodio
1932
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.
Solo en el episodio
Tango By Year es de Dag Stenvoll y Michael Lavocah, publicado aquí con su permiso. El audio suena desde SoundCloud.