Julio De Caro
28 discos en 17 episodios (18 suenan aquí), más 3 capítulos que los mencionan, en el orden en que ocurrió la música.
19261952
1926
Mala Junta
The most harmonically advanced track of the night, with the band laughing in chorus at the start and a striking two-bandoneón variation at the end.
Solo en el episodio
Farolito de mi Barrio
Played to showcase the Pedro Maffio/Pedro Laurenz bandoneón pairing that De Caro aficionados prize over the later Laurenz/Blasco combination.
Farolito de mi barrio
From early 1926, to show how advanced the sound of the De Caro band was, with Pedro Maffia's soft passages standing out.
1927
Flores negras
Composed by Francisco De Caro; played for its true classical counterpoint and 'astonishing' piano conduction.
Flores Negras
A showcase for pianist Francisco De Caro's melody writing; so purely melodic and undanceable that Pugliese, who loved it, never recorded his own version.
1928
La otra noche
Chosen for its melody and bandoneón variación; Laurenz is first bandoneón and De Franco second, giving a Laurenz-style dynamic.
Solo en el episodio
CapítuloThe Prince of Wales danced to De Caro
In 1925 the Prince of England had a tango band at his ball. It wasn't Canaro.
Un disco aún sin identificar
After-party: De Caro having fun, with crazy sounds, shouting and interesting rubatos.
Solo en el episodio
1929
Un disco aún sin identificar
Luis Díaz
De Caro's first 1929 recording, on the Brunswick label; chosen for Francisco De Caro's piano work, with Brunswick's house vocalist Luis Díaz singing.
Solo en el episodio
1930
La Cumparsita
De Caro's only-ever recording of this tango, a sprawling, nearly-minute-long-introduction arrangement that needed an oversized disc pressed to fit its four and a half minutes.
1935
Tangomanía
A five-minute potpourri of half a dozen unlabeled De Caro numbers for four bandoneóns, meant for listening, not dancing.
Solo en el episodio
1936
Derecho Viejo
De Caro's own experimental 'Orquesta Melódica Internacional' version of a tango better known from D'Arienzo and Pugliese, with drums, trumpet and modulation.
Solo en el episodio
Dulce Esperanza
Pedro Laugo
A surprisingly danceable De Caro waltz from this experimental period.
Contrapunto
A creative, twice-modulating De Caro milonga, hard to find in good sound quality; the title references the folk-song dueling tradition, not counterpoint.
Solo en el episodio
1938
Sacale chispas
Luis Díaz
A danceable milonga, not truly De Caro in Lavocah's view: he is disoriented by the D'Arienzo phenomenon.
Solo en el episodio
1939
Ay, Aurora
Héctor Farrel
The B side of a record also covered by D'Arienzo the same year; De Caro is inventive but confused by D'Arienzo's success.
Solo en el episodio
El monito
A De Caro composition, with whistling, that Dag describes as a young person with too many ideas.
CapítuloA De Caro without the lawyer's recommendation
Without this man there's no Pugliese, no Troilo, no Laurenz.
1940
Mariposa
Héctor Farrel
An obscure pick neither host nor guest knew well, noted for an unusually old-fashioned, habanera-like rocking rhythm.
1941
No me pidas la exclusiva
Héctor Farrel
Played to demonstrate De Caro's missing marcato: the double bass just plays another melodic line instead of marking the beat, so dancers lose the pulse.
1944
Boardija
A rich, complex, poorly-recorded De Caro side, a surprise pick and a treat for his fans.
Solo en el episodio
1949
De mi barrio
Fanny Navarro
A surprise: De Caro with a woman singer, in a lyric about a woman who goes wrong that blames the social pressures of the time.
Mala junta
A new version of a De Caro classic; he no longer plays violin in these recordings, first violin is Manuel Francia.
Aníbal Troilo
A tribute to Troilo; Lavocah calls it more substantial than much De Caro, with the bandoneón standing out.
Aníbal Troilo
An instrumental tribute to Troilo from De Caro's favourite, final recording period, said to show Pugliese's influence folding back into his old teacher.
1950
CapítuloThe gentle De Caro
Tango's great modernizer made his warmest music at the end.
Mi dolor
Orlando Verri
Lavocah's top track of 1950 and the best Mi dolor by far; Marcucci wrote it c.1930, and De Caro's warm 1950 band lets the bandoneóns open it and keeps the singer back for more than two minutes.
Boedo
A warmer treatment of an exciting but cool piece; Pugliese had recorded it in 1948 to support De Caro's comeback.
Soy bailarín
Orlando Verri
A vocal number by the same singer as Mi dolor, showing another side of De Caro; the double bass is now clearly audible.
Mi dolor
A Carlos Marcucci composition likely brought into De Caro's repertoire by Marcucci, who joined and now leads it; the De Caro of this period is 'rich and warm and juicy'.
1952
Flores negras
One of the most beautiful tango melodies ever written, composed by the orchestra's pianist, Francisco De Caro; no dance orchestra is known to have picked it up.
Tango By Year es de Dag Stenvoll y Michael Lavocah, publicado aquí con su permiso. El audio suena desde SoundCloud.