Tango 1928
Dag Stenvoll y Michael Lavocah · 13 de ene de 2021 · 4:05:29
The earliest year in Tango By Year so far, 1928 is a golden age of a different kind from the 1940s: more than a thousand recordings, a big three of Canaro, Firpo and Fresedo (plus Gardel), and new-guard bands (Julio De Caro, Pedro Maffia, Luis Petrucelli) making advanced music that sells poorly but shapes everyone else. Charlo joins Canaro and Lomuto as estribillista, the Odeon-Glucksmann Gran Concurso tango contest produces a batch of hits, and Fresedo, at his intense best, leaves for Europe in October, which gives Carlos Di Sarli his break with Victor. Stenvoll builds his selection from listener suggestions, and Lavocah talks about the old guard (Maglio, Guido), Cobián's New York disappearance, guitar-backed soloists such as Rosita Quiroga, Mercedes Simone, Azucena Maizani and Corsini, the Orquesta Típica Victor, and Firpo's El amanecer. After the show Lavocah plays more Canaro, De Caro, OTV, Fresedo and Firpo and ends with Gardel's Ramona.
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TBY Lost Afterparty II - 1944Episodio 28 · 20 de ene de 2021 · 3:12:11Lo que este episodio dio a Tangopedia
Datos dichos en el episodio, cada uno citado al minuto en que se dice.
1928 has a big three, not a big four: Canaro, Firpo and Fresedo, plus Gardel as the fourth big name; none of the 1940s big four is yet at the top.
The new guard (Julio De Caro, Pedro Maffia, Luis Petrucelli) were beginning to record and influence the scene in 1928 but not selling many records; they would take a while to be recognised.
Canaro and Lomuto both started using Charlo as an estribillista in 1928, when estribillistas had hardly been used before; Charlo, spotted by Odeon's artistic director Goddard, first recorded with Canaro in February, and his voice lifts both bands.
More than a thousand recordings were made in 1928; Stenvoll had about 100 on his computer and used listener suggestions to build the list.
Troilo played in Maglio's orchestra for a few months as a boy of 15 or 16 (c. 1929-30) and said Maglio barely understood the music by then: on the night they opened at a new café Maglio did not turn up, then sat down, listened to the band and said 'I don't understand this music any more'. The band was maintaining the Maglio brand.
Capítulo · 6:08
Maglio didn't recognise his own band
Juan Maglio sat in the audience and said: I don't understand this music.
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
♪ Música · 2:35 ·
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
A quite fast waltz, unusually fast for the period, which Stenvoll believes is at the right speed.
Solo en el episodio
♪ Música · 2:08 ·
Discépolo's first tango, perhaps the most popular of the year, with guitar backing; a man sees his ex coming out of a nightclub, ruined, and decides to get drunk.
Solo en el episodio
♪ Música · 2:25 ·
A waltz also known from Di Sarli's early-1940s version and Nelly Omar with Canaro; here with guitars.
Solo en el episodio
♪ Música · 2:18 ·
Capítulo · 26:00
Why Di Sarli started in 1928
Fresedo's departure gave Di Sarli his break.
Di Sarli's first recording ever, with his sextet for Victor; the walking beat, double bass and left-hand piano are already present.
Solo en el episodio
♪ Música · 2:41 ·
Both Canaro and Lomuto recorded the same tango with Charlo; Lomuto's has more weight and is less sweet.
Solo en el episodio
♪ Música · 2:22 ·
Capítulo · 40:00
The tango contest that made the year's hits
In 1928 a record boss ran a tango competition to sell records.
An instrumental with a nice violin counter-melody and a bandoneón variación at the end; a Pedro Maffia composition.
♪ Música · 2:10 · La letra, en la página del tango
A second instrumental that many listeners will not have heard.
A first for the programme: a darker female voice from an older era, with a violin counter-melody and a bandoneón played by Cortis.
Solo en el episodio
♪ Música · 2:35 ·
A composition by Sebastián Piana and Pedro Maffia; the accompaniment is weaker than in the first song.
Solo en el episodio
Capítulo · 1:02:45
The bandoneonist who played without a break
Minotto could play in both directions without a pause.
A man waiting for his lover in a room; Charlo jumps up an octave, 'how long I have waited', and has beaten death to be with her. Stenvoll says it 'kills me every time'.
A lyric about a blind street violinist who one day isn't there; the bandoneón variación without a break is probably Minotto.
Verlo bailado · 1
Two near-identical recordings, one with Charlo as estribillista and one a week later with Charlo as soloist; this is the soloist version.
Solo en el episodio
♪ Música · 2:53 ·
Her own composition, a bleak plea to a policeman not to arrest a boy who stole for his dying mother; guitar backing.
Solo en el episodio
♪ Música · 2:11 ·
With a good rhythm and bandoneón variación, probably Petrucelli; the cotton-dress title refers to poverty.
♪ Música · 2:35 ·
Verlo bailado · 1
Chosen for its melody and bandoneón variación; Laurenz is first bandoneón and De Franco second, giving a Laurenz-style dynamic.
Solo en el episodio
♪ Música · 2:48 ·
Capítulo · 1:36:10
The Prince of Wales danced to De Caro
In 1925 the Prince of England had a tango band at his ball. It wasn't Canaro.
Capítulo · 1:37:15
The divorce that cost $50,000 and a career
She paid him to leave: $50,000, in New York.
Cobián's last year of recording before he leaves; Fiorentino is not yet at his Troilo best, and Vardaro plays violin.
♪ Música · 2:26 ·
A tango with a lesser-known singer, perhaps named after a racehorse or football player; Lavocah notes there is a whole genre of football tango.
♪ Música · 1:45 ·
Verlo bailado · 1
One of the Gran Concurso tangos of Max Glücksmann's competition, a medium hit; Stenvoll prefers the Fresedo version. The orchestra stops and Famá sings with guitar.
♪ Música · 3:10 ·
Not the Pedro Laurenz tango of the same name; Stenvoll's note says 'six-star masterpiece'. A heavy lyric looking back to knife fights.
An old-timer orchestra that now sounds old-fashioned, with Vardaro as a session violinist; a Juan de Dios Filiberto composition with a slightly square beat and a charming, sad melody.
Solo en el episodio
Vardaro with Oscar Alemán and Gastão Bueno Lobo on guitars; the trio recorded only about three sides, a record-company idea.
Solo en el episodio
♪ Música · 2:40 ·
An instrumental of a Schiammarella tango later made famous by Pugliese; complex, dense music with Vardaro and a second violin who plays a separate line.
Solo en el episodio
♪ Música · 2:13 ·
A Paris-based band which makes advanced, joyful music with whistling and a musical saw; a surprise of the year for Stenvoll.
Solo en el episodio
♪ Música · 2:52 ·
Her own song, sung quietly and matter-of-factly about a woman's heartbreak.
Solo en el episodio
Firpo, 'in my view the best band of the year' for Stenvoll; a cabaret lyric.
♪ Música · 3:00 ·
Another cabaret tango, 'poetry of the cabaret', with a groove and a piano that points toward Di Sarli.
Solo en el episodio
A sad instrumental by Alfredo Eusebio Gobbi, father of the Gobbi of the 1940s.
Solo en el episodio
♪ Música · 2:50 ·
A hypnotic Firpo waltz that reminds of Maglio's waltzes of the year.
The traditional closing piece: a rare guitar duo version, one of three guitar-backed versions that year (others by Oscar Alemán and Gardel).
Solo en el episodio
♪ Música · 2:51 · La letra, en la página del tango
After-party: Armstrong's 1928 band is the only good jazz of the year; he says black musicians were forced to play white people's jazz.
Solo en el episodio
♪ Música · 3:14 ·
After-party: a Gran Concurso tango later known from Di Sarli, here completely different, about two men fighting over a woman.
Solo en el episodio
♪ Música · 2:08 ·
After-party: a hit of 1928 with many versions, set in a tenement house where a policeman is sent to room 32 after gunshots.
Solo en el episodio
♪ Música · 2:09 ·
After-party: a Discépolo piece, played because Maglio has one of the strongest beats of 1928.
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
♪ Música · 2:09 ·
After-party: a Pedro Maffia composition entered in the 1928 Gran Concurso and a top-prize winner; complex advanced music played by Canaro with exquisite phrasing.
♪ Música · 2:33 ·
After-party: a more typical romantic Canaro with phrasing and a hesitation in the melody at the start.
♪ Música · 6:22 ·
After-party: De Caro having fun, with crazy sounds, shouting and interesting rubatos.
Solo en el episodio
♪ Música · 2:51 ·
After-party: an infectious early record sped up in transfer; Lavocah worked to get a version at the right speed.
La letra, en la página del tango
Verlo bailado · 7
After-party: a Western hit (Song of the Swamp, or Chloe) translated into Spanish.
Solo en el episodio
♪ Música · 3:08 ·
After-party: a sad Fresedo, one of his intense 1928 recordings.
♪ Música · 2:43 ·
After-party: a popular tango by Gerardo Matos Rodríguez, here a slightly unexpected version.
Solo en el episodio
♪ Música · 1:48 ·
Capítulo · 3:43:20
A tram ride at 4am
El amanecer was written on a tram at four in the morning.
After-party: Lavocah calls it one of the most romantic tango melodies; Firpo wrote it after a 4am tram ride home, with hammering factory workers heard in the percussion.
♪ Música · 1:52 ·
Verlo bailado · 5
After-party: Lavocah's 'compasita of the night' with 3-3-2 syncopation, pizzicato on top and the double bass slapping the bow on the strings.
After-party: a link to last week's D'Agostino-Vargas version from 1941, here 13 years earlier with Vardaro on violin.
♪ Música · 2:41 ·
Verlo bailado · 4
After-party: Gardel's Spanish version (lyric by Caricomo) of the worldwide hit song from the 1928 silent film starring Dolores del Río, which Lavocah thinks is better than any English version.
Solo en el episodio
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Tango By Year es de Dag Stenvoll y Michael Lavocah, publicado aquí con su permiso. El audio se reproduce desde SoundCloud.