TBY Lost Afterparty IV - 1951
Dag Stenvoll y Michael Lavocah · 17 de feb de 2021 · 3:16:35
This 'lost afterparty' revisits 1951, a year the hosts found far more diverse than expected once they moved past the 'big four' orchestras. D'Arienzo turned backward to a leaner, faster 1930s-style sound after splitting from arranger Hector Varela, while Troilo went the other way, fully absorbing Piazzolla's modern ideas both as arranger and composer. The vocal 'tango song' era that had dominated since 1938 was fading: 1951's repertoire was mostly instrumental, solo singers like Mercedes Simone and Ignacio Corsini were losing label support, and Pugliese's Barro shows Alberto Moran beginning to break free of the decade's tightly integrated singer-orchestra formula. The show also surfaces several obscure or short-lived orchestras (Lorenzo Barbero, Victor D'Amario, Florindo Sassone, Raul Kaplun, Joaquin Do Regis, Mario Demarco, Jose Basso) and closes, after the main broadcast, with a bonus set and a preview of the series' next, much earlier target: 1926-27.
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Lo que sigue, como se publicó
Tango 1926-1927Episodio 33 · 3 de mar de 2021 · 2:56:45Lo que este episodio dio a Tangopedia
Datos dichos en el episodio, cada uno citado al minuto en que se dice.
By 1951 D'Arienzo had split from arranger Hector Varela and dropped the lyrical, 1940s-style arrangements, returning to the simpler, harder-driving 1930s formula but played by a much tighter band.
The era of the vocal 'tango song,' begun mid-1938 under Troilo's influence, was effectively over by 1951; that year's repertoire was mostly instrumental.
The waltz De Vuelta, best known from Carlos Di Sarli, was actually composed by bandoneonist Carlos Lazzari, who joined D'Arienzo's orchestra around 1951 and brought the piece with him.
By 1951 Di Sarli had two vocalists, Oscar Serpa and Mario Pomar; of the first 20 tracks recorded for the new Musica label, only one had a vocal, and releasing them as four-track EPs (waiting until the first 20 were ready) confused the recording dates.
Biagi never played with his own band on Sundays; the band performed without him while he went to the horse races, being a committed gambler.
Capítulo · 7:46
The record that sold a million - twice
Same two songs, same orchestra, years apart - and the second time it sold a million copies.
New 1951 recording of the B-side of D'Arienzo's biggest-selling single (A-side La Cumparsita); fast and tight, called 'rock and roll' by the hosts.
Solo en el episodio
♪ Música · 1:30 ·
A less well-known 1951 D'Arienzo tango chosen for its wild violin slides near the beginning and near the end.
♪ Música · 2:27 ·
Verlo bailado · 73
This waltz, best known from Carlos Di Sarli, was actually composed by bandoneonist Carlos Lazzari, who had just joined D'Arienzo and brought the piece with him; here it's played as simple joy rather than Di Sarli's tenderness.
♪ Música · 2:27 ·
Verlo bailado · 7
An old Guardia Vieja tango, composed by Francisco Canaro in 1916 and recorded by Di Sarli in 1951.
♪ Música · 2:00 ·
A short introduction leads straight into Di Sarli's left hand rambling around the bottom of the keyboard.
Solo en el episodio
♪ Música · 2:00 ·
Demonstrates Di Sarli's 3-3-2 piano rhythm, building late on into a true polyrhythm (piano in groups of 3 against the orchestra's 4 beats) to a powerful climax.
♪ Música · 3:00 ·
Chosen for its unusual opening: heavy vibrato in the bandoneon's left hand like a low moan, very expressive for Biagi.
♪ Música · 2:18 ·
Verlo bailado · 19
Capítulo · 40:01
The bandoneon solo that's a century old
This 1951 recording plays a melody written in 1856 - before tango existed.
A slow milonga from Barbero's genre-blending 'Orquesta de la Argentinidad'; the melody, by early bandoneon player Santiago Ramos, is said to date from around 1856, decades before tango existed. Has an uncredited vocal refrain.
Solo en el episodio
♪ Música · 1:54 ·
Vidal left Pugliese's orchestra this year specifically so he could go back to performing with guitars; a romantic serenading waltz.
Solo en el episodio
D'Amario's La Plata orchestra finally got Radio El Mundo relays; this is from his first studio session, a well-known tango chosen so listeners could compare it to countless other versions.
Solo en el episodio
♪ Música · 2:18 ·
Sassone's own composition, surprisingly dramatic and atypical of his usual Di Sarli-imitating style; the only other orchestra known to have recorded it is Pugliese, in the 1960s.
♪ Música · 2:00 ·
Composed and arranged by Piazzolla for Troilo's orchestra; described as finally 'Piazzolla and Troilo in union,' with a pizzicato violin passage recalling Tanguera (1956).
♪ Música · 3:00 ·
Verlo bailado · 17
A joyful milonga composed by Troilo himself, built almost entirely on the offbeat.
♪ Música · 2:10 ·
An emotionally overwhelming version with Carlos Figari (not Orlando Goni) on piano and the cello pushed further forward than in Troilo's 1940s recordings.
♪ Música · 2:59 · La letra, en la página del tango
Capítulo · 1:14:42
The pianist who refused to record without his singer
In 1944, a record label rejected tango's most inventive pianist - over his singer's voice.
Compared directly to Troilo's version (a dialogue between bandoneon and piano); Salgan turns the same riff into jazz-like improvisation.
♪ Música · 2:59 ·
A 1927 carnival tango (originally sung by Gardel) about Columbine, the Commedia dell'Arte character.
♪ Música · 6:21 ·
Capítulo · 1:29:20
The waltz that isn't a waltz
Listeners called it 'just nuts.' Turns out it isn't even a waltz.
Billed as a waltz but revealed by the hosts to actually be a Colombian bambuco converted into waltz form; sparked chat debate, with one listener calling it 'just nuts.'
Capítulo · 1:32:23
Tango's forgotten architect
The name on the label wasn't the one writing the music.
Subtitled 'Acerin Aseran' (see-saw); an old Firpo tango from the late 1920s about striking woodworkers, featuring violinist Elvino Vardaro and pianist Jose Pascual.
Solo en el episodio
♪ Música · 2:30 ·
An old tango also known from D'Arienzo; Gobbi's own violin solos are described as modest compared to Enrique Camerano's showier style.
♪ Música · 2:45 ·
Verlo bailado · 2
An unusually tender lyric, described by the hosts as being about 'empty nest syndrome' in a long marriage.
Solo en el episodio
Recorded on the noisy Teca label; Kaplun had been Miguel Calo's first violin before forming his own, commercially unsuccessful orchestra.
Solo en el episodio
♪ Música · 2:30 ·
Played as a 'mystery tango' guessing game; composed by Roberto Pepe (who joined Pugliese's orchestra in 1952) for Demare's band before Pugliese made it famous.
♪ Música · 2:30 ·
Composed and recorded by Demarco's own, commercially unsuccessful orchestra before he joined Pugliese in the early 1950s and brought the theme with him; Pugliese's version is far better known.
Solo en el episodio
♪ Música · 2:30 ·
Opens unusually softly and gently for Pugliese before turning dramatic later on.
♪ Música · 2:30 ·
An old tango (1910s-20s) by Jose Martinez, a major Guardia Vieja composer; possibly the only recording of it that exists.
♪ Música · 2:55 ·
Verlo bailado · 1
Capítulo · 2:23:33
The singer who broke the glass box
For a decade, tango's singers were locked inside a formula. In 1951, one of them broke out.
Marks the first time Pugliese lets the singer push against the tightly integrated 1940s 'tango song' formula; lyric uses both 'barro' and 'fango' (mud) to describe a ruined life.
♪ Música · 2:13 · La letra, en la página del tango
Verlo bailado · 110
Recorded by a short-lived orchestra Piazzolla pulled together in 1951, between dissolving his own orquesta tipica (1946-48) and working mainly as an arranger until his move to Paris in 1954.
♪ Música · 3:02 · La letra, en la página del tango
A non-tango French song used as a cortina (break) between the main broadcast and the extra post-show music.
Solo en el episodio
♪ Música · 2:10 ·
Predates the better-known 1958 Di Sarli recording; 'ficha' is horse-racing slang for a sure winner. An old tango first recorded by Juan Maglio in 1912.
Solo en el episodio
♪ Música · 2:29 ·
Unusual phrase structure: phrases end on the second beat rather than the fourth or first, producing a simultaneous very low and very high note; attributed to Biagi's influence.
♪ Música · 2:30 ·
Written in 1905, before four-beat tango became standard (1912-1917); still carries the older slow milonga/habanera rhythm of its era.
Solo en el episodio
♪ Música · 1:53 · La letra, en la página del tango
Backed on guitar by Roberto Grela; an exception, since by 1951 labels had largely stopped signing new solo singers.
Solo en el episodio
♪ Música · 2:20 · La letra, en la página del tango
Capítulo · 2:55:59
The bandleader who paid his way out of obscurity
He led only a second-tier orchestra, so he spent on the one thing that mattered.
An old Gardel-era number; Basso, Troilo's former pianist, was known for paying his singers well. Contradictory macho lyric: the singer insists a man shouldn't cry while clearly weeping.
♪ Música · 2:18 · La letra, en la página del tango
Composed by Ismael Spitalnik, a trained industrial chemist who treated music as a side activity; more danceable than Piazzolla's arrangements for Troilo from the same period.
♪ Música · 3:00 ·
Verlo bailado · 1
Capítulo · 3:05:10
The chemist who moonlighted as a tango composer
His day job was breaking down chemicals. At night, he wrote one of Troilo's best milongas.
A second rendition played to compare with Lucho Demare's earlier version; features a roughly two-minute dialogue between violinist Enrique Camerano and bandoneonist Ruggiero.
♪ Música · 2:28 ·
Verlo bailado · 1
The night's closing number, one of 1951's big hits; a listener noted Valentino sounds like Charlo, especially on a high note. Chosen as a danceable finish after a varied, less-danceable night.
♪ Música · 5:07 ·
Verlo bailado · 20
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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.