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Tangopedia

Year

Tango in 1948

Our catalogue holds 130 recordings from 1948. The orchestras recorded most that year were Juan D'Arienzo (12 recordings), Miguel Caló (12 recordings), and Orquesta Francini-Pontier (11 recordings).

72 facts · 60 sources · every fact links its source

Our catalogue holds 130 recordings from 1948. The orchestras recorded most that year were Juan D'Arienzo (12 recordings), Miguel Caló (12 recordings), and Orquesta Francini-Pontier (11 recordings).[1][2][3]

That year

Osvaldo Ribo: Records Papel picado with Tanturi.[4]

Pedro Datila: Records Pastora with Maderna, in duet with Mario Pomar.[5]

Gerardo Matos Rodríguez: Dies.[6]

Lorenzo Barbero: Begins on Radio Belgrano's La gran audición Federal with his Orquesta de la Argentinidad.[7]

Article r1 · batch articles-2026-10-28 · every sentence cites a published fact

Recorded in12

Juan D'Arienzo — recorded in Tango in 1948 (12 recordings)1948[1]

Miguel Caló — recorded in Tango in 1948 (12 recordings)1948[1]

Orquesta Francini-Pontier — recorded in Tango in 1948 (11 recordings)1948[1]

Francisco Canaro — recorded in Tango in 1948 (9 recordings)1948[1]

Alfredo De Angelis — recorded in Tango in 1948 (9 recordings)1948[1]

Osvaldo Fresedo — recorded in Tango in 1948 (8 recordings)1948[1]

Aníbal Troilo — recorded in Tango in 1948 (8 recordings)1948[1]

Astor Piazzolla — recorded in Tango in 1948 (7 recordings)1948[1]

Osvaldo Pugliese — recorded in Tango in 1948 (6 recordings)1948[1]

Alfredo Gobbi — recorded in Tango in 1948 (6 recordings)1948[1]

Domingo Federico — recorded in Tango in 1948 (6 recordings)1948[1]

José Basso — recorded in Tango in 1948 (4 recordings)1948[1]

What happened60

Osvaldo Ribo Records Papel picado with Tanturi.[2]

Pedro Datila Records Pastora with Maderna, in duet with Mario Pomar.[3]

Gerardo Matos Rodríguez Dies.[4]

Lorenzo Barbero Begins on Radio Belgrano's La gran audición Federal with his Orquesta de la Argentinidad.[5]

Alberto Rivera Sings with Lomuto's new orchestra at the reopening of Radio Belgrano's studios.[6]

Mingo Pugliese Starts dancing tango in the salons; 12 June 1948 is later counted as his start date.[7]

Roberto Videla Last Tanturi recordings, Campeonato and Dos que se aman.[8]

Carlos Saavedra Last recording, the milonga Por la güeya, with Biagi.[9]

Mario Bustos Debuts with Domingo Federico on Radio Splendid, replacing Oscar Larroca; renamed Mario Bustos.[10]

Jorge Maciel First record with Gobbi for RCA Victor, 'Remembranza', a hit.[11]

Roberto Ray Back with Fresedo, records 'Pampero' for RCA-Victor.[12]

Roberto Arrieta Farewell session with Caló: Nunca más and Corazón de papel.[13]

Oscar Larroca Last recording with Federico, Para usted amigo; then co-fronts an orchestra with Osvaldo Manzi on Radio Belgrano.[14]

Carlos Roldán First catalogued recording with Francisco Rotundo, Serenata de candombe, for Odeon.[15]

Héctor Pacheco Records Milonga para Gardel, Descamisado and Peronista with Attadía, issued by M.A.D.A.N.[16]

Alfredo Attadia Records Milonga para Gardel with Pacheco for Odeon.[17]

Antonio Todaro Starts dancing tango at clubs in Mataderos while working as a bricklayer.[18]

Juan Carlos Copes In the late 1940s starts dancing with María Nieves, met at the Club Atlanta dances (he 17, she 14).[19]

Julio Sosa Records five sides with Luis Caruso's orchestra for the Sondor label in Montevideo, his first records.[20]

Ernesto Baffa | Ubaldo De Lío Debuts in Héctor Stamponi's orchestra.[21]

Walter Ríos Begins playing in his father Santos Ríos's orchestra.[22]

Osvaldo Ramos Wins a young-talent contest in Munro; sings with Beliera's quartet at club dances.[23]

Hugo Duval Sings in the live acts between film screenings at Buenos Aires cinemas.[24]

Roberto Goyeneche Makes his first recording, "Celedonio", with guitars in a private studio; it is never released.[25]

Beba Bidart Plays opposite Carlos Thompson in Los pulpos; the same year she performs at the Teatro Maipo.[26]

José Libertella Joins Alberto Suárez Villanueva's short-lived orchestra.[27]

Luis Stazo Professional debut in Jorge Argentino Fernández's orchestra.[28]

Alfredo Del Rio Joins Enrique Alessio's orchestra, until 1950.[29]

Juan Cambareri Makes his first records, "La puñalada" and "El amanecer", for Sondor in Montevideo.[30]

Luciano Leocata Presents Y volvemos a querernos on Radio El Mundo with Jorge Casal.[31]

Nina Miranda Season at the Hotel Rambla show with Emilio Pellejero's orchestra.[32]

Francisco Rotundo Brings singer Carlos Roldán from Montevideo; records Seguí mi consejo with him for Odeon in December.[33]

Donato Racciatti Forms his own orchestra, debuting at the Hotel Nogaró in Punta del Este, then on Radio Universal and Radio Sarandí.[34]

Roberto Chanel Leaves Pugliese after 31 recordings.[35]

Mario César Gomila Writes words for Julio De Caro's El arranque.[36]

Carlos Figari Appears with Troilo's orchestra in the film El tango vuelve a París.[37]

Jorge Caldara Pugliese's orchestra records his Patético.[38]

Hugo Diaz Debuts at the Achalay Huasi peña in Buenos Aires.[39]

Juan Carlos Lamas Performs in Madrid and Barcelona.[40]

Raul Iriarte Starts a solo career on Radio Belgrano, backed by Ismael Spitalnik's orchestra.[41]

Horacio Sanguinetti Writes Barro with Osvaldo Pugliese and Discos de Gardel.[42]

Enrique Alessio Replaces Emilio Balcarce at the head of Alberto Marino's orchestra and records Mano cruel.[43]

Ismael Spitalnik Troilo records Ojos negros in his arrangement.[44]

David Díaz Appears with Troilo's orchestra in the film El tango vuelve a París.[45]

Armando Moreno Joins Alfredo Attadía; records Araca corazón and Las cuarenta for Pathé.[46]

Guillermo Rico Cuidado con las imitaciones; soon after, Los Cinco Grandes del Buen Humor are formed.[47]

Aldo Campoamor Leaves Piazzolla's orchestra (Wikipedia says 1949).[48]

Aníbal Troilo Appears with his orchestra in the film El tango vuelve a París.[49]

Mariano Mores Leaves Canaro and starts leading his own orchestra.[50]

Homero Manzi Writes Sur with Aníbal Troilo.[51]

Luis César Amadori Dios se lo pague, his greatest success, opens in March.[52]

Juan Sanchez Gorio Tours Argentina and then Uruguay, with Jorge Linares added as singer.[53]

Oscar Herrero Appears with Pugliese's orchestra in the film Mis cinco hijos.[54]

Oscar Serpa Records La novia del mar with Carlos Di Sarli, just before Di Sarli disbands.[55]

Eduardo Adrian Sings Uno in the film Los pulpos.[56]

Floreal Ruiz Moves to Francisco Rotundo's orchestra, staying until it dissolves around 1955; 25 recordings.[57]

Guillermo Coral Co-founds Los Cinco Grandes del Buen Humor, active in radio, theatre and film for about a decade.[47]

Agustin Irusta The trio reunites for radio in Cuba.[58]

Ricardo Ruiz Summer season at the Casino de Viña del Mar, Chile, with Gabriel Clausi; six recordings.[59]

Antonio Maida Sings Tiempos viejos in La Rubia Mireya, directed by Manuel Romero.[60]

Timeline

  1. 1948

    Recorded in Juan D'Arienzo[1]

  2. 1948

    Recorded in Miguel Caló[1]

  3. 1948

    Recorded in Orquesta Francini-Pontier[1]

  4. 1948

    Recorded in Francisco Canaro[1]

  5. 1948

    Recorded in Alfredo De Angelis[1]

  6. 1948

    Recorded in Osvaldo Fresedo[1]

  7. 1948

    Recorded in Aníbal Troilo[1]

  8. 1948

    Recorded in Astor Piazzolla[1]

  9. 1948

    Recorded in Osvaldo Pugliese[1]

  10. 1948

    Recorded in Alfredo Gobbi[1]

  11. 1948

    Recorded in Domingo Federico[1]

  12. 1948

    Recorded in José Basso[1]

  13. 1948

    Antonio Todaro: Starts dancing tango at clubs in Mataderos while working as a bricklayer.[18]

  14. 1948

    Juan Carlos Copes: In the late 1940s starts dancing with María Nieves, met at the Club Atlanta dances (he 17, she 14).[19]

  15. 1948

    Julio Sosa: Records five sides with Luis Caruso's orchestra for the Sondor label in Montevideo, his first records.[20]

  16. 1948

    Ernesto Baffa | Ubaldo De Lío: Debuts in Héctor Stamponi's orchestra.[21]

  17. 1948

    Walter Ríos: Begins playing in his father Santos Ríos's orchestra.[22]

  18. 1948

    Osvaldo Ramos: Wins a young-talent contest in Munro; sings with Beliera's quartet at club dances.[23]

  19. 1948

    Hugo Duval: Sings in the live acts between film screenings at Buenos Aires cinemas.[24]

  20. 1948

    Roberto Goyeneche: Makes his first recording, "Celedonio", with guitars in a private studio; it is never released.[25]

  21. 1948

    Beba Bidart: Plays opposite Carlos Thompson in Los pulpos; the same year she performs at the Teatro Maipo.[26]

  22. 1948

    José Libertella: Joins Alberto Suárez Villanueva's short-lived orchestra.[27]

  23. 1948

    Luis Stazo: Professional debut in Jorge Argentino Fernández's orchestra.[28]

  24. 1948

    Alfredo Del Rio: Joins Enrique Alessio's orchestra, until 1950.[29]

  25. 1948

    Juan Cambareri: Makes his first records, "La puñalada" and "El amanecer", for Sondor in Montevideo.[30]

  26. 1948

    Luciano Leocata: Presents Y volvemos a querernos on Radio El Mundo with Jorge Casal.[31]

  27. 1948

    Nina Miranda: Season at the Hotel Rambla show with Emilio Pellejero's orchestra.[32]

  28. 1948

    Francisco Rotundo: Brings singer Carlos Roldán from Montevideo; records Seguí mi consejo with him for Odeon in December.[33]

  29. 1948

    Donato Racciatti: Forms his own orchestra, debuting at the Hotel Nogaró in Punta del Este, then on Radio Universal and Radio Sarandí.[34]

  30. 1948

    Roberto Chanel: Leaves Pugliese after 31 recordings.[35]

  31. 1948

    Mario César Gomila: Writes words for Julio De Caro's El arranque.[36]

  32. 1948

    Carlos Figari: Appears with Troilo's orchestra in the film El tango vuelve a París.[37]

  33. 1948

    Jorge Caldara: Pugliese's orchestra records his Patético.[38]

  34. 1948

    Hugo Diaz: Debuts at the Achalay Huasi peña in Buenos Aires.[39]

  35. 1948

    Juan Carlos Lamas: Performs in Madrid and Barcelona.[40]

  36. 1948

    Raul Iriarte: Starts a solo career on Radio Belgrano, backed by Ismael Spitalnik's orchestra.[41]

  37. 1948

    Horacio Sanguinetti: Writes Barro with Osvaldo Pugliese and Discos de Gardel.[42]

  38. 1948

    Enrique Alessio: Replaces Emilio Balcarce at the head of Alberto Marino's orchestra and records Mano cruel.[43]

  39. 1948

    Ismael Spitalnik: Troilo records Ojos negros in his arrangement.[44]

  40. 1948

    David Díaz: Appears with Troilo's orchestra in the film El tango vuelve a París.[45]

  41. 1948

    Armando Moreno: Joins Alfredo Attadía; records Araca corazón and Las cuarenta for Pathé.[46]

  42. 1948

    Guillermo Rico: Cuidado con las imitaciones; soon after, Los Cinco Grandes del Buen Humor are formed.[47]

  43. 1948

    Aldo Campoamor: Leaves Piazzolla's orchestra (Wikipedia says 1949).[48]

  44. 1948

    Aníbal Troilo: Appears with his orchestra in the film El tango vuelve a París.[49]

  45. 1948

    Mariano Mores: Leaves Canaro and starts leading his own orchestra.[50]

  46. 1948

    Homero Manzi: Writes Sur with Aníbal Troilo.[51]

  47. 1948

    Luis César Amadori: Dios se lo pague, his greatest success, opens in March.[52]

  48. 1948

    Juan Sanchez Gorio: Tours Argentina and then Uruguay, with Jorge Linares added as singer.[53]

  49. 1948

    Oscar Herrero: Appears with Pugliese's orchestra in the film Mis cinco hijos.[54]

  50. 1948

    Oscar Serpa: Records La novia del mar with Carlos Di Sarli, just before Di Sarli disbands.[55]

  51. 1948

    Eduardo Adrian: Sings Uno in the film Los pulpos.[56]

  52. 1948

    Floreal Ruiz: Moves to Francisco Rotundo's orchestra, staying until it dissolves around 1955; 25 recordings.[57]

  53. 1948

    Guillermo Coral: Co-founds Los Cinco Grandes del Buen Humor, active in radio, theatre and film for about a decade.[47]

  54. 1948

    Agustin Irusta: The trio reunites for radio in Cuba.[58]

  55. 1948

    Ricardo Ruiz: Summer season at the Casino de Viña del Mar, Chile, with Gabriel Clausi; six recordings.[59]

  56. 1948

    Antonio Maida: Sings Tiempos viejos in La Rubia Mireya, directed by Manuel Romero.[60]

  57. 1948-01-26

    Osvaldo Ribo: Records Papel picado with Tanturi.[2]

  58. 1948-04-05

    Pedro Datila: Records Pastora with Maderna, in duet with Mario Pomar.[3]

  59. 1948-04-25

    Gerardo Matos Rodríguez: Dies.[4]

  60. 1948-05

    Lorenzo Barbero: Begins on Radio Belgrano's La gran audición Federal with his Orquesta de la Argentinidad.[5]

  61. 1948-06

    Alberto Rivera: Sings with Lomuto's new orchestra at the reopening of Radio Belgrano's studios.[6]

  62. 1948-06-12

    Mingo Pugliese: Starts dancing tango in the salons; 12 June 1948 is later counted as his start date.[7]

  63. 1948-06-25

    Roberto Videla: Last Tanturi recordings, Campeonato and Dos que se aman.[8]

  64. 1948-07-22

    Carlos Saavedra: Last recording, the milonga Por la güeya, with Biagi.[9]

  65. 1948-08-01

    Mario Bustos: Debuts with Domingo Federico on Radio Splendid, replacing Oscar Larroca; renamed Mario Bustos.[10]

  66. 1948-09-08

    Jorge Maciel: First record with Gobbi for RCA Victor, 'Remembranza', a hit.[11]

  67. 1948-09-22

    Roberto Ray: Back with Fresedo, records 'Pampero' for RCA-Victor.[12]

  68. 1948-09-23

    Roberto Arrieta: Farewell session with Caló: Nunca más and Corazón de papel.[13]

  69. 1948-09-30

    Oscar Larroca: Last recording with Federico, Para usted amigo; then co-fronts an orchestra with Osvaldo Manzi on Radio Belgrano.[14]

  70. 1948-12-14

    Carlos Roldán: First catalogued recording with Francisco Rotundo, Serenata de candombe, for Odeon.[15]

  71. 1948-12-23

    Héctor Pacheco: Records Milonga para Gardel, Descamisado and Peronista with Attadía, issued by M.A.D.A.N.[16]

  72. 1948-12-23

    Alfredo Attadia: Records Milonga para Gardel with Pacheco for Odeon.[17]

Related

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