Tango in 1953

Carlos Di Sarli — recorded in Tango in 1953 (24 recordings)1953[1]Single source

Alfredo De Angelis — recorded in Tango in 1953 (19 recordings)1953[1]Single source

Francisco Canaro — recorded in Tango in 1953 (16 recordings)1953[1]Single source

Juan D'Arienzo — recorded in Tango in 1953 (15 recordings)1953[1]Single source

Osvaldo Fresedo — recorded in Tango in 1953 (14 recordings)1953[1]Single source

Orquesta Francini-Pontier — recorded in Tango in 1953 (12 recordings)1953[1]Single source

Héctor Varela — recorded in Tango in 1953 (11 recordings)1953[1]Single source

Edgardo Donato — recorded in Tango in 1953 (10 recordings)1953[1]Single source

Osvaldo Pugliese — recorded in Tango in 1953 (10 recordings)1953[1]Single source

José Sala — recorded in Tango in 1953 (10 recordings)1953[1]Single source

Donato Racciatti — recorded in Tango in 1953 (9 recordings)1953[1]Single source

Francisco Rotundo — recorded in Tango in 1953 (9 recordings)1953[1]Single source

Enrique Lucero Plays the orchestra's singer in La voz de mi ciudad, premiered 15 January.[2]Single source

José María Rizzuti Dies.[3]Single source

Ricardo Ruiz Records Cascabelito with Ángel D'Agostino.[4]Single source

Rodolfo Galé Last Sassone session (El estrellero, Yunque); joins José Basso.[5]Single source

David Díaz Plays in the large orchestra of El patio de la morocha, premiered on 24 April.[6]Single source

Carlos Almada Records As de cartón with Alfredo Gobbi.[7]Single source

Augusto Berto Dies.[8]Single source

Carlos Vicente Geroni Flores Dies at the home of the Count of Arcentales.[9]Single source

Rodolfo Galé First Basso recordings for Odeon, Cuesta abajo and Patoteros.[10]Single source

Juan Carlos Cobian Dies in Buenos Aires.[11]Single source

Carlos Yanel Hired by pianist José Sala, sharing vocals with Alfredo Belusi.[12]Single source

Nito Garcia Wins his first milonga contest, aged 17.[13]Single source

Puppi Castello Around age 18 he is a local favourite in Boulogne, though not yet known in Villa Urquiza.[14]Single source

Ruben Harymbat Starts dancing at about fourteen, learning from his brothers, cousins and friends (year inferred from age).[15]Single source

Osvaldo Tarantino Pianist of Héctor Varela's orchestra.[16]Single source

Aníbal Arias Joins the guitar group accompanying Héctor Mauré, for four years.[17]Single source

Juan Bruno As the milongas decline from about 1953, he gradually stops dancing to marry and work.[18]Single source

Mingo Pugliese Expelled from the Fine Arts School around 1953–54 for opposing the Peronist government.[19]Single source

Osvaldo Berlingieri Meets his partner Leda Verlini on a ship while returning from a performance in Baghdad.[20]Single source

Gerónimo Bongioni Records his instrumental Tango de ayer for Columbia with the Auténtico Cuarteto Los Ases.[21]Single source

Ernesto Baffa | Ubaldo De Lío Joins Horacio Salgán as first bandoneon, replacing Leopoldo Federico.[22]Single source

Alfredo Belusi Joins José Sala's orchestra in Rosario and makes his first records.[23]Single source

Raúl Ledesma Begins on Radio Belgrano's La Gran Audición Federal; signs with Odeon.[24]Single source

Federico Silva Writes Hasta siempre amor with Donato Racciatti.[25]Single source

Joaquin Do Reyes Records his instrumental Rastreando for TK.[26]Single source

Osvaldo Manzi Begins directing the orchestra that backs singer Alberto Marino, recording for Odeon until 1955.[27]Single source

Enrique Díaz Shares the bass in the orchestra of El patio de la morocha.[6]Single source

Julio Sosa Joins Francisco Rotundo's orchestra in April.[28]Single source

Ángel Cabral Édith Piaf hears Que nadie sepa mi sufrir in Buenos Aires and takes it to France.[29]Single source

Mario Demarco Joins Julio De Caro's last orchestra, disbanded early in 1954.[30]Single source

Ernesto Franco First bandoneon of Alfredo De Angelis's orchestra, until late 1957.[31]Single source

Marvil Writes Cómo nos cambia la vida with Roberto Rufino.[32]Single source

Osvaldo Sosa Cordero Writes Para Corrientes with Julio De Caro.[33]Single source

Roberto Grela Plays with Troilo in El patio de la morocha at the Teatro Enrique Santos Discépolo.[34]Single source

Jorge Casal Records the vals Vuelve la serenata with Raúl Berón; appears in Troilo's sainete El patio de la morocha.[35]Single source

Hugo Diaz Meets Toots Thielemans and Larry Adler in Belgium.[36]Single source

Miguel Montero Sings with Mario Demarco on Radio Splendid.[37]Single source

Pedro Datila Leaves show business for a Post Office job.[38]Single source

Aníbal Troilo Plays Eduardo Arolas in Cátulo Castillo's play El patio de la morocha, in a duo with guitarist Roberto Grela.[39]Single source

Francisco Rotundo Julio Sosa joins after leaving Francini-Pontier and stays about two years.[40]Single source

Donato Racciatti Opens the orchestra's peak years, to 1960, with Nina Miranda and then Olga Delgrossi as singers.[41]Single source

Catulo Castillo Named president of the Comisión Nacional de Cultura.[42]Single source

Hugo Baralis Debuts his own orchestra on Radio Belgrano.[43]Single source

Héctor Stamponi Forms a piano and violin duo with Enrique Mario Francini.[44]Single source

Mariano Mores Starts recording for Odeon, where he stays until 1969.[45]Single source

Roberto Caló Plays Radio Splendid, the confitería El Marzotto and the carnival dances at Les Ambassadeurs; backs Azucena Maizani on record.[46]Single source

Alberto Amor Records Una página en blanco with Francisco Grillo for Pathé.[47]Single source

Elvino Vardaro Records two sides for Columbia under his own name, "Pico de oro" and "El cuatrero".[48]Single source

Pedro Laurenz Last orchestra recordings in September for Pampa, then disbands the orchestra.[49]Single source