Saturday, 14 February 2015

Miguel Caló - Overview


Miguel Caló is a name each tanguera and tanguero should be very familiar with. He is best known for his beautiful Golden Age recordings from 1940ies. But that is not all, we should know more...

Caló started his musical career in mid twenties. In 1926 he joined the orchestra of Osvaldo Fresedo, as a bandoneon player. A year later he joined Francisco Pracánico. His first own orchestra was created in 1929, but the project did not last long. Only 3 years later, in 1932, the second attempt of creating orchestra was successful.
Miguel Caló should be appreciated for his great musical legacy. Further more, he had another contribution to tango by introducing two greatest singers in the history: Raúl Berón and Alberto Podestá.


To learn about Caló´s music in more systematic way, I suggest to split his work into 3 parts:

- early recordings (1932-1938)
- Golden Age recordings (1940ies)
- late recordings (1950-1972)

Golden Age recordings are very famous and you will hear them in most milongas. The music from the other two periods is much less known, but also very interesting and worth discovering.

For more detailed biographical and discographical information please go to:
Todo Tango - Miguel Caló

In the next post I will start with Miguel Caló and Alberto Podestá...

Monday, 9 February 2015

European Tangos part 1




The opinions on European tangos are very mixed. Some conservative tangueros don't consider them appropriate for milongas. Other, more “progressive” dancers and DJs simply love it! A few years ago a festival organizer advised” me not to play any non-Argentinian music because the dancers don’t appreciate it. Playing it turned out to be a great success :).

As usually, I think that the best approach is in-between. European tangos should be played in milongas, because they add variety and make milongas more interesting for the dancers. At the same time those tangos should not be abused by playing them too often. The dispute between "conservative" and “progressive” sides is not so important anyways… Vast majority of dancers will probably not realize that they are hearing and dancing to European music :).

In this and few other posts I will present you some of my favorite European orchestras and tangos. Some of them are famous and popular. Others are unknown, but worth discovering.

The most famous and frequently played European orchestra is Rafael Canaro. Some time ago I have written a post about him:


Jean Auguste Pesenti was a leader of another orchestra, which I would like to present in this post. Unfortunately, I can’t find any online information about this ensemble. You can find several interesting recordings below:

Sunday, 25 January 2015

Aníbal Troilo with Francisco Fiorentino


If you go to any milonga with traditional music, you will probably hear at least one tanda of Troilo. If you do, there is a high chance that Francisco Fiorentino will be a singer.

Francisco Fiorentino started his career as a bandoneonist, not as a vocalist. In 1928 he joined the orchestra of Francisco Canaro. The orchestra leader realized that Fiorentino is a talented singer. Since then, for several years Fiorentino did both playing and singing in orchestras of Juan Carlos Cobián, Roberto Firpo, Pedro Maffia, Juan D'Arienzo, Roberto Zerrillo, Minotto Di Cicco and Francisco Canaro.

In 1937 Fiorentino joined the orchestra of Troilo and stayed working with him until 1944. This was the top period in his career. Afterwards, he created his own orchestra lead by Astor Piazzolla, but it did not turn out to be a success. For more detailed biographical and discographical information please go to:
Todo Tango - Francisco Fiorentino (available only in Spanish)

I split the recordings of Troilo with Fiorentino into 2 groups: early (from 1941 till 1942) and late (from1942 till 1944). It is much easier to build consistent tanda if you stick to songs from one period only. More experienced DJs can obviously mix them.

Songs from early period are very rhythmic and fast (65-70 beats per minute). They are full of syncopations. A tanda of songs from this period will never fail. Both beginners and advanced dancers will enjoy it and the energy in the room will go up! From this period comes the famous recording of En Esta Tarde Gris.

Songs from late period are very melodic and slow (58-65 beats per minute). If played in milonga, some of them can be challenging for less experienced dancers. You can use tanda of recodings from that period after a tanda of milonga, when you want to calm down the dance floor and bring more emotions.

Song examples:

Early period:

En Esta Tarde Gris, canta Francisco Fiorentino, 1941
Bailan Gaston Torelli y Noelia Hurtado

Tinta Roja, canta Francisco Fiorentino, 1941
Bailan Paulina Cazabon y José Luis Gonzalez

El bulín de la calle Ayacucho, canta Francisco Fiorentino, 1941
Bailan Javier Rodriguez y Andrea Misse

Late period:

Malena, canta Francisco Fiorentino, 1942

Cada Vez Que Me Recuerdes, canta Francisco Fiorentino, 1943

Sosiego en la noche, canta Francisco Fiorentino, 1943

Friday, 23 January 2015

Aníbal Troilo - Overview


 

Aníbal Troilo´s orchestra is put by most experienced dancers and DJs in top 4 of the best and most important  formations in the history of tango (together with d´Arienzo, di Sarli and Pugliese). I´m actually quite surprised that I have not written about it before. :) I feel that this orchestra is recently  becoming more popular and is now "in fashion".

Troilo formed his first own band in 1938. Before he played with many famous and influential tango musicians: the violinists Juan d'Arienzo, Julio de Caro, Alfredo Gobbi and Elvino Vardaro, the pianist Osvaldo Pugliese, the bandoneonists Ciriacio Ortiz, Juan Maglio, Luis Petrucelli.

Troilo had been recording between 1938 and 1971. The most famous recordings come from the 40ies: instrumentals and those with singers Francisco Fiorentino & Alberto Marino. But there is more to discover. Recordings with singer Floreal Ruíz (1944-1948) are very good and danceable. Some of the instrumentals from the 50ies can be also used in milongas. The rest of the recordings are very interesting, but mostly only for listening.

The orchestra of Troilo is one of the few that has a large selection of  tangos, valses and milongas. Valses are very popular and can be heard frequently in regular milongas, festivals and marathons. Milongas are good and danceable, but for some reason they are not regularly  played. As a dancer,  I don´t enjoy them much and I don´t use them as a DJ. The floor usually gets pretty empty when you hear them. :
 
If you are a tango DJ or a music collector you should definitely get the 16 CD collection "Obra Completa en RCA". Most of you will need  only the first 7 CDs (recordings up to 1948). Later recordings are less interesting from dancing perspective. The covers of those CDs look like the following:




For more detailed biographical and discographical information please go to:
Todo Tango - Aníbal Troilo

In the next post I will start from presenting Troilo´s work with Francisco Fiorentino. As a teaser, you´ll find a few of my favorite songs below...

En Esta Tarde Gris, canta Francisco Fiorentino, 1941

Tinta Roja, canta Francisco Fiorentino, 1941

Lagrimitas De Mi Corazón, cantan Edmundo Rivero y Floreal Ruiz, 1948

Sunday, 17 November 2013

Orquesta Típica Victor (OTV) - Golden Age recordings


From its creation Orquesta Típica Victor was recording in Guardia Vieja style. The songs from that period were very simple and rhythmical, all the instruments were playing together - "a la parilla". Some other popular orchestras playing in that style were: Adolfo Carabelli, Sexteto Carlos di Sarli, early Francisco Lomuto and Francisco Canaro. In the middle of 30ies the style changed and Golden Age period started. The music became more sophisticated, melodic and romantic. Also OTV did follow that trend.

Songs from that period are probably less known among the dancers than the ones from the Guardia Vieja epoch. I like them a lot, both as a DJ and as a dancer. I'd like you to pay special attention to two of them.

"Una Vez" is the first one. I think that it is currently the most popular song of OTV from that period. It is truly beautiful, its melody usually brings all the dancers to the dance floor. It happens that some songs become popular in the milongas because of some famous couple's performance video on Youtube. I think "Una Vez" is an example of it. It got much more popular (at least at the milongas I was attending) after Noelia Hurtado and Carlitos Espinoza performed to it (link to the video below).

By the way: Noelia had also an important contribution to promoting another tango hit - "Invierno" by Francisco Canaro. At that occasion it was still with Pablo Rodríguez.

Another song to check is "Loca", a song better known from d'Arienzo's repertoire. The version by OTV is pretty much completely unknown. The quality of the recording available is not great and it is not easy to build a consistent tanda with it. I would rather leave playing it during marathons with crowd of experienced dancers.


Song examples:

Una Vez, Canta Ortega del Cerro, 1943
Bailan Carlitos Espinoza y Noelia Hurtado
Bailan Murat y Michelle Erdemsel

Bajo El Cono Azul, Canta Alberto Carol, 1944
Bailan Anita Monteagudo y Pablo Retamar

Tu Vida Es Mi Vida, Instrumental, 1937

Mi Taza De Café, Canta Alberto Carol, 1944

Loca, Instrumental, 1944

Adios Buenos Aires, Angel Vargas, 1938
Bailan Juan Carlos Martinez y Nora Witanowsky

Desesperanza, Canta Mario Pomar, 1939

Saturday, 16 November 2013

Orquesta Típica Victor (OTV) - Overview


From the beginnings of tango "industry" some of the recording companies were creating their own tango orchestras. Their main purpose was to represent the companies and make recordings. They usually did not perform in public. Example of such orchestras are: Orquesta Típica Brunswick, Orquesta Típica Columbia, Orquesta Típica Select. But by far the most famous one was Orquesta Típica Victor (OTV).

The orchestra was created in 1925 and existed until 1944. Throughout its history many of the best tango musicians worked there. Adolfo Carabelli was the first leader of the orchestra. Among other famous names we could find bandoneonists: Luis Petruccelli , Ciriaco Ortiz, Carlos Marcucci, Pedro Laurenz; violinists: Agesilao Ferrazzano, Elvino Vardaro, Antonio Buglione, Cayetano Puglisi. Most of those musicians have created their own orchestras after leaving OTV. Among the most important singers we should list: Roberto Díaz, Carlos Lafuente, Alberto Gómez, Ernesto Famá, Luis Díaz, Ortega del Cerro, Angel Vargas.

Between 1925 and 1937 the orchestra was recording in Guardia Vieja style. Later on it followed trend and moved to the Golden Age style. To read about the difference between those styles please check one of my previous posts: Guardia Vieja vs Golden Age.

In the repertoire we will find very wide selection of tangos but also many valses and a few milongas. In my next posts I will write more about them and give many examples...

For more detailed information please go to:
Todo Tango - Orquesta Típica Victor

Saturday, 23 March 2013

Guardia Vieja vs Golden Age - part 1


For quite some time already I wanted to write a post about terms that most of us have heard many times, but probably we don't always know what exactly they mean. Those terms are: Guardia Vieja, Guardia Nueva and La Época De Oro. Before writing more, once again I'd like to highlight that I'm am not an expert in the history of tango. My knowledge is based on some basic reading, talking to knowledgeable tango friends and mainly on listening!

While reading some texts about Guardia Vieja, Guardia Nueva and La Época De Oro, I came across several different, sometimes contradictory definitions. Some sources define Guardia Vieja (Old Guard) as the period in the history of Tango covering the years 1880 - 1920. Then comes Guardia Nueva (New Guard) and lasts from 1920 till 1960. La Época De Oro (Golden Age) is not mentioned at all. Even though this classification may be correct, from our perspective (21st century tango dancers and DJs) it does not seem to be very logical and useful.

Another definition cuts the history of tango music in the following way: Guardia Vieja 1880-1925, Guardia Nueva 1925-1935, La Época De Oro 1935 - 1955. This categorization is much closer to my heart and seems much more logical.

And how do I see it? The period before 1925, was the time when the music we are dancing today in milongas was being formed. It starts at the end of the XIX century with "payadores"- folk artists singing accompanied by a guitar. Later came the trios: a flute, a guitar and a violin. Later the bandoneon was added. The big revolution came when the piano replaced the guitar (both of them are string instruments). When I check my collection, I can hear the piano for the first time in recordings of Roberto Firpo's orchestra from 1919. And this was the moment when the tango music started reminding the music we all know today. During the next 5-6 years, the music did evolve further. Together with the music also technology improved. Around 1925 we are ready! The music has developed in a way that it is interesting for the dancers and the quality of the recordings allows us to use it in the milongas.

So the period before 1925 is very important in the history of tango, but it is not that important for us as dancers and DJs. The period between 1925 and 1935 is what I call Guardia Vieja. The music at that time is rhythmic and fairly simple. Most instruments play together and the same (a la parilla). The most important orchestras from this period are: Orquesta Tipica Victor, Adolfo Carabelli, Sexteto Carlos di Sarli and my favorite Francisco Canaro.
In 1935 we have a big change: Juan d'Arienzo arrives with his new style. Many of the existing orchestras change their styles (e.g. OTV, Carlos di Sarli, Fresedo) and other new, great orchestras are formed. This is the best period in the history of tango music and for that reason it is called Golden Age. The music becomes much more sophisticated. Instruments become much more independent (that makes dancing to that music so interesting, we can choose different instruments to dance to). This period lasts until approximately 1960. Around that time tango dancing lost its popularity in Buenos Aires. This is the moment when dance and music take different directions. To a big extent this change of direction can be linked to the genius and great tango musician: Astor Piazzolla.

So here we are: 
- before 1925: music not yet for dancing
- 1925 - 1935: Guardia Vieja period
- 1935 - 1960: Golden Age period
- after 1960: music not for dancing anymore

Don't get me wrong. I don't mean that after 1960 there was no music recorded that can be used in milongas. Myself I do play occasionally some late d'Arienzo (instrumental, with Valdez or Ramos), late Pugliese (I love A Evaristo Carriego or La Mariposa), Calo (e.g. Que falta que me haces with Podesta). But those are rather exceptions.

In one of the coming posts I will focus more on Guardia Vieja and Golden Age period. I will share my experience as a dancer and as a DJ. For now check the song examples below...

Song examples:

Before 1925


Golden Age (1935-1960)