Orchestra: Osvaldo Pugliese
Singer(s): Roberto Chanel, Alberto Morán, Instrumentals
Period: 1943–1950
Comment:
We finally get to an orchestra that is not so well known and
definitely not appreciated by everybody, especially by some of less experienced
dancers. I love early Pugliese (which does not mean I consider myself more experienced dancer :). Songs from that period have very little to do with the orchestras
we have discussed so far (rhythmic and happy Donato with Lagos, melodic
and lyrical di Sarli with Rufino, old and easy Carabelli, energy-driving
d’Arienzo with Ramos). Pugliese sounds harsh, a bit “dirty”
and discordful. My personal favorite songs from that period are Raza Criolla and
Corrientes y Esmeralda.
DJ:
DJ:
I would be happy if on each milonga
DJs played at least one tanda of Pugliese from the early period. In
Buenos Aires it actually the case, in Europe not really. I
don’t play it as often as I would like to. I feel that several conditions
should be met to play a successful early Pugliese tanda:
- many dancers on the floor (critical mass),
- good level of dancers (less experienced dancer may not appreciate the music so much)
- good energy of the event
- proper timing (ideally evening/night milonga, a few hours after the start).
Song examples:
Mala Junta, Orquesta Osvaldo Pugliese, Instrumental, 1943
Bailan John Erban - Clarissa Sánchez
Farol, Orquesta Osvaldo Pugliese, Canta Roberto Chanel, 1943
Bailan Diego "El Pajaro" Riemer - Maria Belen Giachello
Recuerdo, Orquesta Osvaldo Pugliese, Instrumental, 1944
Raza Criolla, Orchestra Osvaldo Pugliese, Instrumental, 1945
Bailan Sebastian Jiménez - Maria Inés Bogado
Bailan David Palo - Milena Plebs
Hoy Al Recordarla, Orquesta Osvaldo Pugliese, Canta Alberto Morán, 1945
Mentira, Orquesta Osvaldo Pugliese, Canta Alberto Morán, 1945
Tiny, Orquesta Osvaldo Pugliese, Instrumental, 1945
Derecho Viejo, Orquesta Osvaldo Pugliese, Instrumental, 1945
Rondando Tu Esquina, Orquesta Osvaldo Pugliese, Canta Roberto Chanel, 1945
La Yumba, Orquesta Osvaldo Pugliese, Instrumental, 1946
Pugliese tandas are like intense spices: if you apply them in the right mixture, right time and right quantity they can elevate the experience to a whole new level. Many of my most memorable tandas were Pugliese's. However if it is not applied in the right mixture, not applied at the right time, or not applied in the right quantity then it can easily ruin the whole experience and cause suffering on the pista.
ReplyDeleteIMO many DJs who had the elevated experience have not understood that achieving it is not purely a matter of "playing Pugliese" in the milonga, but it is the matter of the right balance. Hence nothing did more damage to the reputation of Pugliese than DJs mindlessly playing (often several) tandas of his music, most of which is actually milonga-undanceable. Unexperienced DJs: I say excercise self restraint, and rather stay away.
I completely agree, however, with what you say, and I also would love to hear a tanda of well placed and well organized (early) Pugliese, if/when it suits the night.
ps: one note to the "well organized" part: although I *love* La Yumba, I don't recall ever hearing it successfully integrated in a Pugliese tanda. It is a typical mistake to add it to three other lyrical, mellow songs, because its strong character then ruins the emotional consistency built up by the rest of the tanda.