Friday, 8 June 2012

Alfredo de Angelis - Overview


I have mixed feelings when I write about Alfredo de Angelis. When I started to dance tango and learn about tango orchestras, I did not like de Angelis at all. The first 2 things that were coming to my mind were: the music is boring and sounds as if it was recorded by someone on a cheap Casio synthesizer... I obviously changed my mind since then, but I think there's a bit of truth in what I was thinking before. Some songs sound "neutral", they are between: fast and slow, rhythmic and lyric, they don't really inspire me to dance. I'm pretty sure that de Angelis was not using Casio, but some of his late songs are not very sophisticated. A few of them sound like ballroom tango music, which is usually simpler in its form (simpler does not mean worse, it's just different, because it serves a different purpose).

After reading all the bad things that I have written above, you can ask: why do I bother and write about de Angelis. The answer is simple: it is a very important and frequently played orchestra. There are many amazing and famous songs. You probably know them very well: e.g. Pregonera, Pavadita, Volvamos A Empezar. Every time I hear the last one, I get goosebumps and feel melancholic.

Alfredo de Angelis is probably the only out of the important orchestras that is more famous for his valses than tangos. His valses are surely between the most frequently played both in Buenos Aires and in Europe. This is why I will start with them....

Monday, 4 June 2012

Osvaldo Pugliese - Early Recordings




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:
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