Francisco Canaro - Fast / Late Milongas

Orchestras: Francisco Canaro, Quinteto Pirincho

Singers: Ernesto Famá, Carlos Roldan, Instrumental

Period: 1938-1947

As time went by, the milongas of Canaro became faster and faster. In the period between 1932-1937 the speed was ranging from 76 to 90 bpm. 76 is rather slow (e.g. Milonga Sentimental), 90 starts to be reasonably fast (e.g. Milonga de Antańo). Suddenly in 1938 songs started to speed up and after that period they ranged from 96 bpm to 116 bpm (116 is a really fast milonga - e.g. Requebrada).

Personally, as a dancer, I like most of the songs recorded between 1938 and 1939. One can find amongst them "hits" like: Reliquias Porteñas, La Milonga de Buenos Aires, No Hay Tierra Como La Mía and many others... Similar to many other orchestras something changed in the beginning of  the 1940ies. The later milongas are less enjoyable and more difficult to dance.

DJ comment:

As written above, the milongas from the later period are very fast. For that reason they might not  be appreciated by some less experienced dancers. Milongas sung by Carlos Roldan are very good, playful but not very easy to dance. Quite many times I have seen dancers (even pretty advanced ones) leaving the dance floor in the middle of tanda.

So you'll probably need to be a bit more careful while playing the later milongas of Canaro, but still they should be in the repertoire of every DJ. There are lots of great songs to choose from.

Song examples:

Reliquias Porteñas, Orquesta Francisco Canaro, Instrumental, 1938
Bailan Javier Rodriguez - Geraldine Rojas
Bailan Javier Rodriguez - Andrea Missè
Bailan Sebastian Jimenez - Maria Ines Bogado
Bailan Fabian Peralta - Virginia Pandolfi

La milonga de mis tiempos, Orquesta Francisco Canaro, Instrumental, 1938, Bailan Sebastian Arce - Mariana Montes
Bailan Sebastian Arce - Mariana Montes, Version 2

Mi Buenos Aires, Orquesta Francisco Canaro, Canata Ernesto Fama, 1938

Milonga Brava, Orquesta Francisco Canaro, Canta Roberto Maida, Bailan Pablo Noelia
Bailan Sebastian Achaval - Roxana Suarez

La Milonga de Buenos Aires, Orquesta Francisco Canaro, Canta Ernesto Fama, 1939
Bailan Sebastian Arce - Mariana Montes

No hay tierra como la mía, Orquesta Francisco Canaro, Canta Ernesto Fama, 1939

Parque Patricios, Orquesta Francisco Canaro, Canta Ernesto Fama, 1940

Caran Can Fu, Orquesta Francisco Canaro, Canta Carlos Roldan, 1941, Bailan Oscar Mandagaran - Georgina Vargas

Serenata, Orquesta Francisco Canaro, Canta Carlos Roldan, 1944

La Naranja Nacio Verde, Orquesta Francisco Canaro, Cantan Carlos Roldan, Hector Castel, 1944

Se Dice De Mi, Orquesta Francisco Canaro, Canta Carlos Roldan, 1943

Arrabalero, Orquesta Quinteto Pirincho, 1950, Bailan Horacio Godoy - Cecilia Garcia

Juan d'Arienzo - Tango Revolution

Orchestra: Juan d'Arienzo

Singers: Alberto Echagüe, Enrique Carbel, Instrumental

Period: 1935-1939

When you read about d'Arienzo, you might come across phrases like:"he returned music to the dancers", "he revolutionized tango music", "with d'Arienzo new era in tango music starts ", etc... I am not an expert, but I'm pretty sure that the people who wrote those statements, knew well what they were talking about :)

What I know for certain is that in 1935 something significant happened. When I go through my music collection in chronological order I have a feeling that all of the music before 1935 is somehow similar. That obviously does not mean that until that time nothing interesting was happening in the tango music scene. Lots of great orchestras were recording, each one with a particular style (especially Fresedo with his “Hollywood flavour"). But when I listen to the first recordings of d'Arienzo from 1935 they stand out significantly. Something has changed. It's like a breath of fresh air... There’s not point in writing much more. Just listen and judge yourself.

It's important to mention that Rodolfo Biagi was a pianist in d'Arienzo’s orchestra at that time (1935-1938). He did significantly contribute to the new, unique style.

DJ:

The D'Arienzo from the 1930ies is nearly a MUST for every milonga. The recordings are very rhythmical and easy to dance. No matter what time played, a tanda of songs from that period will surely bring most of the dancers to the dance floor.

Alberto Echagüe was the main singer of the orchestra in the 1930ies. Enrique Carbel has recorded only one song: Paciencia. Only one song, but a great one. Another singer from that time was Walter Cabral: he did not record any tangos, but rather a few valses and a milonga.

Song examples:

9 de Julio, Orquesta Juan d'Arienzo, Instrumental, 1935

El Flete, Orquesta Juan d'Arienzo, Instrumental, 1936
Bailan Octavio Fernandez - Corina Herrera
Bailan Chicho - Juana Sepulvera
Bailan Federico Naveira - Ines Muzzopappa

Ataniche, Orquesta Juan d'Arienzo, Instrumental, 1936
Bailan Federico Naveira - Ines Muzzopappa

Paciencia, Orquesta Juan d'Arienzo, Canta Enrique Carbel, 1937

Pensalo Bien, Orquesta Juan d'Arinezo, Canta Alberto Echagüe, 1938
Bailan Sebastian Arce - Mariana Montes
Bailan Pablo Veron - Teresa Cunha
Bailan Oscar Casas - Mary Ann Casas, Osky Casas - Luisa Pasierkowska

Nada Mas, Orquesta Juan d'Arinezo, Canta Alberto Echagüe, 1938

La Bruja, Orquesta Juan d'Arinezo, Canta Alberto Echagüe, 1938
Bailan Nestor Ray - Patricia Garcia

No Mientas, Orquesta Juan d'Arinezo, Canta Alberto Echagüe, 1938