Tuesday, January 17, 2017

Locotango playlist, Boulder. CO, January 2017

001. Paolo Conte  "Via Con Me" 1981 2:47
002. Feist and Ben Gibbard  "Train Song"  3:03
003. Piatnitsa  "Soldat" 2003 3:13
004. Lidiya Ruslanova  "Valenki 1 (cortina)"  0:24
005. Quinteto Don Pancho - Instrumental "El garron" 1938 2:27
006. Quinteto Don Pancho - Instrumental "Alma en pena" 1938 2:46
007. Quinteto Don Pancho - Instrumental "Loca" 1938 2:57
Many new cortinas tonight, mostly from Argentine and Polish rock of the decades past.
008. Soda Stereo  "Profugos"  0:33
(the first tandas at the Avalon are more like ambient music for the sumptuous dinner served by Halina, the milonga's amazing host, and I play them relatively quietly. But beginning from the third tanda already, the dancers begin to fill the floor, and the volume goes up, too)

009. Sexteto Carlos di Sarli - Instrumental "Belen" 1929 2:44
010. Sexteto Carlos di Sarli - Ernesto Fama "Flora" 1930 2:38
011. Orquesta Tipica Victor (dir. A. Carabelli) -  "Coqueta" 1929 2:47
... OK, and a couple new Russian rock cortinas too :)
012. Lyube  "Bat'ka Makhno cortina 1"  0:18
013. The Alex Krebs Tango Sextet  "Negrito" 2011 1:53
014. The Alex Krebs Tango Sextet  "Largas las Penas" 2011 3:02
015. The Alex Krebs Tango Sextet  "Ella Es Asi (feat. Enrique "El Peru" Chavez)" 2011 2:32
016. Aya RL  "Skora"  0:33
017. Carlos di Sarli - Roberto Rufino "Decíme Que Pasó" 1942 2:39
018. Carlos di Sarli - Roberto Rufino  "Adiós te vas" 1943  2:30
019. Carlos di Sarli - Instrumental "Ensueños" 1943 2:42
020. Marek Grechuta  "Korowod"  0:32
I'm surprised how recent are these records of the once-overplayed nuevo tango hits of the bygone era, the era when we were making our first tango steps...
021. Lhasa De Sela "La Cara de la Pared" 2005 4:23
022. Carlos Libedinsky  "Vi Luz y Subí" 2005 3:18
023. Cirque du Soleil "Querer" 1994 4:34
024. Kult  "dziewczyna o perlowych wlosach"  0:30
025. Zazie "J'envoie valser" 1995  2:52
026. Amélie-Les-Crayons "Ta P'tite Flamme" 2002 3:01
027. Klezmatics "Di Krenitse (milonga cut)" 2003 3:39
028. Soda Stereo  "En la ciudad de furia"  0:24
029. Edgardo Donato - Horacio Lagos, Lita Morales "Chapaleando barro" 1939 2:21
030. Edgardo Donato - Romeo Gavioli, Lita Morales "Yo Te Amo" 1940 2:50
031. Edgardo Donato - Horacio Lagos, Lita Morales "Carnaval De Mi Barrio" 1939 2:25
032. De Mono  "Statki na niebie"  0:28
033. Ricardo Tanturi - Alberto Castillo "Pocas palabras" 1941 2:27
034. Ricardo Tanturi - Alberto Castillo  "La Vida Es Corta" 1941 2:26
035. Ricardo Tanturi - Alberto Castillo "Argañaraz" 1940 2:22
036. Gogol Bordello  "Pala Tute cortina 1" 2012 0:18
037. Quinteto Pirincho - Instrumental "La cara de la luna" 1959 2:31
038. Quinteto Pirincho - Instrumental "Corralera" 1956 2:05
039. Quinteto Pirincho - Instrumental "Arrabalera" 1950 2:47
A Polish-Yiddish klezmery fox cortina signals a special Old Poland-centered tanda...
040. Adam Aston  "Nikodem"  0:20
I always try to include a tanda of Eastern European antebellum music at the Avalon, and this time the set includes one lesser known but really amazing voice, the voice of Janusz Poplawski (1898-1971), who starred as the Warsaw Opera soloist in the late 1920s and early 1930s, before accepting an invitation to sing in the Polish Opera in Chicago. There are many tangos among Poplawski's nearly 700 recordings, and I picked "Grzech" ("Sin", a ballad of the fatal draw of the tango music, sensual embrace, and wine) just because it sounded very Euro-Argentine. Later on, I was surprised to discover the reason! This tango is composed by Eduardo Bianco, of "Poema" fame...
041. Janusz Poplawski "Grzech (milonga cut)" 1938 3:01
042. Piotr Leschenko  "Golubye Glaza (Blue Eyes)" 1931 2:59
043. Jerzy Petersburski - Mieczyslaw Fogg "To ostatnia niedziela" 1935 4:06
044. Gayga   "Graj nie zaluj strun"  0:34
045. Aníbal Troilo - Francisco Fiorentino "Yo soy el tango" 1941 2:27
046. Aníbal Troilo - Francisco Fiorentino "Maragata" 1941 2:46
047. Aníbal Troilo - Francisco Fiorentino "El bulin de la calle ayacucho" 1941 2:30
048. "Katyusha"  0:33
We break for a birthday vals ...
049. Rodolfo Biagi  "Loca de amor"  2:16
050.  "silence 5s"  0:06
... and then for Locotango's traditional "waterfall" community dance and a chacarera
051. Osvaldo Fresedo - Roberto Ray "Yo No Sé Llorar" 1933 2:36
052. Osvaldo Fresedo - Roberto Ray "Vida mia" 1933 3:23
053. Osvaldo Fresedo - Roberto Ray "Angustia" 1938 2:39
054. Pink Floyd  "Goodbye Blue Sky cortina long 2"  0:29
055.   "silence30s"  0:31
056. "Chacarera del Rancho"  2:21
057.   "silence5s"  0:06
As always, D'Arienzo classic resets the mood and refills the floor!
058. Juan D'Arienzo -  Alberto Echagüe "Que Importa" 1939 2:08
059. Juan D'Arienzo -  Alberto Echagüe "Ansíedád" 1938 2:32
060. Juan D'Arienzo -  Alberto Echagüe "Mandria" 1939 2:22
061. Lyube  "Atas cortina"  0:35
This may be my first playlist extensively featuring Trio Garufa, a Bay Area band of 3 musicians from 3 continents which brags about being the first (and perhaps the only) US orchestra to have played at milongas in Buenos Aires. I played a "regular" milonga and a slow-longa and also hoped to play a vals of theirs, but run out of time...
062. Trio Garufa  "Silueta Porteña (Electro Milonga)" 2008 2:35
063. Bajofondo "Leonel, El Feo (Milonga Cut)" 2004 2:15
064. Otros Aires  "Perro Viejo" 2016 3:21
065. Sandro de America  "Yo Te Amo cortina" 1968 0:23
066. Héctor Varela - Argentino Ledesma "Muchacha" 1956 3:16
067. Héctor Varela - Argentino Ledesma "Si me hablaras corazón" 1956 3:20
068. Héctor Varela - Argentino Ledesma  "Fueron Tres Años" 1956 3:27
069. Soda Stereo  "Corazon elator"  0:28
070. Orquesta Tipica Fervor de Buenos Aires "Quien Sos" 2007 3:08
071. Orquesta Tipica Fervor de Buenos Aires  "E.G.B." 2007 2:26
072. Analíá Goldberg y Sexteto Ojos De Tango "El Adios" 2011 3:13
073. Marek Jackowski   "Oprócz blekitnego nieba"  0:23
074. Color Tango  "Illusion de mi vida" 2005 3:00
075. The Alex Krebs Tango Sextet  "Romance de Barrio" 2011 2:41
076. Osváldo Pugliese "Desde El Alma" 1943 2:56
077. Marek Jackowski   "Oprócz blekitnego nieba"  0:23
078. Rodolfo Biagi - Hugo Duval  "Solamente Dios y yo" 1958 2:30
079. Rodolfo Biagi - Hugo Duval  "Alguien" 1956 3:14
080. Rodolfo Biagi - Hugo Duval  "Esperame en el cielo" 1958 2:52
081. Viktor Tsoy  "Good morning, last Hero cortina long" 1989 0:35
082. Trio Garufa  "Milonga_uruguaya" 2012 4:11
083. Paco Mendoza & DJ Vadim  "Los Ejes De Mi Carreta - danceable cortina cut" 2013 2:12
084. Otros Aires  "Digital Ego" 2016 3:04
085. Aya RL  "Skora"  0:33
086. Miguel Calo - Raul Iriarte "Cada dia te extrano mas" 1943 2:35
087. Miguel Calo - Raul Iriarte "La noche que te fuiste" 1945 2:45
088. Miguel Calo - Raul Iriarte "La vi llegar" 1944 3:24
089. Marek Grechuta  "Korowod"  0:32
090. Juan D'Arienzo - Instrumental "Re Fa Si" 1972 3:01
091. Juan D'Arienzo - Instrumental "La torcacita" 1971 2:31
092. Juan D'Arienzo - Instrumental "Zorro Gris" 1973 2:08
093. Gogol Bordello  "Pala Tute cortina 3" 2012 0:19
094. Fool's Garden "Lemon Tree" 1999 3:11
095. Jason Mraz "I'm Yours" 2008 4:20
096. Damour Vocal Band  "SWAY - danceable cortina cut"  1:39
097. Aya RL  "Skora"  0:33
098. Carlos di Sarli - Mario Pomar  "Duelo criollo" 1952 2:30
099. Carlos di Sarli - Mario Pomar  "Tormenta" 1954 3:38
100. Carlos di Sarli - Mario Pomar "No Me Pregunten Porque" 1952 3:29
101. Sandro de America  "Yo Te Amo cortina" 1968 0:23
102. Osvaldo Pugliese - Roberto Chanel "Rondando Tu Esquina" 1945 2:49
103. Osvaldo Pugliese - Roberto Chanel "Corrientes Y Esmeralda" 1944 2:49
104. Osvaldo Pugliese - Jorge Maciel "Remembranza" 1956 3:41
105. Juan D'Arienzo - Instrumental  "La cumparsita" 1951 3:54
106.   "silence5s"  0:06
(and the bonus post-Cumparsita track)
107. Jem  "Come On Closer" 2004 3:47
The stats: 15 classic and 10 nuevo / alternative / contemporary / European tandas ("40% alternative ration"). And all the flyers for the Salt Lake Tango Fest (coming at the end of March) are gone!
Now off to the hills :)


Sunday, December 25, 2016

Tango, mankind's most unusual heritage

A UNESCO image
Tango is an element of the intangible cultural heritage of the humanity. On October 2, 2009 UNESCO famously called for its preservation.What most of us don't know is how special is Tango's place on the Representative List of the Intangible Cultural Heritage of Humanity. 

The goal is to safeguard living traditions in the communities: UNESCO inscribes local cultural practices and traditions on the List of the Intangible Cultural Heritage of Humanity to give them better visibility, to boost self-esteem of the local communities, to foster the global dialogue and to encourage the authorities to do more to safeguard them.The UNESCO process takes special care to avoid excessive commercialization of culture for tourism and for export. UNESCO's goal is for the cultural riches to remain vested in the community, transmitted from generation to generation in the natural way, and continuously developing with the flow of time; it strongly opposes the danger of "folklorisation"(where a quest for "strict authenticity" smothers natural evolution and transmission of culture). UNESCO clearly recognizes the clash between safeguarding cultural traditions vs. protecting copyright or ownership. Verbatim: "Indeed, as intangible cultural heritage evolves thanks to its continuous recreation by the communities and groups that bear and practice it, protecting a specific manifestation like the performance of a dance, the recorded interpretation of a song or the patented use of a medicinal plant may lead to freezing this intangible cultural heritage and hinder its natural evolution. Moreover, as the communities are the ones who create, maintain and transmit intangible cultural heritage, it is difficult to determine the collective owner of such heritage."
Argentine legislators joining the 2008 petition

The "where" and the "how".... The UNESCO process begins from defining the geographic range of the cultural practice, and its traditional mode of transmission (family, teacher-apprentice, observation and imitation?). Tango's "where" and "how" are unparalleled in the Representative List! It's geographic range is defined as the entire world - then the declaration seeks to safeguard tango's place of birth in Montevideo and Buenos Aires. There isn't any other musical / poetic / dance art form in the whole list which is defined as distributed world-wide yet needs safeguarding in its birthplace. With tango, much credit should be given to the global communities for making Buenos Aires a place of pilgrimage, a center of study, and a source of inspiration. That's why a globalized cultural phenomenon was able to revitalize its cradle. Time and time again, when tango was in danger at its place of birth, the expat communities lent hand to sustain it ... as early in the 1900s, when tango was disallowed by the Catholic Church itself, and derided as an African-influenced, underclass subculture by the purists at home, and then in the "dark days" of tango in the 1960s and 1970s, when the foreign music fans didn't let the tradition lapse, and of course beginning in the 1990s with the social dance wave going global.
With the traditional mode of transmission, tango is just as unique. UNESCO simply refused to narrow it down to something specific. So tango has become the only cultural legacy which has lots of "right ways" to pass on the tradition!
UNESCO asks, then, about a nominated cultural practice: How does it adapt to modernity? Are the traditional ways endangered? Are there urgent safekeeping needs? Any cultural asset worth being protected by UNESCO must conform to the human rights. Importantly, sacred practices and oral arts may be safeguarded, but neither religions nor languages themselves qualify for protection. In these respects, tango isn't totally unique, but it's still very special.  Verbatim: 
- tango both embodies and encourages diversity and cultural dialogue
- it adapts to new environments and changing times
The UNESCO declaration makes it an honorable duty of Argentina to nurture its tango community in BsAs, while strongly speaking against exclusive "ownership of culture", and for broad global dialogue, change, and diversity."Inscription of the element on the Representative List would contribute to visibility of intangible cultural heritage and a deeper understanding of the Tango as a regional expression resulting from the fusion of several cultures" 

The petitioners: The UNESCO declaration was sought jointly by the municipalities of Buenos Aires and Montevideo. In Buenos Aires, Luciana Blasco, a cultural event organizer who then served on the city council, spearheaded the petition, citing the existing 1998 City Law 130 which already called for the city to help its tango community. Such luminaries as Horacio Arturo Ferrer (1933-2014), an Uruguayan-Argentine tango poet of "Balada para un loco" fame and the creator of Argentine National Tango Academy, Leopoldo Federico (1927-2014), bandoneonist of such classic orchestras as Di Sarli and Troilo's, composer, and tango orchestra leader, Raul Lavie, a contemporary tango singer, José Gobello (1919-2013), the patriarch lunfardo expert, and Laura, second wife of Astor Piazzolla and chairwoman of his memorial foundation, joined. Such famed dancers as Mora Godoy and Miguel Angel Zotto supported the project (Mora, who describes herself as the most important tango dancer in Argentina, once famously dragged reluctant Pres. Obama onto the dance floor). Zotto, who already starred in Tango Agentino on the Broadway in the mid-1980, famously said that nothing endangers tango in today's global culture. We see a broad list of tango innovators and modernizers signing up for a project to preserve the heritage, but it should come as no surprise, being one of those contradictions which are always woven into the fabric of tangoInterestingly also, among the preexisting conservation efforts, they also listed both Day of Tango, December 11, and the virtually unknown Uruguayan Day of Tango, October 5 (this date commemorated the creation of FUTANGO (Federation of Uruguayan Tango) in 2005, but it kind of dissolved in the broader festivities of Uruguayan Heritage Days, and never really caught on). 


So many facets! The petition strongly emphasized cultural diversity as the very core of tango, a central part of its essence and roots, and its continuous development in cross-cultural fertilization. There were many cool details in the petition which which didn't make the cut in the UNESCO declaration. For example, in addition to tango proper, milonga, and "so called vals criollo", the petition sought to include the sub-genre of the milonga candombeada, too. In addition to musicians, poets, and dancers, the petition originally sought to include playwrights, script writers, historians, journalists, editors, website operators etc. Language of tango was petitioned for (since Lunfardo Academy was one of the movers behind the project), but UNESCO rules specifically disallow as broad things as language from the lists of cultural heritage.The petition also sought to include tango-related handicrafts (later on, filete won a separate UNESCO heritage designation). I can only assume that the broad scope of the proposed protections was eventually found to be too wide for the UNESCO process, which is more geared towards community artists and craftsmen than to the big-city editors, producers, and web designers

Superficial foreign fans and enforced authenticity? Another sentiment which didn't make the cut was a kind of a familiar lament about shallow understanding of the tango culture abroad. The petitioners suggested, in particular, that "the Europeans understand Tango as music of the belle-époque", with exaggerated sensuality of a luxury cabaret, and don't appreciate tango's humble, underclass roots. ( Irony mode on - to see tango with all these supposed sins of exaggerated sensuality, with the woman thrown around exactly as the petition complained, one doesn't have to go any further than the cool promotional clip of one of its most famous signatories, Mora Godoy! :) ) 

Of course this kind of a broad-brush cultural suspicion didn't fly, and the UNESCO declaration carefully avoided blaming the "superficial foreigners" or calling for "proper authenticity". But one has to understand that it's so common for the locals to start fearing loss of identity just as their cultural heritage finally gains appreciation and popularity abroad. More on it below... 

Pledges and failures: The petitioners pledged to spend hundreds thousand dollars to support tango life in BsAs and Montevideo, including promoting historical venues, creating tango hostels for visiting trainees, a huge documentation and record center, an institute and a fund to support milongas ... even half a million dollars to establish a tango museum in Montevideo! But hardly anything has been delivered. When, in 2013, the governments reported on its progress, they had just one modest achievement to brag about, a newly organized Tango Research Center in Argentina. As we know, many traditional milongas in BsAs (both indoor and outdoor) are under a persistent bureaucratic attack, losing venues completely, experiencing temporary closures. The cradle of tango needs protection, and the UNESCO declaration continues to require action.

Is this a right way to balance the aspirations of the global vs. indigenous communities? The Convention on the Intangible Cultural Heritage is only 13 years old, although it has been informed by UNESCO's decades of cultural protection and community development experience. Its pros and cons have been recently reviewed by Farah and Tremolada (2014). The core issue is familiar to us, tango lovers: it is the issue of indigenous control of cultural heritage vs. globalized identity drawing from a variety of cross-fertilizing cultures. The global community may fear being robbed of its means of expression, while the indigenous community may fear an identity crisis.
Prof. Farah lectures on legal frameworks
of safeguarding cultural legacy

Intellectual property (IP) models, especially copyright, are also widely used for cultural assets. Importantly, copyright protects the asset only over the defined period of time; then it falls into public domain for all to use. IP protection is also narrowly focused on money rather than on community values / sacred values. IP = fair exchange of cultural assets for commercial value, at the expense of freedom of expression. SADAIC and AGADU have long followed the IP copyright model for aspects of tango culture, and tango music and poetry did become a commodity, which has also become targeted for export very early on. Because of this commodification and the global market focus, an alternative IP protection tool of "geographic indication", has become impossible to apply to the tango culture. 

But, as UNESCO uderscores, living cultural tradition isn't a mere reproduction or copying. It includes creativity and innovation and this makes it even harder to apply IP framework. Safeguarding cultural heritage is likewise more complicated than mere protection. It also includes an obligation to let the cultural practices develop and evolve in a continuous process of social involvement.

In 1982, World IP organization and UNESCO already tried drafting a new framework for national laws for regulating folklore (potentially including bans on fusion forms or distorted forms of traditional culture). In this framework, wherever money was at stake, practicing folklore would have required a license from the government. This idea was fundamentally at odds with the freedom of expression, and the proposal didn't go anywhere. But the experience of drafting the failed, overreaching model framework was seminal for UNESCO's subsequent fine-tuned efforts to safeguard cultural heritage of the humanity. As a result, UNESCO defined indigenous cultural heritage as a living, evolving form of expression practiced by the communities, rather than rigidly codified by the governments.

Saturday, December 3, 2016

DF milonga playlist, Dec 2 2016

It's primarily a "school milonga"although many people from the broader community show up. Still, I plan a list which is thicker on alternative and accessible music than usually. And I also reserve a special room for Pugliese, whose birthday falls on Dec. 2th, and on the composer Sebastan Piana, a later-November "birthday boy" whose life I've just reviewed. We are totally indebted to Piana for the music of milonga, but he also composed many great valses, and more than a few classic tangos.
01. Carlos di Sarli - Instrumental  "La trilla" 1940 2:21
02. Carlos di Sarli - Instrumental  "Catamarca" 1940 2:23
03. Carlos di Sarli - Instrumental  "Shusheta" 1940 2:24
04. Carrapicho  "Tic Tic Tac cortina 2" 2007, 2007 0:18
05. Francisco Canaro - Roberto Maida "Recuerdos De Paris" 1937 3:12
06. Francisco Canaro - Roberto Maida "Condena (S.O.S.)" 1937 2:39
07. Francisco Canaro - Roberto Maida  "Nada Más" 1938 3:02
08. Lidiya Ruslanova  "Valenki 4 (cortina)"  0:24
09. Ricardo Tanturi - Instrumental  "Comparsa criolla" 1941 2:51
10. Ricardo Tanturi - Instrumental  "Una noche de garufa" 1941 2:32
11. Ricardo Tanturi - Instrumental  "Argañaraz" 1940 2:21
12. Vitas  "7, the element cortina" 2012 0:23
The first Sebastian Piana's compositions for the night are his earliest trend-setting milongas:
13. Francisco Canaro - Ernesto Famá "Milonga Sentimental" 1933 3:12
14. Francisco Canaro - Ernesto Famá "Milonga Del 900" 1933 2:54
15. Francisco Canaro - Roberto Maida "Milonga criolla" 1936 3:05
16. Russian Folk  "Kalinka-Malinka 1 (cortina)"  0:25
17. Donato Racciatti - Olga Delgrossi "Hasta siempre amor" 1958 2:57
18. Donato Racciatti - Olga Delgrossi "Sus Ojos Se Cerraron" 1956 2:47
19. Donato Racciatti - Olga Delgrossi "Queriendote" 1955 2:49
20. Alla Pugacheva "Million Scarlet Roses" 1982 0:19
A mixed tanda sampler of the romantic wave which splashed all over tango with the Argentine Revolution of 1943
21. Lucio Demare - Raul Beron  "Que solo estoy" 1943 3:04
22. Orquesta Típica Víctor - Alberto Carol "Bajo El Cono Azul" 1944 2:43
23. Orquesta Típica Víctor - Ortega Del Cerro "Una Vez" 1943 3:22 3:24
Both  "Caseron De Tejas" & "Paisaje" are Sebastian Piana's compositions, and, in a typical Piana way, he loves diving into history. The tile-roofed house (Caseron de tejas) from the era when the first valses just started to reverberate in the old barrio of Belgrano...
24. Pedro Láurenz - Alberto Del Campo  "Caseron De Tejas" 1942 2:45
25. Pedro Láurenz - Alberto Podestá  "Paisaje" 1943 2:53
26. Pedro Láurenz - Juan Carlos Casas "Mascarita" 1940 2:53
27. Viktor Tsoy  "Good morning, last Hero cortina long" 1989 0:35
28. Enrique Rodriguez - Armando Moreno  "Tabernero" 1941 2:33
29. Enrique Rodriguez - Armando Moreno "Danza maligna" 1940 2:25
30. Enrique Rodriguez - Armando Moreno "Llorar por una mujer" 1941 2:47
31. Viktor Tsoy  "Red-Yellow Days cortina long 3"  0:33
32. Soha  "Mil Pasos" 2008 4:07
33. Alacran  "Reflejo De Luna" 2010 3:44
34. Fool's Garden  "Lemon tree" 1995 3:09
35. Stas Borsov  "Anyuta cortina" 2000 0:21
And "Milonga de los fortines" is one of the longest "time travels" we enjoy in Piana's compositions, with the bugle call of the desert camps ("fortines" or little forts) of Argentina's Indian wars.
36. Orquesta Tipica Victor - Mariano Balcarce  "Milonga De Los Fortines" 1937 2:55
37. Orquesta Tipica Victor - Carlos Lafuente "Cacareando" 1933 2:45
38. Emilio Pellejero - Enalmar De Maria "Mi Vieja Linda" 1941 2:26
39. Pink Floyd  "Goodbye Blue Sky cortina long 2"  0:29
The Chaif Russian rock classic, while quite danceable, turned out to be lower on energy - but still nicely supported by the bracketing tracks in this tanda:
40. 5Nizza "Soldat" 2003 3:13
41. Chaif "Nikto ne uslyshit (Oy-yO)" 1994 4:26
42. Paolo Conte  "Via Con Me" 1981 2:47
43.  "Nature doesn't have bad weather"  0:24
44. Edgardo Donato - Horacio Lagos, Romeo Gavioli, Lita Morales "Sinfonía De Arrabal" 1940 3:07
45. Edgardo Donato - Lita Morales, Romeo Gavioli "Mi Serenata" 1940 3:02
46. Edgardo Donato - Horacio Lagos "El Adios" 1938 3:09
47. Sting "Windmills Of Your Mind" 1999 0:24
Osvaldo Pugliese playing piano to an overflowing street.
From Historias & Canciones blog
We are celebrating the birthday of Osvaldo Pugliese tonight. Saint Pugliese has been so central to tango and indeed to Argentine culture that I hesitate writing about him. So much has been written, in so many places, there isn't anything I can add. Osvaldo, born on Dec. 2 1905, belonged to a family of the early tango musicians. His perhaps most famous composition, "Recuerdo", was created when Osvaldo was just 18, and registered jointly with his father (and with persistent rumors that Osvaldo's estranged brother contributed to the score). But Osvaldo Pugliese didn't convene the first orchestra with records until 2 decades later, and he started out quite faithfully following the stylistic path of his great teacher Julio de Caro. Yet it is Pugliese, and not De Caro, whom the tangueros are crazy about! Pugliese's wildly accelerating and decelerating beat has already made him a legend. Add to this his intense sincopation and arrastres. Overlay the music with politics and social justice ... with the orchestra which functioned as a workers' co-op, with his regular stints in jail, with blacklisting on the airwaves, with gangs of thugs battling the influence of Pugliese fans ... and you see how he is just a totally outsize figure in the Argentine culture. 
Oh, how I remember craving and at the same time fearing to dance to his complex and irresistibly driving music in my early tango years! Eventually I learned a simple but useful mnemonic rule about it, which goes like this: "Pugliese was a Communist -> Communist aesthetics glorifies the Factory Machine -> The unstoppable engine and the flywheel pick up speed and slow down, but their inertia dictates a nearly-uniform rate of acceleration and deceleration". I don't actually think that Pugliese's music has much to do with the industrial aesthetics, but his best tunes do accelerate and decelerate in a predictable, steady fashion! This forceful departure from the steady tango beat was quite revolutionary - but it also totally defied Pugliese in the genres of milonga and vals. Defied, I must add, until a further 35 years passed. It all changed in December 1979. Pugliese's orchestra toured Japan, month after month, city after city, overcome with homesickness. The director needed to revive a good memory of home to nurture his tired musicians, and he decided to make a new arrangement of a very old vals, "Desde el alma". They played it again and again afterwards! Because the breakthrough happened so late in tango history, it remained a one-of-a-kind modern vals gem, and it's a challenge to "tanda it up". Happy birthday, maestro!
48. Osvaldo Pugliese "Desde El Alma" 1979 2:58
49. Color Tango  "Ilusión de mi vida" 1997 3:00
50. The Alex Krebs Tango Sextet  "Romance de Barrio" 2011 2:41
51. Anzhelika Varum  "Autumn Jazz"  0:20
 "Sobre el pucho", the earliest of the acclaimed tangos of Piana's, composed when he was 19, and already with a story of a bygone barrio.
52. Juan D'Arienzo - Héctor Mauré  "Dime, mi amor" 1941 2:40
53. Juan D'Arienzo - Héctor Mauré  "Sobre el pucho" 1941 2:46
54. Juan D'Arienzo - Héctor Mauré  "Ya lo ves" 1941 2:39
55. Bravo - Zhanna Aguzarova  "Space Rock-n-Roll" 1993 0:12
56. Eendo  "Eshgh e Aasemaani" 2011 3:31
57. Goran Bregovic  "Maki Maki" 2009 3:33
58. Kevin Johansen "Sur O No Sur" 2002 4:53
59. "Na Pua O Hawaii - George Ku Trio" 1992 0:22
Silbando, "whistling", is another early composition of Sebastian Piana (1925), but IMHO it shines the best with the 1950s record of Fresedo.
60. Osvaldo Fresedo - Héctor Pacheco "Pero Yo Sé" 1952 3:05
61. Osvaldo Fresedo - Héctor Pacheco "Silbando" 1952 2:51
62. Osvaldo Fresedo - Héctor Pacheco"Pampero" 1950 2:54
63. Russian folk  "Murka"  0:20
This tanda is crowned with another Sebastian Piana's jewels full of nostalgia, "Tinta roja"
64. Aníbal Troilo - Francisco Fiorentino "El Bulín De La Calle Ayacucho" 1941 2:29
65. Aníbal Troilo - Francisco Fiorentino "Toda Mi Vida" 1941 2:55
66. Aníbal Troilo - Francisco Fiorentino "Tinta roja" 1941 2:59
67. Zhanna Aguzarova "Old Hotel" 1987 0:22

With "Estampa Federal", Sebastian Piana takes us even deeper into Argentina's history, traveling over a century back in time. The vals, about a love separated by exile, is set against the aftermath of the 1833 Revolution of the Restorers and the reign of the mazorquero death squads which followed.
68. Carlos Di Sarli - Alberto Podestá "Estampa Federal" 1942 2:42
69. Carlos Di Sarli - Roberto Rufino "Rosamel" 1940 2:32
70. Carlos Di Sarli - Roberto Rufino "Alma mía" 1940 2:23
71. Maya Kristalinskaya  "Nezhnost (Tenderness)"  0:17
72. Lucio Demare - Juan Carlos Miranda  "Sorbos amargos" 1942 3:22
73. Lucio Demare - Juan Carlos Miranda  "Manana zarpa un barco" 1942 3:22
74. Lucio Demare - Juan Carlos Miranda  "No te apures, Carablanca" 1942 3:29
75. Folk  "Shumel Kamysh "  0:23
76. Osvaldo Pugliese - Roberto Chanel  "Rondando tu esquina"  1945 2:49
77. Osvaldo Pugliese - Roberto Chanel "Corrientes Y Esmeralda" 1944 2:49
78. Osvaldo Pugliese - Jorge Maciel  "Remembranza" 1956 3:41
79. Juan D'Arienzo - Instrumental  "La cumparsita" 1951 3:49
80.   "silence"  0:31
81. The Klezmatics with Chava Alberstein  "Di krenitse"  4:11

Thursday, November 17, 2016

Top milonga choices

Milonga! (Painting by Renata Domagalska)
A quick statistical snapshot, inspired by a conversation with a fellow playlist blogger, Felicity. It occurred to me that I may have been habitually recycling the safest, sure-fire milonga tracks despite my deep affection to unusual and quirky milongas. It's possible that I actually love milonga tandas more than tango tandas ... well it's hard to gauge, but I do know that many dancers specifically ask me to spare a milonga tanda for them, and (shhh!) nobody asks specifically for a tango tanda :) But the flip side is the huge disappointment of getting an indigestible milonga tanda to dance ... and there're so many milonga records unsuitable for dancing in the first place, and then quite a few records which may delight a true aficionado but won't work for most of the rest of the dancers. And so few milonga tandas in a night of dancing!

So what are *my* top choices? I asked Google. The stats are a little padded because Google slightly exaggerates the hit tallies, and because the same playlist may be spotted at different blog pages, and because I occasionally discuss specific titles outside of playlist posts. But it's gotta be close. Here's my top 20 temas to date, with asterisks marking titles for which I played 2 different orchestras:

1 Pena mulata 47
2 La Mulateada 41
3 Zorzal 33
4 Yo Soy De San Telmo (*) 29
No surprises so far. Top-rated Di Sarli's milongas are my absolute favorites, with a perfect combination of beat, grounded feeling, and stretchy melodic inclusions. With 59 playlists analyzed, it looks like I played some combination of these tracks almost every time!
5 Milonga del 900 29
"Milonga of the 1900s" is my absolute favorite of Sebastian Piana's earliest, slower-paced and therefore "accessible" milongas. And "Milonga sentimental", Piana's original composition, is a close runner-up, just two lines below. 
Sebastian Piana. Todotango photo
(the site even features his
very interesting interview)
Traditional milonga songs of the countryside payadores may have been one of the musical sources of the earliest tangos, but by the beginning of the XX c. the old folk milonga has already fallen into obsolescence, with its unsophisticated repetitive music and endless lyrics, improvised for any convenient occasion.  An operetta classic even featured two "old ladies" of the bygone days - an ailing old boring milonga and a grandmother cifra. We owe the vibrant milongas of  today's tango nights to one visionary, Sebastian Piana (1903-1994). November 26th marks Sebastian Piana's birthday and gives us a great occasion to celebrate the Father of the Milonga, who was one of the less appreciated leaders of the tango music revolution of the 1930s, setting stage for tango's Golden Age. Piana's first award-winning tango compositions were performed beginning in 1922, but it was the birth of "Milonga sentimental", first recorded in 1932, which turned into a truly seminal moment.
Piana was asked to compose a special, unusual milonga, a milonga with high-quality lyrics, and my guess is that he was inspired by the change brought by Gardel's "Mi noche triste" into the world of tango a decade earlier. "Mi noche triste" didn't just introduce set lyrics into tango - it also introduced sadness and contemplation and sentimental feeling. Can a milonga be made sentimental, too? Alas, Sebastian Piana's first customer totally rejected his work! Luckily, Piana's brother-in-law, Pedro Maffia, another of the unsung leaders of the musical revolution of Julio De Caro, loved Sebastian's new score, and played it often. Eventually it made its way to the radio waves ... and soon, the revived milonga genre has become all the rage, and tangueros started to dance to it!
Still, for a while the "new" milonga kept an unmistakable retro feeling, and many of Piana's best milongas paint historical snapshots of Argentina's past: Milonga del 900 - about the aftermath of the failed 1890 Park Revolution; Pena Mulata (the #1 on my list) - about the nation's bygone Afro-Argentine past; or Milonga de los Fortines, #14 on this list - about the Indian wars of the mid-XIX century.
6 Azabache  27
Azabache wouldn't be a top milonga choice, but it wins by being the best bet in its subcategory of candombe milongas. And another top-rated candombe, Tamboriles, is just a few lines below. Which means that although I don't play milonga candombe too often, I must be selecting these tracks very often when I do it.
The success of Piana's milonga porteña in the 1930s paved way to more fast-beat experimentation in the 1940s, both Uruguayan-influenced candombes, returning tango beats to their Afro roots, and Nothern Highlands beats such as Demare's Carnavalito. Miguel Caló recorded his signature Azabache, "Black Amber", in September 1942.

7 Milonga Sentimental  (*) 27
8 Ella Es Asi 24
"Ella es asi" is a very special song in my tango path, the hymn for the true love which started my work on tango translations.
9 Los Vino 24
"Los Vino", a 2010 recording, also wins by being absolutely the best in its subcategory of contemporary milongas. 

10 Milonga Triste  (*) 22
And Milonga Triste, another of Sebastian Piana's trend-setting compositions, gets on the list by being the best in the difficult subcategory of slow, dreamy milonga sureña  It marks the return of the countryside milongas into the urban tango salon. Different people use different terms for the regional milonga style of the Argentine hinterland - milonga campera, milona pampera, milonga surera... It was great Atahualpa Yupanqui, who once performed Los ejes de mi carreta with Canaro's orchestra, who insisted on the term "Southern" for the slowest and saddest milongas from the pampas...

11 Mi Vieja Linda 22
12 Tamboriles 21
Tamboriles isn't just an Uruguayan-influenced tune - this candombe comes straight from Uruguay, the top hit of the short-lived orchestra of Romeo Gavioli, from the days after he was expelled from Edgardo Donato's imploding orchestra and returned to his native country, and before he took his own life.

13 Cacareando 21
14 Milonga De Los Fortines 21
15 El Esquinazo  (*) 20
16 Milonga criolla 20
17 Sácale punta 19
18 Largas las penas (*) 19
19 Entre Pitada Y Pitada 19
20 Rotos en el Raval 17

Monday, November 7, 2016

Milonga Sin Nombre del Muertos playlist, October 2016

Halloween tango parties aren't quite the usual milongas. Its music better be playful and a touch weird. This time we decided to split Halloween milonga DJing in halves, with Sergey starting out with Di Sarli-Rufino, Demare-Beron, Laurenz, 2 Fresedo tandas (including one with Ruiz, superbly bracketed by Buscandonte and Mi Gitana), and a refreshing selection of alternatives. I jumped in after a vals tanda mid-way through the night, and made a more or less careful effort to avoid these themes and sounds.

01. Francisco Canaro - Roberto Maida "Recuerdos De Paris" 1937 3:12
02. Francisco Canaro - Roberto Maida "Envidia" 1936 3:18
03. Francisco Canaro - Roberto Maida  "Nada mas" 1938 3:00
04. Ricardo Tanturi - Instrumental "Comparsa Criolla" 1942 2:50
05. Ricardo Tanturi - Instrumental  "Argañaraz" 1940 2:21
06. Ricardo Tanturi - Instrumental  "Una Noche De Garufa" 1941 2:30
07. Cuarteto Almagro "Cosmotango (cortina 2)" 2003 0:18
08. Enrique Rodriquez - Armando Moreno  "Se va el tren" 1942 3:11
09. Enrique Rodriguez - Armando Moreno "Maruska" 1943 2:07
10. Enrique Rodriguez - Armando Moreno "Contando las estrellas" 1942 2:23
11. Alla Pugacheva  "Winter Night (Svecha gorela) cortina"  0:19
12. Carlos Di Sarli Alberto Podesta "Nada"  2:45
13. Carlos Di Sarli Alberto Podesta "Nido Gaucho"  3:22
14. Carlos Di Sarli Alberto Podestá "Lloran Las Campanas"  2:58
15. AR Rahman  "Ringa Ringa cortina long 3"  0:29
16. Sting "Until" 2001 3:09
17. 17 Hippies "Gelb Zwo Drei" 2002 2:33
18. Klezmatics "Di Krenitse (milonga cut)" 2003 3:39
19. The Beatles "All you Need is Love cortina" 0:19

20. Rodolfo Biagi - Hugo Duval  "Solamente Dios y yo" 1958 2:30
21. Rodolfo Biagi - Hugo Duval  "Alguien" 1956 3:14
22. Rodolfo Biagi - Hugo Duval  "Esperame en el cielo" 1958 2:52
23. Carmen Piculeata  "Egy kis cigainy dal" 0:29
24. Edgardo Donato - Horacio Lagos "El Adios" 1938 3:09
25. Edgardo Donato - Lita Morales,  Horacio Lagos y Romeo Gavio "Sinfonia de Arrabal" 1940 3:07
26. Edgardo Donato - Horacio Lagos y Lita Morales "Carnaval De Mi Barrio" 1939 2:25
27. The Blues Brothers  "Theme From Rawhide 3" 1980 0:20
28. The Alex Krebs Tango Sextet  "Largas las Penas" 2011 3:02
29. The Alex Krebs Tango Sextet  "Ella Es Asi" 2011 2:32
30. The Alex Krebs Tango Sextet  "Negrito" 2011 1:53
Angel Vargas sings and Angel D'Agostina dances!
(from Jose Mario Otero's tangoblog)
31. Elleen Burhum  "Interlude long slow cortina" 2006 0:41
Continuing with the October birthdays of the tango's greats. Ángel Vargas, born October 22 1904, is one of the Argentina's most beloved tango singers. Together with Fiorentino, Vargas set the highest standard for the orchestra singer of the Golden Age of tango. Born to a poor working-class family, young "Angelito" worked as a machine operator at a giant meat-packing factory "La Negra" at the docks of Riachuelo, and occasionally entertained his fellow workers with singing. Already in his 20s, he tried a new career track, singing at a cabaret, but the Great Depression struck, and going was hard. To stay afloat, Ángel Vargas sang with different outfits. This included his first stint with the orchestra of D'Agostino, his future long-time employer, in 1932, but they left no recordings. Vargas finally recorded his first great hits with Orchestra Tipica Victor in 1938 - and then, in November 1940, came the first of his almost 100 records with the orchestra of Ángel D'Agostino. Their work together had a truly seminal influence on the tango universe of the 1940s, showing the way of perfectly seamless integration of voice into the tango music for dancing which continues to inspire us to this day.
32. Angel D'Agostino - Angel Vargas, glosas: Julian Centeya "Cafe Dominguez" 1955 2:58
33. Angel D'Agostino - Angel Vargas "No Vendrá" 1945 2:30
34. Angel D'Agostino - Angel Vargas "Ahora no me conoces" 1940 2:34
35. Jennifer Gasoi  "Happy happy me (cortina 1)" 2012 0:21
Donato Racciatti's birthday is also in October. He was born in a hillside village in the Italian region of Abruzzo on October 18, 1918. After immigrating to Uruguay, Racciatti became a professional bandoneon player by the age of 20, and convened his own orchestra when he was 30. His compositions were eagerly picked by the leading Buenos Aires bands, from Di Sarli to De Angelis, But Donato Racciatti's own great records, all made in Uruguay, remain underappreciated in the world of Argentine tango. For more bio details, please look at our October 2014 commemorative flyer!
36. Donato Racciatti - Olga Delgrossi "Hasta siempre amor" 1958 2:57
37. Donato Racciatti - Olga Delgrossi "Sus Ojos Se Cerraron" 1956 2:47
38. Donato Racciatti - Olga Delgrossi "Queriendote" 1955 2:49
39. Carrapicho  "Tic Tic Tac cortina 2" 2007 0:18
40. Francisco Lomuto - Jorge Omar  "Damisela encantadora (vals)" 1936 2:58
41. Francisco Lomuto - Instrumental  "Noche de ronda (vals)" 1937 2:34
42. Francisco Lomuto - Fernando Díaz, Mercedes Simone  "Lo que vieron mis ojos" 1933 2:22
43. Kisty Hawkshaw  "It's gonna be a fine night cortina long"  0:34
44. Hector Varela - Rodolfo Lesica "Y todavia te quiero" 1956 3:06
45. Hector Varela - Rodolfo Lesica "El destino la llevo" 1959 3:01
46. Hector Varela - Argentino Ledesma "Fueron tres años" 1956 3:26
47. A.R. Rahman "Ringa Ringa cortina long" 2008 0:32

48. Alacran  "Reflejo De Luna" 2010 3:44
49. Haris Alexiou  "To Tango Tis Nefelis" 1998 4:07
50. Souad Massi  "Ghir Enta" 2008 5:06
51. Maya Kristalinskaya  "Nezhnost (Tenderness)"  0:17
52. Osvaldo Pugliese - Roberto Chanel "Corrientes y Esmeralda" 1944 2:46
53. Osvaldo Pugliese - Roberto Chanel "Farol" 1943 3:22
54. Osvaldo Pugliese - Roberto Chanel "Rondando Tu Esquina" 1945 2:49
55. Juan D Arienzo - Instrumental "La Cumparsita" 1955 3:44

Tuesday, October 25, 2016

BC Tango music class notes ... and a memory detour to Moscow

Salt Lake's art nouveau Ladies Literary Club (now The Clubhouse at 850 E. South Temple) used to be the cradle of the "dance tea parties" (the dansante) of the heyday of pre-WWI American tango boom, and it's amazing to witness its rebirth as a tango venue a century later. And it's especially poignant that the first tango workshop in this grand hall focused on the history of tango!

Tango BC is a contemporary tango duet (Mariano Barreiro, piano, and Santiago Cursach, guitar).
But they don't just play music - they teach how to interpret tango. Their class started with a history lecture, dividing the story of the tango music into 4 chapters:

Tango BC duo
1880 - 1925: Guardia Vieja (exemplified by Villoldo, Arolas, Canaro, Matos Rodriguez....)
1925 - 1955: Guardia Nueva (such as De Caro, D'Arienzo, Di Sarli, Pugliese)
1955-1975: Avant Garde (Piazzolla, Salgán)
1975 + : Contemporary Tango (Fernandez Fierro, El Arranque, Ramiro Gallo - and of course Tango BC themselves)

Guardia Vieja (Old Guard) musicians were almost all amateurs. Europe and Africa influenced the emerging synthesis of different musical forms: Congolese and Angolan candombe, Afro-Cuban and European fusion of habanera, and Argentine hinterland's milonga campera. The fusion of milonga and candombe existed in its own right - listen to Azabache! Mariano and Santiago play examples of the three ancestors of tango, asking the listeners to identify what flowed into the future tango from each of these genres.

Here I must tell you that Bizet's Habanera holds a very special place in my musical education and, perhaps, in my path to tango. We must go back in time to the 1970s Moscow for this story, but before we get there, let me mention that the Habanera from Carmen wasn't actually created by Georges Bizet. He may have thought that it was a folk song but he soon realized that the tune has been composed 12 years earlier by Sebastián Yradier, a native of Spain's Rioja region, who also composed the other most famous habanera of all times - "La Paloma" (Yes, the songs which brought worldwide fame to Cuban music were composed by a Basque who haven't even visited Cuba until the age of 50!)

Kropotkinskaya station.
Wikipedia image
Yet for me, Carmen's Habanera evokes neither Spain nor steamy Cuba, but snowbound old town Moscow. More specifically, my grandfather's traditional walking path to the Moscow Conservatory. Gramps Karl (or Charles, as grandma preferred to call him in French) was a semi-amateur orchestra clarinet player. Everyone in his family was a part-time musician or singer or actor, but his older brother, violinist Isaac, has been executed in Stalin's purges along with their father; and soon after, they lost the sisters' piano as well. Grandfather Karl was the lone musician survivor now. His children didn't share his passion about music, and now he was hopeful to get me, his first grandchild, into it. Karl bought an educational concert series at the famed Conservatory for the two of us -  up at the balcony overhanging right above the orchestra. Soon, I was able to name every instrument - alas, visually, rather than by ear :) Honestly, I didn't like these concerts at all! But I keep the fondest memories of our walks together. Grandfather lived an exotic life, having grown up in Switzerland, picking his first Russian only after high school, moonlighting as a translator for foreign dignitaries for a while - and then, after his family was decimated by the bloody purges, he was kicked out of grad school, worked on river boats and nearly perished in a floating crane disaster, and then it was his turn to be sent to the labor camps and his luck to come back alive ... not all of the stories were safe to share, but out of the ear of the fearful grandmother, he had some amazing stuff to tell. 

We'd start at Kropotkinskaya Metro Station, one of the most beautiful in Moscow, built in the early 1930s to serve the giant House of Soviets which has never been completed. So the huge, airy subway ended up being far too big for its modest neighborhood, and eerily more beautiful because of it. The steel frame of the unfinished palace has been cut into anti-tank obstacles when the Nazi troops advanced to the outskirts of the city in 1941, and the remaining giant hole in the ground eventually made way for an outsize open-air swimming pool, open year round. Karl would occasionally take me there in the middle of Moscow's long winter, too. 
Chess playing at Gogolevsky Boulevard remains a Moscow tradition
We'd walk up Gogol Boulevard, where the chess players would converge at street tables outside of the Central Chess Club to play, no matter the freezing cold. We'd cross Arbat and dive into the maze of lanes of the former Royal Fermenters' Borough where the artisans once prepared sauerkraut, pickles, and kvas (fermented malted rye bread drink) for the Czar's palace. There, hidden away from the main streets, stood in obscurity the first Soviet skyscraper, the Mosselprom Tower, all 10 stories tall, still sporting the faded ads from pre-Stalin's years, complete with the mural of the Horn of Plenty dispensing such indispensable products as cheap smokes and caramel candy. (Its namesake, Mosselprom, was the 1920s agricultural product processing and trading conglomerate). And finally, we'd round a corner and there would be the gilded edifice of the Conservatory! Our weekend walks continued until I finally heard a musical piece I loved. Alas, it was the Habanera from Carmen.

"You can't get yeast and papirosi (the cheapo smokes
once popular with the Russians and  evenpreserved in a
 tango name, Elegante papirusa) anywhere
but in MOSSELPROM!"
I'm afraid my admission broke my grandfather's heart. He was, like, all is lost, you'll never get to love the classical music, you're obviously destined to like rock and stuff :( But in hindsight, perhaps it wasn't an omen about rock music, after all. Perhaps it was all about my future infatuation with tango?

Back to Tango BC's workshop now. More musical influences came from the European dance beats - note that almost all early tango composers came from Europe themselves or were born to recent European immigrants. The earliest bands had just 3 instruments - guitar, flute, and violin. Bandoneon comes from Germany later, following a more humble concertina. Bandoneon has a unique ability to modulate the intensity of its sound on the same note, adding a great expressive potential to the bands. But tango has already been well established, and bandoneon "invaded" it against the wave of initial rejection - and changed tango!
Piano "invades" around the same time, and professionally trained musicians and larger bands come in.
The Old Guard music started out rigidly structured. Julio De Caro worked to break the stereotypes. Rhythms acquired syncopation instead of uniformity of the regular "marcato" beat of the Old Guard. Where all the instruments used to play together, now emerged a great room for individual expression of different musicians. The New Guard times have become known as the Golden Age of tango, when its music sounded everywhere!

Santiago and Mariano then introduce us to the Argentine terms for the 3 principal beat patterns of tango, and illustrate walking to the 3 beats by playing :Por una cabeza" with varied and variable accents: the main beat / "marcato", the "blancas" / "whites" of every other beat (so called in Spanish because the half-notes are notated by hollow ovals, "white inside", as opposed to filled-oval quarter-note "blacks"), and the unevenly spaced "sincopa"... plus "arrastre" / drag effects merging together the adjacent sounds of the sincopa, as in dragging one's palm over the guitar strings. It's a great workshop plan, to alternate between listening and practicing to the customized live music on the dance floor!

There was so much more in the workshop material which I couldn't cover in my notes ... from the fundamentals for those who just begin to discover tango to the discoveries which surprise and enlighten the most seasoned tangueros. Thumbs up, Tango BC!