Sunday, October 23, 2016

DF Milonga playlist, October 21, 2016

It's great to see the restart of the tango school milonga at the DF studio after the late-summer hiatus. So many new students trying out their freshly acquired skills! The intro class by Atakan has a specific focus on milonga how-to's - a great idea, too. I tried as a can to combine accessibility of the music with dramatic beauty. I hindsight, I now think that more alternative music, and even a bit of salsa sprinkled in, could have made the newcomers' experience even better.
01. Francisco Canaro - Instrumental "El chamuyo" 1933 3:11
02. Francisco Canaro - Instrumental "Lorenzo" 1938 2:34
03. Francisco Canaro - Instrumental "El cabure" 1936 2:37
04. Mammas and the Papas  "California Dreaming cortina long"  0:40
05. Juan D'Arienzo - Instrumental  "Ataniche" 1936 2:31
06. Juan D'Arienzo - Instrumental  "El flete" 1936 2:58
07. Juan D'Arienzo - Instrumental  "El Cencerro" 1937 2:40
08. Alexey Kudryavtsev  "Joy in My Sky cortina long"  0:25
09. Enrique Rodriguez - Instrument  "Siempre fiel (vals)" 1938 3:38
10. Edgardo Donato - Luis Diaz "Amargura (vals)" 1930 2:30
11. Los Provincianos - Alberto Gomez  "Samaritana (vals)" 1932 2:58
12. Viktor Tsoy  "Red-Yellow Days cortina long 3"  0:33
13. Carlos di Sarli - Alberto Podestá  "Nido gaucho" 1942 3:22
14. Carlos di Sarli - Alberto Podestá  "Nada" 1944 2:45
15. Carlos di Sarli - Alberto Podestá  "Junto a tu corazón" 1942 3:00
16. Stas Borsov  "Anyuta cortina" 2000 0:21
There are so many historic tango days to commemorate in October! Great bandoneonist and orchestra leader Pedro Laurenz was born on October 10 in 1902. I wrote about Laurenz's life path last year. Tonight, we only have time for two tandas of his music - the dynamic tangos with the voice of Casas ("Vieja amiga" marked the great singer's debut with the orchestra of Pedro Laurenz). Later in the milonga, we'll continue with a collection of classic valses. 
17. Pedro Laurenz - Juan Carlos Casas "Vieja amiga" 1938 3:13
18. Pedro Laurenz - Juan Carlos Casas "Desconsuelo" 1940 2:29
19. Pedro Laurenz - Juan Carlos Casas "No me extraña" 1940 2:44
20. Gogol Bordello  "Pala Tute cortina 1" 2012 0:18
21. Francisco Canaro - Ernesto Famá "Milonga del 900" 1933 2:54
22. Francisco Canaro - Roberto Maida "Milonga criolla" 1936 3:05
23. Francisco Canaro - Roberto Maida "Largá Las Penas" 1935 3:08
24. "Lady Be Good - Sol Hoopii Trio" 0:23
25. Carlos di Sarli - Mario Pomar  "Patotero sentimental" 1953 3:02
26. Carlos di Sarli - Mario Pomar  "Tormenta" 1954 3:38
27. Carlos di Sarli - Mario Pomar  "Duelo criollo" 1952 2:30
28.  "Nature doesn't have bad weather"  0:24
Miguel Caló was born in October too - on October 28, 1907. Here is our flyer commemorating his life. 3 tandas to honor Caló  tonight, including a milonga set which I haven't plyed before.
29. Miguel Caló - Raúl Berón "Al Compas Del Corazon" 1942 2:48
30. Miguel Caló - Raúl Berón "Corazon, No Le Hagas Caso" 1942 3:00
31. Miguel Caló - Raúl Berón "Tristezas De La Calle Corrientes" 1942 2:46
32. Carrapicho  "Tic Tic Tac cortina 1" 2007 0:17
33. Haris Alexiou  "To Tango Tis Nefelis" 1998 4:07
34. Mecano  "Hijo De La Luna"  4:29
35. Goran Bregovic  "This Is A Film (feat. Iggy Pop)" 2003 4:18
36. AR Rahman  "Ringa Ringa cortina long 3"  0:29
37. Edgardo Donato - Horacio Lagos "Quien Sera - vals" 1942 2:15
38. Edgardo Donato - Horacio Lagos, Lita Morales y Romeo Gavio "Estrellita Mia - vals" 1940 2:36
39. Edgardo Donato - Félix Gutierrez "La Tapera" 1936 2:54
40. Zhanna Aguzarova "Old Hotel" 1987 0:22
41. Miguel Caló - Raúl Iriarte  "La vi llegar" 1944 3:24
42. Miguel Caló - Raúl Iriarte  "Lluvia de abril" 1945 2:42
43. Miguel Caló - Raúl Iriarte  "Cada dia te extrano mas" 1943 2:35
44. Lidiya Ruslanova  "Valenki 5 (cortina long)"  0:36
45. Rodolfo Biagi - Andrés Falgás "Son Cosas del Bandoneon" 1939 2:44
46. Rodolfo Biagi - Andrés Falgás "Queja Indiana " 1939 2:24
47. Rodolfo Biagi - Andrés Falgás "Cielo!" 1939 2:31
48. Zhanna Aguzarova "Cats" 1987 0:21
49. Miguel Caló - Raúl Berón "Milonga que peina canas" 1942 2:20
50. Miguel Caló - Raúl Berón "Milonga Antigua" 1942 2:25
51. Miguel Caló - Raúl Berón "Azabache" 1942 3:03
52. The Beatles "All you Need is Love cortina" 0:19
53. Francisco Canaro - Roberto Maida "Solo una novia" 1935 3:23
54. Francisco Canaro - Roberto Maida "Condena (S.O.S.)" 1937 2:39
55. Francisco Canaro - Roberto Maida "Invierno" 1937 3:25
56. Folk  "Shumel Kamysh "  0:23
57. Osvaldo Fresedo - Roberto Ray "En la huella del dolor" 1934 2:48
58. Osvaldo Fresedo - Roberto Ray "Sollosos" 1937 3:27
59. Osvaldo Fresedo - Roberto Ray "Recuerdo de bohemia" 1935 2:36
60.  "Katyusha"  0:33
61. Pedro Laurenz - Alberto Podesta  "Paisaje" 1943 2:53
62. Pedro Laurenz - Carlos Bermudez y Jorge Linares "Mendocina" 1944 2:33
63. Pedro Laurenz - Juan Carlos Casas "Mascarita" 1940 2:53
64. Sandro de America  "Yo Te Amo cortina" 1968 0:23
65. Lucio Demare - Juan Carlos Miranda  "No te apures, Carablanca" 1942 3:29
66. Lucio Demare - Juan Carlos Miranda  "Sorbos amargos" 1942 3:22
67. Lucio Demare - Juan Carlos Miranda  "Manana zarpa un barco" 1942 3:22
68. Vitas  "7, the element cortina" 2012 0:23
69. Ricardo Tanturi - Alberto Castillo "La vida es corta" 1942 2:26
70. Ricardo Tanturi - Alberto Castillo "Noches De Colon" , 1941 2:41
71. Ricardo Tanturi - Alberto Castillo "Pocas Palabras" 1941 2:26
72. Kisty Hawkshaw  "It's gonna be a fine night cortina long"  0:34
I break with my old tradition of playing Pugliese in the closing minutes of the milonga, and use elegant and dramatic songs from Di Sarli's late period instead, sampling 3 of his best vocalists (there is no way to make such a selection without the voice of Argentino Ledesma who, alas, recorded just 3 songs with the maestro, making a mixed-singer tanda a must!)
73. Carlos di Sarli - Jorge Duran  "No me pregunten por que" 1956 3:29
74. Carlos di Sarli - Argentino Ledesma  "Fumando espero" 1956 4:02
75. Carlos di Sarli - Oscar Serpa  "Verdemar" 1955 3:01
76. Juan D'Arienzo - Instrumental  "La cumparsita" 1951 3:49
a set of alternative "otros ritmos" "after the official closing curtain"
77. 17 Hippies  "Gelb Zwo Drei" 2002 2:33
78. Trio Garufa  "La Valse D'amelie (Vals)" 2008 2:38
A Cuban remake of "Percal", with a great chachacha band from Matanzas and the immortal voice of "The Singing Mustache" Bienvenido Granda, turns out to be an all-times hit for the Cubans. Would you dance to it? How? 
79.  La Sonora Matancera - Bienvenido Granda "Percal" 1954 2:48

80. Tipica Victor  "Coqueta" 1929 2:45
81. Arabesque  "Midnight Dancer"  3:42
(81 total)

Tuesday, September 20, 2016

Practilonga del Centro playlist - September 19, 2016

After a class, just like after any non-tanda activity, a tanda of refreshing rhythmic music may be the best to "cleanse the palate" and to draw people on the floor. This time I'm trying something new - Tanturi's instrumentals.
01. Ricardo Tanturi - Instrumental "Comparsa Criolla" 1942 2:50
02. Ricardo Tanturi - Instrumental  "Argañaraz" 1940 2:21
03. Ricardo Tanturi - Instrumental  "Una Noche De Garufa" 1941 2:30
04. Carlos di Sarli - Alberto Podestá "Nada" 1944 2:45
05. Carlos di Sarli - Alberto Podestá "Nido gaucho" 1942 3:22
06. Carlos di Sarli - Alberto Podestá "Lloran Las Campanas" 1944 2:58
07. Francisco Canaro - Roberto Maida "Envidia" 1936 3:18
08. Francisco Canaro - Roberto Maida "Invierno" 1937 3:25
09. Francisco Canaro - Roberto Maida "Alma del bandoneon" 1935 2:46
The instrumental tanda is built around "El Internado", a theme recorded by D'Arienzo both early and late in his career. This tango was composed specifically for a ball of medical interns of Buenos Aires, an annual event which sent the tango life into a frenzy every time it happened - and which sent some of the brightest tango musicians into the European exile when the tradition had to end after a tragic accident. We are marking the 102nd anniversary of the first Baile del Internado this week - read more about it here and here. The other two songs in this tanda - Joaquina and Ataniche - are named after two remarkable tango women... please follow the links to read their tales!..
10. Juan D'Arienzo - Instrumental "Joaquina" 1935 3:01
11. Juan D'Arienzo - Instrumental "El Internado" 1938 2:31
12. Juan D'Arienzo - Instrumental "Ataniche" 1936 2:32
13. Orquesta Típica Victor - Mariano Balcarce "Milonga de los fortines" 1937 2:55
14. Orquesta Típica Victor - Carlos Lafuente "Cacareando" 1933 2:45
15. Miguel Villasboas - Instrumental "La Milonga Que Hacia Falta" 1961 2:18
Palais de Glace soon after its 1910 opening  (Wikipedia).
At first the building did function as a 3,300 sq ft ice rink,
but by 1912 it has already been re-purposed as a tango dance
pista ("El Tano" Genaro played at its grand opening),
and remained a tango hall until the disruptions of
the Great Depression years.
... and since we just mentioned the Primero Baile del Internados, 102 years ago, we may as well celebrate its famous venue, the Art Nouveau "Parisian import" Palais de Glace, immortalized in a song. I found this tango to be too rich on the airy piano sounds, almost reminiscent of Biagi, to fit easily into a D'Agostino tanda with his more flowing classics ... but one of our tangueros stopped at my desk to let me know how he liked it. A different tanda to mix is in order, perhaps?
16. Angel D'Agostino - Angel Vargas "Palais De Glace" 1944 2:49
17. Angel D'Agostino - Angel Vargas "Ahora no me conoces" 1940 2:34
18. Angel D'Agostino - Angel Vargas "El yacare" 1941 3:09
19. Enrique Rodriguez - Armando Moreno "Como Has Cambiado Pebeta" 1942 2:37
20. Enrique Rodriguez - Armando Moreno "El encopao" 1942 2:34
21. Enrique Rodriguez - Armando Moreno "Cómo Se Pianta la Vida" 1940 2:23
The sound of Bertolin's accordeon adds a unique flavor to the valses...
22. Edgardo Donato - Horacio Lagos, Lita Morales  "Mañana sera la mia" 1941 2:52
23. Edgardo Donato - Horacio Lagos "Con Tus Besos" 1938 2:23
24. Edgardo Donato - Horacio Lagos "Quien Sera" 1941 2:15
25. Miguel Caló - Raúl Iriarte  "La vi llegar" 1944 3:24
26. Miguel Caló - Raúl Iriarte  "Despues" 1944 2:54
27. Miguel Caló - Raúl Iriarte  "La noche que te fuiste" 1945 2:47
28. Anibal Troilo - Francisco Fiorentino  "Malena" 1942 3:01
29. Anibal Troilo - Francisco Fiorentino  "Pa' que seguir" 1942 2:35
30. Anibal Troilo - Francisco Fiorentino "Cada vez que me recuerdes" 1943 2:40
31. Otros Aires "Los Vino" 2010 2:41
32. Otros Aires "Rotos En El Raval" 2005 3:53
33. Otros Aires "Milonga Sentimental" 2005 3:57
Hugo Duval (1928-2003)
TodoTango image
Listening to brooding late Biagi's two nights ago at Milonga Sin Nombre, with "Esperame en el cielo" and "Soñemos" set as tanda centerpieces, I realized that I've never played Biagi-Duval tandas before, yet always looked forward to it. Hugo Duval is one those few great tango voices who were born too late to shine during the Golden Years, yet never wavered in their dedication to Tango (Nina Miranda belonged to this generation, too). After a brief stint with Raul Kaplun's tango orchestra, Duval joined Biagi in 1950, and stayed to the end. And then convened his own tango band dedicated to the memory of Rodolfo Biagi!
34. Rodolfo Biagi - Hugo Duval  "Solamente Dios y yo" 1958 2:30
35. Rodolfo Biagi - Hugo Duval  "Alguien" 1956 3:14
36. Rodolfo Biagi - Hugo Duval  "Esperame en el cielo" 1958 2:52
37. Edgardo Donato - Horacio Lagos "El Adios" 1938 3:09
38. Edgardo Donato - Lita Morales,  Horacio Lagos y Romeo Gavio "Sinfonia de Arrabal" 1940 3:07
39. Edgardo Donato - Horacio Lagos y Lita Morales "Carnaval De Mi Barrio" 1939 2:25
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. Osvaldo Pugliese - Roberto Chanel "Corrientes y Esmeralda" 1944 2:46
44. Osvaldo Pugliese - Roberto Chanel "Farol" 1943 3:22
45. Osvaldo Pugliese - Roberto Chanel "Rondando Tu Esquina" 1945 2:49
46. Hector Varela - Rodolfo Lesica "Y todavia te quiero" 1956 3:06
47. Hector Varela - Rodolfo Lesica "El destino la llevo" 1959 3:01
48. Hector Varela - Argentino Ledesma "Fueron tres años" 1956 3:26
49. Juan D'Arienzo - Instrumental  "Bar Exposicion" 1973 2:33
50. Juan D'Arienzo - Instrumental  "Zorro gris" 1973 2:03
51. Juan D'Arienzo - Instrumental  "Este Es El Rey" 1971 3:10
52. Juan D Arienzo - Instrumental "La Cumparsita" 1955 3:44
and our traditional post-Cumparsita set for moving furniture, final hugs, and, yes, a bit more dancing for the crazy souls like most of us.
53. 17 Hippies "Gelb Zwo Drei" 2002 2:33
54. 17 Hippies "Time Has Left Me Ma Belle (Vals) aka Manchurian Hills" 2004 3:56
55.  Harry Roy "La cumparsita [rumba]" 1936 2:58

Monday, September 19, 2016

"Tango, pasion argentina" questions and quips

The 2013 Argentine public TV documentary series, "Tango, pasion argentina" is narrated by singer Walter "El Chino" Laborde, written by Liliana Escliar, and features great many modern musicians and orchestras. Only one of the 13 parts is about dancing, but there is an infinite variety of music and history and general culture information in the series, which is freely available on the internet. I can't even begin to cover all its topics... All I want to do is to touch on several moments which surprised me, and several observations which struck me.

The first part, "Tu cuna fue un conventillo" ("Your cradle was in a conventillo") mentions that in 1870-1910 Buenos Aires had 239 schools, 16 temples, and ... about 6000 houses of ill repute? Where do these numbers come from (so few churches??) And what kind of estabishments - brothels (prostibulos)? Boliche may generally be a night club, right? I already mentioned that tango historians Lamas and Binda insist that dancing was frequent in the drinking establishments but not in the prostibulos. The reason for this was the city ordnance which forbade both dancing and drinking in BsAs city brothels ... but then we can counter it again - like when was this law enforced, and what about suburbios - were there many brothels outside the city lines in the core tango barrios?

"With the arrival of the bandoneon with its sadness, Tango matured a little, and, like a teenager, has become prone to sentimental moods"

Inside Palais de Glace before a ball. From Maria's tango art site
El Chino gives the exact date of the 1st Balle del Internado a.k.a. Tango Clinic at Palais de Glace. Argentine Medical Interns' celebration was timed to the Students' Day, September 21, 1914. Although I also read that this date is incorrect and that the September 21, 1914 charity gala was held at a different location, "Splendid Theater", as a benefit for the medical library, and it was followed by a Fantasy Ball at Palais de Glace on September 24th. I wrote about these crazy celebrations of medicine and tango earlier ... and tonight it may be the time to celebrate it with "El Internado", "The Intern"?

"In 1917, Angel Villoldo said in an interview that he doesn't intend to keep composing tangos, because it's no longer in vogue. He died in 1919 - didn't live to see himself wrong".

Laborde described Nikanor Lima's 1916 Tango Salon dancing textbook as the earliest attempt to make not just tango music but also the actual dance decent and palatable to the high society in Argentina. The hundred years old book is lovingly preserved and commented at the social dance website of Stanford University.(Needless to say, I would be very surprised if any Argentines actually learned tango by this book!)

On the shift from improvised payadore-style verses to pre-set lyrics, and the revolution brough about by "Mi Noche Triste" in 1917: Informal / improvised lyrics, full of risque hints and double entendre - as is customary in the sex trade - dominated the early tangos. The same must be true with risque couplets in any language! With Contursi / Gardel's "Mi Noche Triste", the rough lunfardo slang remained in the lyrics, but now the verse has become a narrative, a story, with a straightforward meaning, and no indecent wordplay, no more bowdlerizations like "La c...ara de la l...una". (

"How do you know estribillista (refrain singer) from a true-blue tango singer?" For starters, refrain singer's name wasn't even printed anywhere on the billboard, tells us Laborde! But on July 1, 1937, for an opening night in Marabu, Anibal Troilo put Francisco Fiorentino's name on the billboards, That's how the singers' ascent to fame started, says Laborde. And soon after, we already see the star singer with one's special image, with unique onstage manners. They need to be watched, not just listened to. And soon after, chicas stop dancing, they freeze and watch their idol when the vocal segments begin...

One of the early examples of tango records
featuring estribillo singer names.
Osvaldo Frsedo - Roberto Ray, Feb. 1935
Courtesy of El Espejero
(Of all the disputable statements and simplifying soundbites of the TV series, this part about cantor de orquesta and July 1937 caused the biggest uproar so far. Yes, Francisco Fiorentino is the archetypal tango orchestra singer, but his impact on the evolving styles of vocal tangos have started years earlier, yet didn't achieve full strength until Troilo's first wave of prolific recordings in 1941 ... and there were far too many others boldly experimenting with the best ways to include vocals into the danceable tango. The format of "Tango cancion", with its multiple vocal couplets and refrains "beginning to end", was made famous hundred years ago by "Mi Noche Triste", and remained extremely popular through the years, but it wasn't considered "tango for dancing". Francisco Canaro credits himself with experimenting with part-vocal tango formats starting in the 1920s, first with only the refrain (estribillo) sung, then gradually going bolder with added stanzas, yet always keeping the requisite long instrumental intros and transitions. In his in-depth analysis, Jens-Ingo Brodesser shows how Carabelli, Fresedo, and Donato all developed stanzas-and-refrains tango formats in the early-to-mid 1930s. Of note also, we don't know how Fiorentino sang in Marabu in 1937, but we do know that the "legend of nameless singer" isn't quite right and in fact RCA Victor started putting estribillista names on record labels as early as in 1933.)

"Muerte y resurrección", "Death and resurrection of tango" (I was fascinated by this Dark Age period of tango history too, and wrote about it at length already). The "death" section spans the 1960s. Ricardo Mejia's disastrous management of RCA and "Nueva Ola". Deluge of Western music. Parallel rise of the countryside tunes, of the folklore and Palito Ortega. Mortal conflict of the New Wave "movement" with Pugliese. But some tango life still goes on... Amazingly, La Falda festival of tango begins in a  little town in Cordoba province, 500 miles from BsAs, in 1965. Sexteto Mayor forms in 1973. Ben Molar commissions "14 con el Tango".Still, tango survives mostly by lingering in the retrospective TV programs, and on the for-export LPs. 

The nail in the coffin of the old tango may have been the untimely death of Julio Sosa in a car accident on November 26 1964 - "El Varón del Tango", only 38 years old, was still loved by the young fans even in the times of Nueva Ola. 

Cucuza at El Viejo Almacen
In the big city counterculture scene, new music cafes sustain the remnants of tango. Caño Catorce Cafe - "Drainage Pipe 14" - opened in March 1962. The name of the establishment is said to have been suggested by drunk Troilo, muttering, "of course we'll go down the drain soon after opening" (and the  number 14 signifies drunkards). Over the years, it's become almost synonymous with tango music. It operated until 1986, and later reopened with almost the same fame. In 1969, Ruben Juarez debuted on bando at this cafe.

El Viejo Almacen - "The Old Warehouse" bar opens in on May 9, 1969 as Edmundo Rivero's project, named after the opening line from the old tango, Sentimento Gaucho, sung by Gardel in 1925 ... it is the place of gathering of all dejected and hopeless. By the way, this location hosted a cafe and bowling alley way back in the 1900s, operating under the name "Volga" by a Russian emigre, Paula Kravnik,  In this still from the video, Hernán 'Cucuza' Castiello sings Sentimento Gaucho at the location. 

The serial doesn't have much to say about the 1970s. Too dark, too hopeless. For the resurrection scene, they segway straight to November 11, 1983, when Tango Argentino opens to rave reviews at Festival d'Automne in Paris.

Thursday, September 8, 2016

Tango on the Rocks Late Night Milonga playlist, September 2016

After it's over :)
5:15 AM on Labor Day Monday morning
Denver Turnverein! It's such an honor to DJ at this beautiful, venerable dance hall, at the historic Labor Day Tango Festival, now rechristened Tango on the Rocks (hey, one day we shall answer the naming challenge with "Tango Chilled Neat", the Russian way)!
The flip side is that I have to leave my most beloved Cheesman Park colonnade milonga early to catch a small nap before my work shift. By 10:30 pm - when DJ Martin was just about to play La Cumparsita at Cheesman's - we are already at the venue, beautifully decorated by the original artwork by Amber Schneider & Tiffiny Wine and by Jesica Cutler's paper creations for the event. And I start playing-and-sound-testing right away. The guests begin to trickle in right after the official 11 pm opening time; the first track with dancers on the floor is Hugo Diaz's slow-longa. Thence, the real milonga play-set begins.
001. Francisco Canaro - Roberto Maida "Mi noche triste" 1936 2:45
002. Francisco Canaro - Roberto Maida "Recuerdos De Paris" 1937 3:12
003. Francisco Canaro - Roberto Maida "Ciego" 1935 2:57
004. Francisco Canaro - Roberto Maida "Condena (S.O.S.)" 1937 2:39
005. Vitas  "7, the element cortina" 2012 0:23
006. Adolfo Carabelli - Carlos Lafuente "Pa' que lagrimear" 1933 2:37
007. Adolfo Carabelli - Alberto Gomez  "El trece" 1932 2:30
we just chatted with friends about countryside-themed tango songs, and especially about the lazy cows slowly making their way home across a ravine in "El carrerito", so I was tempted to play these old favorites "before the milonga really gets blazing" :)
008. Sexteto Carlos di Sarli - Ernesto Fama "La estancia" 1930 3:25
009. Osvaldo Fresedo - Ernesto Fama  "El carrerito" 1928 3:09
010. QTango Sexteto Canyengue "Milonga Triste (milonga cut)" 2000 4:06
011. Hugo Diaz   "Milonga Para Una Armonica" 1973 4:25
012. Quinteto Don Pancho - Instrumental "La Viruta" 1938 2:30
013. Quinteto Don Pancho - Instrumental "El pollo Ricardo" 1938 2:30
014. Quinteto Don Pancho - Instrumental "Alma en pena" 1938 2:46
015. Quinteto Don Pancho - Instrumental "Zorro gris" 1938 2:46
016. Sandro de America  "Yo Te Amo cortina" 1968 0:23
017. Enrique Rodriguez - Armando Moreno "Tango argentino" 1942 2:37
018. Enrique Rodriguez - Armando Moreno "Tabernero" 1941 2:33
019. Enrique Rodriguez - Armando Moreno "Un tropezon" 1942 2:30
020. Enrique Rodriguez - Armando Moreno "Como Has Cambiado Pebeta" 1942 2:37
021. Enrique Rodriguez - Armando Moreno "En La Buena Y En La Mala" 1940 2:28
022. Lidiya Ruslanova  "Valenki 2 (cortina long)"  0:33
With the vals set, the floor comes truly alive at last. Whew!
023. Juan D'Arienzo - Instrumental "Orillas Del Plata" 1935 2:44
024. Juan D'Arienzo - Alberto Echagüe "En Tu Corazon" 1938 2:47
025. Juan D'Arienzo - Héctor Mauré "Cuatro Palabras" 1941 2:12
I wanted to deploy a set of energetic (and largely wordless) cortinas, and turned to rock classics, trying some from Argentina (like Sandro's hit two tandas back) and some from the Anglo world (like the one which closes the next tanda) ... but ended up relying the most on just one groundbreaking Russian 1980s band, with its insane variety of dark and driving beats which seemed so perfect for an all-nighter. We just marked 26th anniversary of Viktor Tsoi's untimely death, and I start from a snippet of his song marked by this foreboding, opening with a question, "How many more songs am I destined to write?".
026. Viktor Tsoy  "Kukushka cortina long 2"  0:37
027. Francisco Canaro - Ernesto Fama "Tormenta" 1939 2:38
028. Francisco Canaro - Ernesto Fama "Te quiero todavia" 1939 2:54
029. Francisco Canaro - Ernesto Fama "Algun dia te dire" 1939 2:16
030. Francisco Canaro - Ernesto Fama "No me pregunten porque" 1939 2:54
031. Pink Floyd  "Goodbye Blue Sky cortina long 1"  0:34
032. Carlos di Sarli - Instrumental "La trilla" 1940 2:21
033. Carlos di Sarli - Instrumental "Catamarca" 1940 2:23
034. Carlos di Sarli - Instrumental "Shusheta" 1940 2:24
035. Carlos di Sarli - Instrumental "Nobleza De Arrabal" 1940 2:08
A wishful thinking cortina title? I don't think so!
036. Kirsty Hawkshaw  "It's gonna be a fine night tonight - cortina long"  0:34
037. Juan D Arienzo - Instrumental "Milonga, Vieja Milonga" 1937 2:33
038. Juan D Arienzo - Instrumental "De Pura Cepa" 1935 2:42
039. Juan D Arienzo - Instrumental "El Esquinazo" 1938 2:29
040. Mammas and the Papas  "California Dreaming cortina long"  0:40
I don't play 4 song tandas all that often, and tonight I sensed how much more freedom they givs me with gradually changing the emotional vibes within the tandas. It felt pretty cool to keep selecting sets of songs not just unified by their similarity, but also developing a directional theme...
041. Osvaldo Fresedo - Roberto Ray  "Adiós para siempre" 1936 3:03
042. Osvaldo Fresedo - Roberto Ray  "Angustia" 1938 2:39
043. Osvaldo Fresedo - Instrumental  "Arrabalero" 1939 2:32
044. Osvaldo Fresedo - Roberto Ray "En la huella del dolor" 1934 2:48
As I played a longer cut of Sandro's 1968 super-hit - for a more crowded dance floor - Gustavo Naveira stopped by and asked if I can play the *whole* song. And I didn't have quick enough thinking to tell him that I will do it, if he will dance it... Drats!
045. Sandro de America  "Yo te amo cortina long" 1968 0:44
046. Ricardo Tanturi - Alberto Castillo "Asi Se Baila El Tango" 1942 2:36
047. Ricardo Tanturi - Alberto Castillo "Noches Del Colon" 1941 2:36
048. Ricardo Tanturi - Instrumental "Comparsa Criolla" 1941 2:53
049. Ricardo Tanturi - Alberto Castillo "Pocas palabras" 1941 2:27
050. A.R. Rahman "Ringa Ringa cortina long" 2008 0:32
051. Enrique Rodriguez - Roberto Flores "Salud, Dinero Y Amor" 1939 2:39
052. Enrique Rodriguez - Roberto Flores "Tengo mil novias" 1939 3:06
053. Enrique Rodriguez - Roberto Flores "Fru Fru" 1939 2:57
054. Zhanna Aguzarova  "Old Hotel cortina long"  0:38
055. Edgardo Donato - Horacio Lagos  "A media luz" 1941 2:31
056. Edgardo Donato - Horacio Lagos  "A oscuras" 1941 2:48
057. Edgardo Donato - Horacio Lagos  "Se va la vida" 1936 2:39
058. Edgardo Donato - Horacio Lagos  "Te busco" 1941 2:26
059. Viktor Tsoy  "Kukushka cortina long"  0:55
060. Juan D'Arienzo - Alberto Echagüe "Qué importa" 1939 2:17
061. Juan D'Arienzo - Alberto Echagüe "La bruja" 1938 2:18
062. Juan D'Arienzo - Alberto Echagüe "Ansiedad" 1938 2:42
063. Juan D'Arienzo - Alberto Echagüe "No Mientas" 1938 2:36
064. Johnny Cash  "I walk the line - cortina long" 0:40
065. Carlos di Sarli - Roberto Rufino  "Pena mulata" 1941 2:27
066. Carlos di Sarli - Roberto Rufino "Zorzal" 1941 2:40
067. Carlos di Sarli - Roberto Rufino "Yo Soy De San Telmo" 1943 2:20
068. Alla Pugacheva  "Million Scarlet Roses (cortina long)"  0:39
069. Francisco Canaro - Eduardo Adrian "Infamia" 1941 3:00
070. Francisco Canaro - Eduardo Adrian "Decile que vuelva" 1941 2:35
071. Francisco Canaro - Eduardo Adrian "Amando en silencio" 1942 2:54
072. Francisco Canaro - Eduardo Adrian "Corazon encadenado" 1942 3:28
073. Viktor Tsoy  "Nam s toboj (For you and me) cortina long"  0:52
The final set of a nearly-continuous torrent of rhythmic and high-drive tandas. It's 2 am already, and we don't expect more new arrivals to the milonga who'd need to be energized into action. So it's now time to mellow it out, and to pave way for a transition to a mid-allnighter's dramatic peak, the one which I would normally reserve for the crescendo of the final hour of a shorter milonga.
074. Pedro Laurenz - Martin Podesta  "Al verla pasar" 1942 3:23
075. Pedro Laurenz - Juan Carlos Casas "Vieja Amiga" 1938 3:12
076. Pedro Laurenz - Instrumental  "Amurado" 1947 2:38
077. Pedro Laurenz - Juan Carlos Casas "No me extrana"  2:44
078. Elleen Burhum  "Interlude long slow cortina" 2006 0:41
the only tanda of slower valses. I wrote about these unusuals and their director here.
079. Juan De Dios Filiberto - Instrumental "Tus Ojos Me Embelesan" 1935 2:34
080. Juan De Dios Filiberto - Instrumental "Palomita Blanca" 1959 2:35
081. Juan De Dios Filiberto - Instrumental "Pensando En Ti" 1935 2:50
(break for the performance, followed by a group dance of the instructors to Di Sarli's beautiful classic)
082. Carlos di Sarli - Instrumental  "Ensueños" 1943 2:44
083.   "silence30s"  0:31
084. Robotaki "Visual Dreams (Instrumental long)" 0:36
085. Miguel Caló - Raúl Berón "Jamas Retornaras" 1942 2:31
086. Miguel Caló - Raúl Berón "Que te importa que te llore" 1942 2:44
087. Miguel Caló - Raúl Berón "Trasnochando" 1942 3:04
088. Miguel Caló - Raúl Berón "Lejos de Buenos Aires" 1942 2:54
089. Viktor Tsoy  "Sledi za soboj (Be careful) long vocal cortina"  0:53
We are often told to bracket the tandas with the strongest songs, leaving the weakest tracks for the 3rd place in a four-song set. First song to drive people onto the floor, the final one like a dessert after a meal course, right? But exceptions happen, and in the following dramatic contemporary classic tanda I felt that I needed to make the 3rd song the strongest! Why? Because it was dictated by the logic of the developing theme - from dramatic melody towards raw grounded energy. I already wrote about Ojos de Tango, and their singularly beautiful bandleader, here - and about the exceptional nature of their "El adios", making it so difficult to match it with their other, less powerful tracks. The following night at the Avalon, Marc Hussner tried to prove me wrong, starting an Ojos tanda with "El adios" and continuing with diminishing energy. It actually felt better than I expected, but still the drive was kind of dissipating towards the end. Do you have better ideas how to use this great record in a tanda? Want to share?
090. Orquesta Tipica Fervor de Buenos Aires "Quien Sos" 2007 3:08
091. Orquesta Tipica Fervor de Buenos Aires "E.G.B." 2007 2:26
092. Analíá Goldberg y Sexteto Ojos De Tango "El Adios" 2011 3:13
093. The Alex Krebs Tango Sextet  "La Yumba" 2011 2:57
094. The Blues Brothers  "Theme From Rawhide (long vocal cortina)" 1980 0:33
we carry the crazy energy into a candombe tanda, and on to the complex and dramatic De Angelis and Pugliese sets
095. Enrique Rodriguez - Armando Moreno "El tucu-tun" 1943 2:34
096. Alberto Castillo "El Gatito en el Tejado" 1957 2:37
097. Romeo Gavioli  "Tamboriles" 1956 2:56
first of the extra-long cortinas for the night. Great modern rendition of the classic slow milonga made famous by Atahualpa. I started playing this fav track from near the second stanza, and Gustavo Naveira stopped by and asked me not to cut it short. Thanks Randy for dancing along!
098. Paco Mendoza & DJ Vadim  "Los Ejes De Mi Carreta - danceable cortina cut" 2013 2:12
099. Alfredo de Angelis - Instrumental "El Tango Club" 1957 2:40
100. Alfredo de Angelis - Instrumental "Felicia" 1969 2:47
101. Alfredo de Angelis - Instrumental "Pavadita" 1958 2:52
102. Alfredo de Angelis - Instrumental "Mi Dolor" 1957 2:51

103. Viktor Tsoy  "Red-Yellow Days cortina long 1"  0:50
104. Osvaldo Pugliese - Instrumental "Recuerdo" 1944 2:45
105. Osvaldo Pugliese - Roberto Chanel "Corrientes y Esmeralda" 1944 2:46
106. Osvaldo Pugliese - Roberto Chanel "Farol" 1943 3:22
107. Osvaldo Pugliese - Roberto Chanel "Rondando Tu Esquina" 1945 2:49
This is the high point of the first 4-hour stretch of the milonga; I know that many dancers won't survive till 5 in the morning, and for them, this could be the crescendo. But we shall try raising another high wave of energy for the survivors in the two hours ahead!
108. Johnny Cash  "I walk the line cortina long" 0:40
109. Orquesta Tipica Victor - Lita Morales "Noches de invierno" 1937 2:47
110. Orquesta Tipica Victor - Angel Vargas "Sin Rumbo Fijo" 1938 2:18
111. Orquesta Tipica Victor - Mario Pomar  "Temo" 1940 2:55
112. Zhanna Aguzarova  "Old Hotel cortina long"  0:38
113. Angel D'Agostino - Angel Vargas, glosas: Julian Centeya "Cafe Dominguez" 1955 2:58
114. Angel D'Agostino - Angel Vargas "Ahora no me conoces" 1940 2:34
115. Angel D'Agostino - Angel Vargas "Solo compasion" 1941 2:58
116. Angel D'Agostino - Angel Vargas "A quien le puede importar" 1945 3:11
117. Sandro de America  "Yo te amo cortina long"  0:44
118. Aníbal Troilo - Instrumental "Guapeando" 1941 2:50
119. Aníbal Troilo - Instrumental "El tamango" 1941 2:35
120. Aníbal Troilo - Instrumental "Comme il faut" 1938 2:42
121. Aníbal Troilo - Instrumental "Milongueando en el cuarenta" 1941 2:33
for the late-night energy flow, transitioning to shorter tandas with occasional longer dance-able cortinas. The catch with these type of cortinas is that for the tangueros who sit them out, the energy may sag with every additional minute of a musical break. Five-plus minutes long salsa interludes invariably do this to myself! So tonight, I mostly stick with approximately 2 minute long pre-cut "danceable cortinas" instead of the full-length tracks. Couldn't make a logical cut of this one, though:
122. Fool's Garden "Lemon Tree" (full-length danceable cortina) 1999 3:11
Meanwhile our crazy chefs Mike Eblen & Trista do everything to support the energy flow with a late-nighter's traditional "early breakfast" :) ...
123. Quinteto Pirincho  - Instrumental "Milongon" 1952 2:30
124. Quinteto Pirincho  - Instrumental  "Arrabalera" 1950 2:41
125. Quinteto Pirincho  - Instrumental "Orillera" 1960 2:24
126. Victor Tsoy  "Gruppa Krovi (Blood Type) cortina long"  0:36
127. Edgardo Donato - Lita Morales y Romeo Gavio  "Mi Serenata" 1940 3:02
128. Edgardo Donato - Horacio Lagos, Lita Morales y Romeo Gavio "Sinfonia de Arrabal" 1940 3:07
129. Edgardo Donato - Horacio Lagos y Lita Morales "Carnaval De Mi Barrio" 1939 2:25
130. Leonid Utesov  "S Odesskogo Kichmana (cortina long)" 1935 0:44
131. Sexteto Carlos di Sarli - Instrumental "Anorandote" 1930 2:33
132. Sexteto Carlos di Sarli - Ernesto Fama "Flora" 1930 2:38
133. Sexteto Carlos di Sarli - Instrumental "Belen" 1929 2:44
134. Cream Margot  "Krem Margo - Poka Igraet Dzhaz danceable cortina cut"  1:41
135. Enrique Rodriguez - Armando Moreno  "En el volga yo te espero" 1943 2:40
136. Enrique Rodriguez - El "Chato" Flores  "Las Espigadoras" 1938 2:49
137. Enrique Rodriguez - El "Chato" Flores "Los Piconeros (Vals)" 1939 2:47
138. Damour Vocal Band  "SWAY - danceable cortina cut"  1:39
139. Lucio Demare - Raul Beron "Canta pajarito" 1943 3:24
140. Lucio Demare - Juan Carlos Miranda  "Sorbos amargos" 1942 3:22
141. Lucio Demare - Juan Carlos Miranda  "No te apures, Carablanca" 1942 3:29
142. Prince  "Baby Knows (With Sheryl Crow) cortina" 1999 0:35
143. Pedro Láurenz - Alberto Podestá  "Alma de bohemio" 1943 2:45
144. Pedro Láurenz - Alberto Podestá  "Todo" 1943 2:37
145. Pedro Láurenz - Alberto Podestá  "Recien" 1943 2:43
146. V. Butusov  "Goodbye America - danceable cortina cut" 1996 2:00
147. Rodolfo Biagi - Jorge Ortiz  "Todo te nombra" 1940 3:33
148. Rodolfo Biagi - Jorge Ortiz  "Carillón de La Merced" 1941 2:30
149. Rodolfo Biagi - Instrumental "El Recodo" 1952 2:25
150. Viktor Tsoy  "Red-Yellow Days cortina long 2"  1:03
151. Donato Racciatti - Nina Miranda "Gloria " 1952 2:44
152. Donato Racciatti - Olga Delgrossi "Sus Ojos Se Cerraron" 1056 2:47
153. Donato Racciatti - Olga Delgrossi  "Hasta siempre amor" 1958 2:57
154. 17 Hippies  "Marlène - danceable cortina cut" 2005 2:46
155. Osvaldo Pugliese - Instrumental "Gallo ciego" 1959 3:33
156. Osvaldo Pugliese - Instrumental "Nochero soy" 1956 3:33
157. Osvaldo Pugliese - Jorge Maciel "Remembranza" 1956 3:41
158. Juan D'Arienzo - Instrumental  "La cumparsita" 1951 3:49
and after the hall quites down, and after the traditional 5:15 AM survivors photo, I can't resist adding one more track - Harry Roy and Stanley Black's 1938 rumba remix of the Cumparsita. And guess what? The tired tangueras break into an exuberant dance :)

Monday, June 20, 2016

Milonga Sin Nombre playlist, June 18, 2016

A smaller summertime milonga which gained steam slowly but still ended with a nice energy.
01. Juan D'Arienzo - Instrumental "Rawson" 1936 3:31
02. Juan D'Arienzo - Instrumental "Joaquina" 1935 3:01
03. Juan D'Arienzo - Instrumental "El Flete" 1936 2:56
04. Gogol Bordello  "Pala Tute cortina 2" 2012 0:19
05. Quinteto Don Pancho - Instrumental "La Viruta" 1938 2:30
06. Quinteto Don Pancho - Instrumental "Alma en pena" 1938 2:46
07. Quinteto Don Pancho - Instrumental "Loca" 1938 2:57
08. Stas Borsov  "Anyuta cortina" 2000 0:21
Haven't played Laurenz's milongas for a very long time
09. Pedro Laurenz - Instrumental  "Milonga de mis amores" 1944 2:27
10. Pedro Laurenz - Juan Carlos Casas  "Milonga compadre" 1938 2:42
11. Pedro Laurenz - Martín Podestá "La Vida Es Una Milonga" 1941 2:25
12. Vitas  "7, the element cortina" 2012 0:23
13. Ángel D'Agostino - Ángel Vargas "Tres Esquinas" 1941 3:05
14. Ángel D'Agostino - Ángel Vargas "Caricias" 1945 2:44
15. Ángel D'Agostino - Ángel Vargas "Ninguna" 1942 2:57
16. Zhanna Aguzarova "Old Hotel" 1987 0:22
17. Carlos Di Sarli - Roberto Rufino "En Un Beso La Vida" 1940 2:26
18. Carlos Di Sarli - Roberto Rufino "Lo Pasado, Pasó" 1940 2:25
19. Carlos Di Sarli - Roberto Rufino "Corazón" 1939 2:47
20. The Beatles "All you Need is Love cortina" 0:19
This piano-accented vals tanda was custom-build to use Horacio Salgan's great vals to celebrate the great Afro-Argentine tango pianist and composer's centennial. Horacio Salgan was born on June 15, 1916. He loved jazz and South American folk, and he earned his living playing at the movies and cheap cafes since the very young age, but his deepest affection has always been to the music of tango. The early steps of his tango career came with Roberto Firpo (but left no recordings), and Horacio was greatly influenced by Firpo and by a creative but now mostly forgotten pianist, Armando Federico, who played in Laurenz's orchestra. Salgan convened his first cutting-edge tango orchestra in 1944, then again in the 1950s when he famously introduced bass clarinet into a tango orchestra, and then carried the banner of tango through the "dark ages" of the 1960s and 1970s with his Quinteto Real. Salgan is considered to be one of the great tango innovators of the post-Golden Age era, although he always insisted that he was just driven by his love of tango and his artistic vision, and was in awe of the tango's past, and never specifically aimed "to innovate". We'll play a rather contemporary and jazzy-sounding tanda of his records a bit later. Good health to you, maestro!
(This very recent Salgan documentary is subtitled in English)

21. Nuevo Cuarteto Roberto Firpo - Instrumental "Clarita (vals)" 1955 2:16
22. Horacio Salgan  "Ilusion De Mi Vida (Vals)" 1952 2:58
23. Alfredo de Angelis - Carlos Dante  "Ilusion azul" 1945 2:37
24. Gogol Bordello  "Pala Tute cortina 3" 2012 0:19
Two tandas with very different, and very talented, female vocals:
25. Edgardo Donato - Horacio Lagos, Lita Morales, Romeo Gavioli "Triqui trá" 1940 2:34
26. Edgardo Donato - Lita Morales, Romeo Gavioli "Yo Te Amo" 1940 2:55
27. Edgardo Donato - Horacio Lagos, Lita Morales "Carnaval De Mi Barrio" 1939 2:25
28. Alla Pugacheva "Million Scarlet Roses" 1982 0:19
29. Donato Racciatti - Olga Delgrossi "Queriendote" 1955 2:49
30. Donato Racciatti - Olga Delgrossi "Hasta siempre amor" 1958 2:57
31. Donato Racciatti - Olga Delgrossi "Sus Ojos Se Cerraron" 1956 2:47
32. Beatles The Beatles "All you Need is Love cortina" 0:19
Juan Filiberto
Tonight is the first time I ever played Filiberto's music. Juan De Dios Filiberto firmly belongs to the earliest generation of tango orchestra leaders. Born on March 8 1885, growing up in the legendary rough neighborhood of La Boca, working at the docks and playing guitar and piano yet lacking any formal musical education, eager to underscore that the genuine innate feeling is the single most important aspect of tango music. Filiberto loved to blend tango with other traditional street music genres, and preferred to call it "Creole Music" rather than simply "Tango". To overcome his lack of knowledge of classical music, he took a job of a stage technician at the famous Teatro Colon, spending all his free minutes listening, and in the end falling in love with Beethoven. This motivated Filiberto to enter the conservatory at an unthinkable age of 24, to study violin. 
Filiberto's La Boca home slowly decays,
waiting until the government makes good
on its promise to make it a museum

Health issues forced the musician to leave his native city and to move to the foothills of the Andes. There, he composed some of the most popular tango hits of the 1920s: “Caminito”, “Quejas de bandoneón”, “El pañuelito”, "Clavel del Aire", “Malevaje”. But, uprooted again by the Great Depression, at the age of 47 he makes his way back to the capital, to a different La Boca house, and convenes his first Orquesta Porteña in 1932 (soon to be featured in the first sound movie about tango). The Orquesta Porteña incorporated clarinet, flute, and pump organ (harmonium) (which Filiberto learned to play himself), in addition to the "classic" instruments of a Tango Tipica. He also directed BsAs municipal Folkloric Music Orchestra for over 25 years, until his death. In the end, as I understand, the porteño purists simply wouldn't consider him a bona fide tango musician. But it is exactly the unusual musical texture of these valses which attracted me!

33. Juan De Dios Filiberto - Instrumental "Tus Ojos Me Embelesan" 1935 2:55
34. Juan De Dios Filiberto - Instrumental "Pensando En Ti" 1935 2:50
35. Juan De Dios Filiberto - Instrumental "Palomita Blanca" 1959 2:35

36. Vitas  "7, the element cortina" 2012 0:23
The promised Salgan tanda. As I recently confirmed, Argentines love the music of the centenarian pianist and bandleader, which in many ways presaged Tango Nuevo. Playing it, I discovered that it is the Nuevo music aficionados here who are most at home with it. Beautiful stuff ... for an alternative milonga, possibly? 
37. Horacio Salgan "Don Agustin Bardi" 1950 3:04
38. Horacio Salgan "Boedo" 1952 3:17
39. Horacio Salgan "Los Mareados" 1952 3:23
40. Vitas  "7, the element cortina" 2012 0:23
... and on the contrary, the expats but not the Argentinians appear to appreciate Canaro's classics. Which reminded me that I haven't played Canaro's hits with Maida for too long!
41. Francisco Canaro - Roberto Maida "Mi noche triste" 1936 2:45
42. Francisco Canaro - Roberto Maida "Recuerdos De Paris" 1937 3:12
43. Francisco Canaro - Roberto Maida "Condena (S.O.S.)" 1937 2:39
44. Zhanna Aguzarova "Old Hotel" 1987 0:22
45. Pedro Laurenz - Alberto Podestá "Todo" 1943 2:38
46. Pedro Laurenz - Alberto Podestá "Garua" 1943 3:11
47. Pedro Laurenz - Alberto Podestá "Recien" 1943 2:44
48. Beatles The Beatles "All you Need is Love cortina" 0:19
What a tango night without Donato's valses?
49. Edgardo Donato - Horacio Lagos "Quien Sera" 1941 2:15
50. Edgardo Donato - Horacio Lagos, Lita Morales y Romeo Gavio "Estrellita Mia" 1940 2:36
51. Edgardo Donato - Félix Gutierrez "La Tapera" 1936 2:54
52. Vitas  "7, the element cortina" 2012 0:23
53. Ricardo Tanturi - Alberto Castillo  "Recuerdo Malevo" 1941 2:33
54. Ricardo Tanturi - Alberto Castillo  "Como se pianta la vida" 1942 2:57
55. Ricardo Tanturi - Alberto Castillo  "Así Se Baila El Tango" 1942 2:34
56. Zhanna Aguzarova "Old Hotel" 1987 0:22
... and it's time for a birthday vals!

57. Francisco Canaro - Eduardo Adrian  "Muchacha" 1942 2:39
58. Russian Folk  "Gypsy Girl (cortina)"  0:22
59. Miguel Caló - Raúl Berón "Tristezas De La Calle Corrientes" 1942 2:46
60. Miguel Caló - Raúl Berón "Lejos de Buenos Aires" 1942 2:54
61. Miguel Caló - Raúl Berón "Que te importa que te llore" 1942 2:44
62. Lidiya Ruslanova  "Valenki 4 (cortina)"  0:24
63. Osvaldo Fresedo - Roberto Ray "Cordobesita" 1933 2:32
64. Osvaldo Fresedo - Roberto Ray "Recuerdo de bohemia" 1935 2:36
65. Osvaldo Fresedo - Roberto Ray  "En la huella del dolor" 1934 2:48
66. Zhanna Aguzarova "Old Hotel" 1987 0:22
67. Enrique Rodríguez - Armando Moreno "Como Has Cambiado Pebeta" 1942 2:37
68. Enrique Rodriguez - Armando Moreno "Tabernero" 1941 2:33
69. Enrique Rodriguez - Armando Moreno  "Danza maligna" 1940 2:28
70. Vadim Yegorov  "I love you, my rains (cortina 1)" 1999 0:16
Special: slow milonga sureñas. 
71. QTango Sexteto Canyengue "Milonga Triste (milonga cut)" 2000 4:06
72. Hugo Diaz " Milonga Para Una Armonica" 1973 4:25
73. Paco Mendoza & DJ Vadim  "Los Ejes De Mi Carreta" 2013 3:23
74. Beatles The Beatles "All you Need is Love cortina" 0:19
75. Lucio Demare - Juan Carlos Miranda  "Sorbos amargos" 1942 3:22
76. Lucio Demare - Juan Carlos Miranda  "Manana zarpa un barco" 1942 3:22
77. Lucio Demare - Juan Carlos Miranda  "No te apures, Carablanca" 1942 3:29
78. Zhanna Aguzarova "Old Hotel" 1987 0:22

I planned to wrap it up with Pugliese, of a later period than what I usually choose, but by a popular request threw in an extra tanda of D'Arienzo's crazy instrumentals.
79. Osvaldo Pugliese - Instrumental "Emancipación" 1955 3:25
80. Osvaldo Pugliese - Instrumental "Nochero soy" 1956 3:33
81. Osvaldo Pugliese - Instrumental "Gallo ciego" 1959 3:33
82. Gypsy Folk  "Autumn Dew"  0:30
83. Juan D'Arienzo - Instrumental "La torcacita" 1971 2:31
84. Juan D'Arienzo - Instrumental "Zorro gris" 1973 2:03
85. Juan D'Arienzo - Instrumental "Este Es El Rey" 1971 3:10
86. Juan D'Arienzo - Instrumental "La cumparsita" 1951 3:49
87.   "The Beatles - Michelle"  2:43

Wednesday, June 15, 2016

The Big 5 Orchestras: a global view

A survey matures...
Tango Tecnia worldwide annual survey of the attitudes and preferences of the tangueros had substantially widened its reach in its second year. In 2014, the survey was only available in Spanish, and its audience in North American continent was pretty much limited to ... Mexico, while in Europe, it largely probed the opinions in Spain (with a smaller number of responses from France and Italy). In comparison, in 2015, an English language version of the survey brought many more countries into play, despite a poor quality of English translation.
In 2014 nearly half of the 1282 survey-takers were Argentinian, but only 25 people from the English-speaking countries responded. But in 2015, less than a third of the 2229 participants were from Argentina; this time, 283 Americans and Canadians, 116 Britons, and 29 from Australia and New Zealand responded. Germany has become strongly represented, along with many more Northern, Central and Eastern European nations.
Tango Tecnia 2015 Survey respondents. In my representation, "other Anglo countries" are Ireland, Canada,
Australia, NZ, and South Africa. I included Russia and Israel in "Other European" category.
The age group appeal of the survey widened too. In 2014, tangueros in their 20s and 30s predominated, and the average age of the survery-takers was only 40. In 2015, the share of people in their 20s and 30s dropped to 40%, and the average age increased to 45.

Of course like any Internet survey, it's subject to biases of self-selection ... basically only people who care about its questions would chime in. But when we discuss the tango orchestras and their significance, it's kind of OK to draw some conclusions from the opinions of those who care.

This isn't a full list of the ingredients of a "balanced meal of a milonga" like we saw in Weigel's survey. Here we see the orchestras which make the tangueros eager to dance, the ones which they gratefully remember dancing to.

One pet peeve: in 2015, the survey-designers simply forgot to include Edgardo Donato on the list! (It ranked #12 in 2014).

World's 5 orchestra favorites, and the runners-up

D'Arienzo ~ Di Sarli > Pugliese > Canaro ~ Troilo led the pack (statistically speaking, D'Arienzo and Di Sarli with their 75% and 73% favorability rating weren't significantly different, as were Canaro and Troilo with their 61% and 60% favorability). This actually marks the first time in my research when the elusive Big 5 have been defined with statistical significance (all 5 were significantly ahead of the next  runner-up, Calo). An increased study size makes all the difference!

D'Arienzo and Di Sarli were the winners across the spectrum of ages, gender roles, and geographical locations, while Pugliese was somewhat less favored in the US (where it was rated the 5th).

Troilo was more favored in Argentina, but not significantly so (64% vs. 58%, p-value = 0.02, too high in this multiple-testing scenario).

But Francisco Canaro offered a stark example of regional and cultural differences. It topped the popularity chart in the UK, but wasn't even in the top 5 in Argentina! (the first one of a long list of orchestras which ranked far lower in Argentina than in the rest of the world).
Overall, favorability of Canaro outside Argentina was 68%, compared with only 51% in Argentina. The difference was extremely significant (p-value 0.000000).

#6 Calo was significantly ahead of #7 Biagi. Calo was universally popular (but most of all in Colombia and Venezuela)

#7 Biagi was in statistical dead heat with #8 Fresedo, but significantly ahead of #9 De Angelis. Biagi was universally popular (but least of all in Argentina, albeit with only marginal significance)

Fresedo, De Angelis, and #10 Tanturi were roughly statistically equivalent, but significantly ahead of the #11, D'Agostino. Fresedo came in the top 5 in France, Italy, Germany, but was less popular in Argentina. De Angelis was in the top 5 in Colombia and Uruguay. Tanturi was more popular with older people, and made the top 5 in Brazil.
Worldwide favorability rating of the top 10 tango orchestras

A few more assorted observations which probably don't reach statistical significance, but still sound intriguing.

#11 D'Agostino made the top 5 in the UK
#12 Laurenz was more popular with the older people, in Germany, in France.
#13 Sexteto Milonguero was in the top 5 in Chile and Brazil, unknown in the US
#15 Demare was less popular in Argentina, with marginal statistical significance
#16 Orquesta Tipica Victor - older people's orchestra; top 5 in Sweden; significantly less favored in Argentina. Ditto Lomuto.
#17 Enrique Rodriguez ranked poorly in Argentina and Mexico
#18 De Caro ranked worse in Europe and the US; Varela also fared poorly in the US, as did more modern bands such as Los Reyes del Tango, Orquesta Sans Souci, Esteban Morgado, and Herederos del Compas
#19 Color Tango ranked high in Latin America; so did Bajofondo, Hugo Diaz, Otros Aires, and Sexteto Mayor ... but with a marked exception for Argentina.
#32 Donato Racciatti unsurprisingly fared the best in Uruguay, but is also significantly more appreciated in Argentina than in the rest of the world.
#56 Juan Maglio Pacho was popular in France and Italy, they must have gained access to his better quality records unavailable to us?

Argentina is a world apart

Time and time again, an orchestra would show dramatically lower ranking in Argentina than abroad. Many of these cases involved contemporary bands which may be less known outside Argentina, so their ratings were available only from a handful of foreign locales. At first it was bewildering to see how a band gets most of its votes from Argentinians, only to rank the lowest in Argentine in comparison to other countries. Especially considering that Argentine vs foreign survey-takers "liked", on average, about the same number of orchestras (approx. 13), and that the rank-frequency plots inside and outside Argentina were pretty much indistinguishable. As it happens, the issue with the smaller contemporary bands turned out to be an artifact of Tango Tecnia's analysis methodology (where they excluded countries and regions with zero votes, and used the highest ranks for all orchestras which had the same number of votes in a country, thus dramatically inflating rankings of lesser orchestras in smaller countries).

But there are also major classic orchestras which the foreigners appreciate much more than Argentines. Note that all of them are associated with the early Golden Age / pre-Golden Age culture.

First and foremost, it's Francisco Canaro, already discussed above (51% in Argentina vs. 68% outside, p-value 0.000000)
Not surprisingly, Canaro's close associate Lomuto is in a similar situation (16% in Argentina vs. 27% outside, p-value 0.000000) (Incidentally we've just discused how neither Canaro nor Lomuto are ever played for the Tango Mundial in BsAs)
The difference in favorability is even stronger for OTV (15% in Argentina vs. 34% outside, p-value 0.000000)

Less prominent early-age orchestras show a similar pattern:

Firpo (10% in Argentina vs. 17% outside, p-value 0.000066)
Carabelli (5% in Argentina vs. 13% outside, p-value 0.000001)
Rafael Canaro (8% in Argentina vs. 14% outside, p-value 0.001340)

On the contrary, several later-period and contemporary bands were significantly better appreciated in Argentina:

Los Reyes del Tango (23% in Argentina vs. 10% outside, p-value 0.000000)
Orquesta Sans Souci (18% in Argentina vs. 9% outside, p-value 0.000000)
Gobbi (22% in Argentina vs. 12% outside, p-value 0.000000)
Salgan (14% in Argentina vs. 9% outside, p-value 0.002)
Racciatti (18% in Argentina vs. 11% outside, p-value 0.0002)

My guess is that even within the orchestras which foreigners and Argentinians love equally well, the latter may be biased in favor of late Golden Age and post-Golden Age records...

Followers' heaven, leaders' hell??

A number of contemporary bands had much higher favorability rating with the females. Amores Tangos, Bajofondo, Otros Aires, Gotan Project, Almagro, El Afronte, El Cachivache, Ojos de Tango. So did Piazzolla. Are these orchestras united by the pain they cause to the leaders? Please cue me in!

Poema dethroned?

Tango Tecnia survey also offered an opportunity to rate about 40 music titles (not specific records but just titles, often played by different orchestras, sometimes multiple times even by the same orchestra like Hotel Victoria or La Cumparsita). It was probably an unsophisticated  survey-writer's personal list of favorites. Whatever, I can still enjoy the fact that last year's winner, Poema, has been dethroned this year (and lost 1/3rd of its past popularity??). So did Recuerdo. On the contrary, Los Vino and Pollo Ricardo doubled their popularity. But I don't remember the survey's methodology, and can't quite figure out what to make out of its results.