Monday, September 8, 2014

Milonga Del Centro playlist, September 6 2014

Great turnout on a beautiful fall Moon night, thank you again for this amazing venue, Julianne, and thanks to all for coming!
01. Carlos di Sarli - Instrumental  "Germaine" 1955 3:14
02. Carlos di Sarli - Instrumental  "El abrojo" 1958 2:48
03. Carlos di Sarli - Instrumental  "Champagne tango" 1958 2:47
All of the cortinas were selected to conjure up the rain & to herald the arrival of the fall :)
04. Oleg Gazmanov  "Summer Rains"  0:26
05. Ricardo Tanturi - Alberto Castillo  "Recuerdo Malevo" 1941 2:33
06. Ricardo Tanturi - Enrique Campos  "Que Nunca Me Falte" 1943 2:42
07. Ricardo Tanturi - Enrique Campos  "Oigo tu voz" 1943 3:07
08. Sofia Rotaru  "Autumn Melody"  0:30
And some seasonal poetry themes too :) with the flowers dropping last petals ("A Magaldi") and withering from the frost ("Pobre Flor")
09. Alfredo de Angelis - Carlos Dante, Julio Martel  "Soñar y nada más" 1944-08-29 3:08
10. Alfredo de Angelis - Carlos Dante "A Magaldi" 1947 2:50
11. "Alfredo De Angelis - Carlos Dante - Julio Martel / Pobre Flor" 1946 2:40
12. Sofia Rotaru  "Autumn Melody"  0:30
I couldn't have enough listening to the best of the Old Guard in recent weeks, & dared to play not just one but two Guardia Vieja tandas tonight. These 1928-1930 Di Sarli's are to die for:
13. Sexteto Carlos di Sarli "Pobre yo" 1929 2:12
14. Sexteto Carlos di Sarli "T.B.C." 1928 3:02
15. Sexteto Carlos di Sarli  "Racing Club" 1930 2:34
16. Oleg Gazmanov  "Summer Rains"  0:26
It looks like Jacob has figured out Rodriguez's trick with the infamous final dropped note. Yes! BTW I posted lots more annotated music samples of Enrique Roriguez back when we celebrated his birthday at Sin Nombre.
17. Enrique Rodriguez - Armando Moreno  "Que lo sepa el mundo entero" 1943 3:32
18. Enrique Rodríguez - Armando Moreno "Como has cambiado pebeta" 1942 2:37
19. Enrique Rodriguez - Armando Moreno  "El encopao" 1942 2:34
20. Sofia Rotaru  "Autumn Melody"  0:30
I'm left guessing which is Mack's fav Donato milonga :) No "Ella es Asi"? Really?
21. Edgardo Donato - Horacio Lagos "Sácale punta" 1938 2:18
22. Edgardo Donato - Horacio Lagos "Ella Es Asi - milonga" 1938 2:35
23. Edgardo Donato - Horacio Lagos  "De punta a punta (milonga)" 1939 2:21
24. Alexander Dolsky  "At last, rainy September! (cortina 1)" 1979 0:15
25. Lomuto, Francisco - Jorge Omar  "A la gran muñeca" 1936 3:01
26. Lomuto, Francisco - Fernando Diaz  "Quiero verte una vez mas" 1940 2:29
27. Lomuto, Francisco - Jorge Omar  "Nostalgias" 1936 3:05
28. Oleg Gazmanov  "Summer Rains"  0:26
I must have been thinking about a "perfect tanda" with Pa'que Lagrimear at least since June. Here is my current best shot combining three orchestras (but two of them lead by the same director), vocals and an instrumental, but united by the mood and the sound of the epoch. Long live the Old Guard!
29. Sexteto Carlos Di Sarli - Ernesto Famá "Chau Pinela" 1930 2:36
30. Orquesta Tipica Victor (dir. A. Carabelli )  "Che, papusa, oi" 1927 2:37
31. Adolfo Carabelli -Carlos Lafuente "Pa'que lagrimear-1933"  2:39
32. Sofia Rotaru  "Autumn Melody"  0:30
The energy keeps building up!!
33. Rodolfo Biagi - Teofilo Ibanez  "Viejo porton (vals)" 1938 2:27
34. Rodolfo Biagi - Andres Falgas  "El ultimo adios (vals)" 1940 2:09
35. Rodolfo Biagi - Teofilo Ibanez  "La loca de amor (vals)" 1938 2:13
36. Anzhelika Varum  "Autumn Jazz"  0:20
37. Ángel D'Agostino - Ángel Vargas "A Quién Le Puede Importar" 1945 3:14
38. Ángel D'Agostino - Ángel Vargas  "Ninguna" 1942 2:57
39. Ángel D'Agostino - Ángel Vargas "Ahora No Me Conocés" 1941 2:35
40. Oleg Gazmanov  "Summer Rains"  0:26
41. Pedro Laurenz - Alberto Podest  "Todo" 1943 2:37
42. Pedro Laurenz - Alberto Podest  "Recien" 1943 2:43
43. Pedro Laurenz - Alberto Podest  "Garua" 1943 3:09
44. Sofia Rotaru  "Autumn Melody"  0:30
45. Carlos Di Sarli Roberto Rufino "Yo Soy De San Telmo" 1943 2:20
46. Carlos Di Sarli Roberto Rufino "Pena Mulata" 1941 2:27
47. Carlos Di Sarli Roberto Rufino "La Mulateada" 1941 2:22
48. Alexander Dolsky  "At last, rainy September! (cortina 1)" 1979, 1979 0:15
49. Miguel Caló - Raúl Berón  "Jamás retornarás" 1942 2:31
50. Miguel Caló - Raúl Berón  "Corazón no le hagas caso" 1942 3:00
51. Miguel Caló - Raúl Berón  "Tristezas de la calle Corrientes" 1942 2:46
52. Oleg Gazmanov  "Summer Rains"  0:26
I already mentioned Donato Racciatti, "the" Uruguayan tango orchestra, in April - and the fact that we might not have remembered the superb sound of his orchestra without the amazing voice of Nina Miranda. Nina's birth name was Nelly Hunter. At the age of 13, after seeing "Puerta Cerrada", a movie where Libertad Lamarque played the role of Nina Miranda, a tango singer in love against odds, the teenager pledged to become a tango singer and to adopt the name of Nina Miranda. Three years later, she made good on her pledge and joined an all-female tango band, Las Golondrinas, touring at home and in Brazil. Performing with Donato Racciatti marked the the high point of "new Nina's" tango career. It was soon cut short by marriage; her husband wouldn't allow Nelly to perform. Only at the age of 60, widowed, she burst into the music scene again! Racciatti has few records available to us to mix; here's my next shot at a tanda with Nina Miranda's unsurpassed "Gloria". 
53. Donato Racciatti - Instrumental "La Viruta" 1972 2:30
54. Donato Racciatti - Nina Miranda "Gloria" 1952 2:47
55. Donato Racciatti - Nina Miranda  "Tu corazón" 2:32
56. Anzhelika Varum  "Autumn Jazz"  0:20
57. Enrique Rodriguez - Armando Moreno  "En el volga yo te espero" 1943 2:40
58. Enrique Rodriguez - Armando Moreno  "Uno que ha sido marino! (vals)" 1944 2:57
59. Enrique Rodriguez - Roberto Flores  "Los Piconeros (vals)"  2:47
60. Sofia Rotaru  "Autumn Melody"  0:30
61. Edgardo Donato - Horacio Lagos / Lita Morales  "Chapaleando barro" 1939 2:21
62. Edgardo Donato - Romeo Gavioli / Lita Morales "Yo Te Amo" 1940 2:50
63. Edgardo Donato - Horacio Lagos / Lita Morales "Carnaval De Mi Barrio" 1939 2:25
64. Anzhelika Varum  "Autumn Jazz"  0:20
I wasn't 100% sure about the dance floor apeal these really late, dramatic D'Arienzos ... but it looks like when the energy is high and el gente is high on music, then it can fly!
65. Juan D'Arienzo - Instrumental  "Bar Exposición" 1973 2:33
66. Juan D'Arienzo - Instrumental  "La torcacita" 1971 2:31
67. Juan D'Arienzo - Instrumental  "Este Es El Rey" 1971 3:10
68. Sofia Rotaru  "Autumn Melody"  0:30
Slick, polished milongas from Canaro's fav quintet. Might have traded for something more grounded / more challenging in the final tandas of the milonga?
69. Quinteto Pirincho - Instrumental  "Se dice de mi" 1954 2:52
70. Quinteto Pirincho - Instrumental "El firulete" 1958 2:29
71. Quinteto Pirincho - Instrumental "La cara de la luna" 1959 2:29
72. Alexander Dolsky  "At last, rainy September! (cortina 1)" 1979, 1979 0:15
73. Alfredo De Angelis  "Felicia 1969" 1999 2:48
74. Alfredo de Angelis - Instrumen  "Mi dolor" 1957 2:51
75. Alfredo de Angelis - Instrumental  "Pavadita" 1958-06-25 2:55
76. Anzhelika Varum  "Autumn Jazz"  0:20
(Added Canaro's at the spur of a moment to stretch the music a bit beyond the announced closing time)
77. Francisco Canaro - Roberto Maida  "Ciego" 1935 2:57
78. Francisco Canaro - Roberto Maida "Condena (S.O.S.)" 1937 2:39
79. Osvaldo Pugliese - Instrumental  "Recuerdo" 2:54
80. Lidiya Ruslanova  "Valenki 1 (cortina)"  0:24
81. Osvaldo Pugliese "Corrientes Y Esmeralda" 1944 2:49
82. Pugliese, Osvaldo "Rondando Tu Esquina" 1945 2:49
83. Osváldo Pugliese  "Farol" 1943 3:22
84. Alfredo de Angelis - Instrumental  "La cumparsita" 1961 3:33
85. Goran Bregovic - Iggy Pop "In the Deathcar" 1999 5:13
Just a closing vignette; we'll have to play Pedro Maffia, and to talk about his role in tango history, in making bandoneon the voice of tango, in spurring Decaroist revolution and ushering the era of musical complexity of tango, and in turning milonga into a danceable genre of music, another time.
86. Pedro Maffia"Palomita loca" 1930 3:25
Orchestra Pedro Maffia (recently digitized by Beba Pugliese)

Wednesday, July 16, 2014

Practica Del Centro playlist, July 16 2014

Aníbal "Pichuco"Troilo
July11, 1914 – May 18, 1975
We've just celebrated Anibal Troilo's 100th anniversary with a three-day tango party in Sun Valley, and of course I wanted to showcase El Pichuco's different sides in my music selection for the night :) In the end I got two very different tango tandas, a beautiful vals tanda and ... a lone milonga.
01. Carlos di Sarli - Instrumental  "El ingeniero" 1952 3:25
02. Carlos di Sarli - Instrumental  "Milonguero viejo" 1955 2:48
03. Carlos di Sarli - Instrumental  "Nueve puntos" 1956 3:25
04. Francisco Canaro - Ernesto Fama  "Tormenta" 1939 2:38
05. Francisco Canaro - Ernesto Fama  "No me pregunten porque" 1939 2:51
06. Francisco Canaro - Ernesto Fama  "Al subir al bajar" 1939 3:05
Aces of valses:
07. Aníbal Troilo - Instrumental  "Un placer" 1942 2:19
08. Aníbal Troilo - Floreal Ruiz  "Romance de barrio" 1947 2:36
09. Aníbal Troilo - Floreal Ruiz, Edmundo Rivero  "Lagrimitas de mi corazón" 1948 2:59
10. Lucio Demare - Juan Carlos Miranda  "No te apures, Carablanca" 1942 3:29
11. Lucio Demare - Juan Carlos Miranda  "Manana zarpa un barco" 1942 3:22
12. Lucio Demare - Juan Carlos Miranda  "Din don" 1938 2:32
A rhythmic Troilo randa:
13. Aníbal Troilo - Instrumental  "Milongueando en el cuarenta" 1941 2:33
14. Aníbal Troilo - Instrumental  "El tamango" 1941 2:36
15. Aníbal Troilo - Instrumental  "Guapeando" 1941 2:49
16. Carlos Di Sarli - Roberto Rufino "Pena Mulata" 1941 2:27
17. Carlos Di Sarli - Roberto Rufino  "Cuando un viejo se enamora" 1942 2:14
18. Carlos Di Sarli - Roberto Rufino "La Mulateada" 1941 2:22
19. Enrique Rodríguez - Armando Moreno "Llorar por una mujer" 19412:47
20. Enrique Rodríguez - Armando Moreno "Cómo has cambiado pebeta" 1942 2:37
21. Enrique Rodríguez - Armando Moreno "El encopao" 1942 2:34
I often play Fresedo with Roberto Ray for the sheer sweetness of tango, but of course it leaves out the other flavors of Fresedo. This time I wanted to play Buscandote, a darker kind of a favorite, and - a real rarity among tangos - with vers libre lyrics. My first hunch was, of course, to pair it with other Fresedo-Ruiz tangos ... and, as it often happens with one-of-a-kind recordings, I was left wondering if should have looked for its tanda mates elsewhere...
22. Osvaldo Fresedo - Ricardo Ruiz  "Cuartito azul" 1939 2:45
23. Osvaldo Fresedo - Ricardo Ruiz  "Y no puede ser (2)" 1939 2:26
24. Osvaldo Fresedo - Ricardo Ruiz  "Buscandote" 1941 2:49
25. Juan D'Arienzo - Instrumental  "Amor y celo" 1936-09-03 2:21
26. Juan D'Arienzo - Instrumental  "Valsecito de Antes" 1937 2:19
27. Juan D'Arienzo - Instrumental  "Pabellón de las rosas" 1935 2:54
These three Troilo's from the same year as the instrumentals I played before, yet they have a different quality, more stretchy, more dramatic ... and if I had a choice of playing just one Troilo tanda, then this would be the one:
28. Aníbal Troilo - Francisco Fiorentino  "El bulín de la calle Ayacucho" 1941 2:30
29. Aníbal Troilo - Francisco Fiorentino  "Maragata" 1941 2:46
30. Aníbal Troilo - Francisco Fiorentino  "Tabernero" 1941 3:18
31. Ángel D'Agostino - Ángel Vargas "A Quién Le Puede Importar" 1945 3:11
32. Ángel D'Agostino - Ángel Vargas "Ahora No Me Conocés" 1941 2:35
33. Ángel D'Agostino - Ángel Vargas, Julian Centeya "Café "Dominguez"" 1955 2:59
I must admit that Anibal Troilo doesn't strike me as a Great Milonga Musician - he's got some nice milongas (Papa Baltazar comes into my mind) but the best of them have different tempos and different textures and don't really fit together all that well into a tanda. So I opted for a mixed-orchestras milonga tanda - the one Troilo there must sound instantly and irresistibly familiar to most Russians for its similarities with the musical theme from a classic cartoon of our childhood, the 1965 "Boniface's Summer Break". Enjoy!

34. Anibal Troilo Francisco Fiorentino "Mano Brava" 1941 2:24
35. Rodolfo Biagi - Carlos Saavedra "Por la huella" 1948 2:47
36. Julio de Caro - Hector Farrel "Saca chispas" 1938 2:32
37. Edgardo Donato - Horacio Lagos, Lita Morales y Romeo Gavio "Sinfonia de Arrabal" 1940 3:07
38. Donato, Edgardo - Horacio Lagos "El Adios" 1938 3:09
39. Donato, Edgardo -  Romeo Gavio y Lita Morales "Mi Serenata" 1940 3:02
40. Alfredo de Angelis - Carlos Dante  "Fumando espero" 1956 3:24
41. Alfredo de Angelis - Instrumental  "El Tango Club" 1957 2:40
42. Alfredo de Angelis  "Pavadita 1958" 2:53
43. Pedro Láurenz - Alberto Podestá  "Todo" 1943 2:37
44. Pedro Láurenz - Alberto Podestá "Garua" 1943 3:09
45. Osvaldo Pugliese - Instrumental  "El monito" 1945 2:19
46. Osvaldo Pugliese - Instrumental  "Recuerdo" 1944 2:54
47. Osvaldo Puglieses - Roberto Chanel "Rondando Tu Esquina" 1945 2:49
48. Pedro Láurenz y Pedro Maffia - Instrumental  "La cumparsita" 1926 3:01
49. Quartango "Androgyne" 1999 4:30
50. Arabesque "Midnight Dancer"  3:42

Tuesday, June 24, 2014

Milonga Sin Nombre del Solsticio playlist, 6/21/2014

The circumstances conspired to rob us from time needed to organize the milonga, but we still got great attendance and fairly smooth operation. We are extremely grateful to those who volunteered to help us, especially Dave, Andrey, Maria, Atakan, and Raina! It wouldn't have worked without you!
On the empanada front, the new flavor this month was my experimental peach-banana (inspired by Analia's banana empanadas from last month, and the first flavor to run out, hurray!). I checked the Internet, but most recipes asked for processed ingredients, and I really wanted to go from scratch, so I struck on my own:

One slightly under-ripe peach, finely chopped
3 bananas, cut in half-circles
Juice of half a lime
A tablespoonful of sugar
A tablespoonful of quick oats

Steam peach in a covered pot with a very small amount of water for 5 minutes, add sliced bananas, sugar, and lime juice, bring to boil, add oats and set aside to thicken (the relleno ended up a bit too juicy, perhaps one may choose to thicken more generously or to evaporate away some liquid?)

Much of the playlist ended up being added / deleted in a hurry, but I still enjoyed occasional discoveries of tango DJ's homework.
01. Carlos di Sarli - Instrumental  "El recodo" 1941 2:20
02. Carlos di Sarli - Instrumental  "Siete palabras" 1945 2:38
03. Carlos di Sarli - Instrumental  "Marejada" 1941 2:32
04. Russian Folk  "Kalinka-Malinka 2 (cortina)"  0:25
05. Juan D'Arienzo - Instrumental "El flete" 1936 2:58
06. Juan D'Arienzo - Instrumental  "Jueves" 1937 2:33
07. Juan D'Arienzo - Instrumental "El Cencerro" 1937 2:40
08. Victor Tsoy  "Gruppa Krovi (cortina)"  0:36
I had some trouble finding the 3rd Calo's record to go with the classic two valses (which are, of course, often paired with "El vals soñador"), and ended up choosing a Donato unusual. 
09. Miguel Calo - Alberto Podesta  "Pedacito de cielo (vals)" 1942 2:21
10. Miguel Calo - Alberto Podesta  "Bajo un cielo de estrellas (vals)" 1941 2:37
11. Edgardo Donato - Hugo del Carril "El vals de los recuerdos" 1935 2:18
12. Lidiya Ruslanova  "Valenki 3 (cortina)"  0:24
13. Osvaldo Fresedo - Roberto Ray "Adios Para Siempre" 1936 3:05
14. Osvaldo Fresedo - Instrumental  "Arrabalero" 1939 2:32
15. Osvaldo Fresedo - Roberto Ray "En la huella del dolor" 1934 2:48
16. Russian Folk  "Kalinka-Malinka 2 (cortina)"  0:25
17. Enrique Rodriguez - Armando Moreno  "No te quiero mas" 1940 2:18
18. Enrique Rodriguez - Armando Moreno  "Tabernero" 1941 2:33
19. Enrique Rodriguez - Armando Moreno "Llorar por una mujer" 1941 2:51
20. Russian Elvises The Red Elvises "Cosmonaut Petrov 1 (-3dB)" 1999 0:28
The quest to find tanda mates for Saca chispas ... and of course I was drawn to Canaro's "No hay tierra como la mia" but de Caro's sounded pretty intriguing ... however, just like with many De Caro records, the sound quality came out a bit too dull
21. Julio de Caro - Hector Farrel "Saca chispas" 1938 2:32
22. Quinteto Pirincho - Instrumental "Milongón (Milonga)" 1940 2:33
23. Julio de Caro - Hector Farrel  "No hay tierra como la mia" 1939 1:58
24. Maya Kristalinskaya  "Nezhnost (Tenderness)"  0:17
25. Carlos di Sarli - Jorge Durán "La vida me engañó" 1946 3:06
26. Carlos di Sarli - Jorge Durán "Duelo criollo" 1946 2:46
27. Carlos di Sarli - Jorge Durán "Un Tango Y Nada Mas" 1945 2:46
28. Russian Folk  "Kalinka-Malinka 2 (cortina)"  0:25
29. Ricardo Tanturi - Enrique Campos "Que Nunca Me Falte"  2:42
30. Ricardo Tanturi - Alberto Castillo  "Pocas Palabras"  2:21
31. Ricardo Tanturi - Alberto Castillo  "Así Se Baila El Tango"  2:34
32. Victor Tsoy  "Gruppa Krovi (cortina)"  0:36
The first of these light-hearted valses was used as a birthday dance, so I added Fru Fru to the list for everybody to enjoy a full-length tanda
Birthday Vals

33. Enrique Rodriguez - Ricardo Herrera  "Mañana por la mañana" 1947 2:49
34. Enrique Rodriguez - Roberto Flores  "Fru Fru (vals)"  2:57
35. Enrique Rodriguez - Roberto Flores  "Tengo Mil Novias (vals)"  3:08
36. Enrique Rodriguez - Armando Moreno  "Nyanzas y malevos" 1941 2:41
37. Lidiya Ruslanova  "Valenki 3 (cortina)"  0:24
38. Rodolfo Biagi - Instrumental "La Maleva" 1939 2:35
39. Rodolfo Biagi - Instrumental "El Trece 1938"  2:28
40. Rodolfo Biagi - Instrumental "Pura Clase" 1939 2:37
41. Russian Folk  "Kalinka-Malinka 2 (cortina)"  0:25
42. Carlos Di Sarli Alberto Podesta "No esta"  2:45
43. Carlos Di Sarli Alberto Podesta "Tu!...El cielo y tu!"  2:59
44. Carlos Di Sarli Alberto Podesta "Al compas del Corazon"  3:19
45. Edgardo Donato - Horacio Lago "Ella Es Asi - milonga" 1938 2:35
46. Edgardo Donato - Horacio Lagos "De punta a punta (milonga)" 1939 2:21
47. Edgardo Donato - Horacio Lagos "Sácale punta" 1938 2:18
48. Maya Kristalinskaya  "Nezhnost (Tenderness)"  0:17
This really must be a four-song tanda, with Carablanca!
49. Lucio Demare - Juan Carlos Miranda "Manana zarpa un barco" 1942 3:22
50. Lucio Demare - Horacio Quintan "Igual que un bandoneon" 1945 3:02
51. Lucio Demare - Raul Beron "Como se hace un tango" 1943 3:14
52. Russian Folk  "Kalinka-Malinka 2 (cortina)"  0:25
53. Juan D'Arienzo - Alberto Echagüe  "Nada más" 1994 2:43
54. Juan D'Arienzo - Alberto Echagüe  "La bruja (fast)" 1938 2:13
55. Juan D'Arienzo - Alberto Echagüe  "Pensalo bien (fast)" 1938 2:20
56. Rodolfo Biagi - Andres Falgas  "El ultimo adios (vals)" 1940 2:09
57. Rodolfo Biagi - Teofilo Ibanez  "La loca de amor (vals)" 1938 2:13
58. Rodolfo Biagi - Alberto Lago  "Amor y vals" 1942 2:48
59. Carmen Piculeata  "Egy kis cigainy dal" 2013, 2013 0:29
Saul Zhadan's handwritten score,
dedicated to "dear Celia" and entitled,
in Russian,  "Your eyes"
Gitana Rusa, a composition by Saul Zhadan, a Jewish fiddler from Uman', Ukraine, has been smuggled out by sea from Odessa as a wedding gift to his son, a Buenos Aires banker, just before Zhadan perished in the Holocaust, and eventually renamed and remixed in Argentina with a subtitle "Tango Europeo" - yet even with the sound of a BsAs ochestra, it retains one-of-a-kind musical flavor and remains hard to pair up with other records into a tanda. My solution was rather standard - to combine it with other records of the same orchestra - and alas, it gave me the weakest tanda of the night. Malerbo-Medina's Remembranza may be a more fitting choice.
60. Ricardo Malerba - Orlando Medina "Gitana Rusa" 1942 2:47
61. Ricardo Malerba - Orlando Medina "Embrujamiento" 1943 2:52
62. Ricardo Malerba - Antonio Maida "Encuentro" 1944 2:20
63. Russian Folk  "Kalinka-Malinka 2 (cortina)"  0:25
More lyrical Donato favorites:
64. Edgardo Donato - Horacio Lagos "El Adios" 1938 3:09
65. Edgardo Donato - Romeo Gavioli y Lita Morales "Mi Serenata" 1940 3:02
66. Edgardo Donato - Horacio Lagos, Lita Morales y Romeo Gavioli "Sinfonía De Arrabal" 1940 3:07
67. Lidiya Ruslanova  "Valenki 5 (cortina)"  0:36
68. Pedro Laurenz - Hector Farrel  "Abandono" 1937 2:32
69. Pedro Laurenz - Alberto Podesta  "Recien" 1943 2:43
70. Pedro Laurenz - Alberto Podesta  "Todo" 1943 2:37
71. Carmen Piculeata  "Egy kis cigainy dal" 2013, 2013 0:29
A solid vals tanda but at milonga's homestretch, the penultimate tanda may have had more spice, more drama and complexity in it
72. Pedro Laurenz - Juan Carlos Casas "Mascarita"  2:53
73. Pedro Láurenz - Alberto Podestá  "Paisaje" 1943 2:51
74. Pedro Láurenz - C. Bermudez y J. Linares "Mendocina" 1944 2:35
75. Lidiya Ruslanova  "Valenki 3 (cortina)"  0:24
76. Alfredo de Angelis - Carlos Dante  "Carillon de La Merced" 1957 2:50
77. Osváldo Pugliese - Jorge Maciel "Remembranzas" 1956 3:41
78. Osvaldo Pugliese - Roberto Chanel  "Rondando tu esquina" 1945 2:48
79. Juan D'Arienzo - Instrumental  "La cumparsita" 1951 3:49
80. Israel Kamakawiwo'ole  "Over The Rainbow" 2001 3:32
(80 total)

Monday, June 9, 2014

Practilonga del Centro playlist, June 8 2014

What a treat of a party! What a turnout! Thank you so much, Utah tangueros!
The practica started out as an impromptu follower technique / walk basics class (Julianne, you are amazing!)

So for the first half an hour, I kept adding sets of the more accessible, classic instrumental "tangos for walking". 
01. Osvaldo Fresedo - Instrumental  "Derecho viejo" 1941 2:31
02. Osvaldo Fresedo - Instrumental  "Poliya" 1939 2:31
03. Osvaldo Fresedo - Instrumental  "Tigre viejo" 1934 3:01
04. Carlos di Sarli - Instrumental "El ingeniero" 1952 3:25
05. Carlos di Sarli - Instrumental  "Milonguero viejo" 1940 2:21
06. Carlos di Sarli - Instrumental  "El once (a divertirse)" 1946 2:41
07. Carlos di Sarli - Instrumental  "Bahía Blanca" 1958 2:49
08. Carlos di Sarli - Instrumental  "Nueve puntos" 1956 3:25
09. Carlos di Sarli - Instrumental  "Don Juan" 1941 2:34
10. Francisco Canaro - Instrumenta  "Pampa" 1938 2:50
11. Francisco Canaro - Instrumental  "El chamuyo" 1927 2:57
12. Francisco Canaro - Instrumental "Lorenzo" 1938 2:34
13. Carlos di Sarli - Instrumental "El amanecer" 1951 2:30
14. Carlos di Sarli - Instrumental  "Indio manso" 1958 2:53
15. Carlos di Sarli - Instrumental  "A la gran muñeca" 1954 2:43
At last, more practilonga-goers trickle in, and it's time to diversify the music, staring from the dynamic Donato's from the heydays of the Horacio Lagos - Lita Morales - Romeo Gavioli singer trio. "Soy mendigo" ("I am a beggar") in particular floated to to the focus of my attention last week, because of a poetic association with Veronica Toumanova's newly published essay which insisted that tangueros must never "beg for love", that it only brings worse suffering. "Soy mendigo" is, in my eyes, a cool counterpoint - a confident, optimistic tango story of begging for affection. With some luck, I may write a bit more about it later :)
16. Edgardo Donato - Horacio Lagos  "Lagrimas" 1939 2:50
17. Edgardo Donato  "Yo Te Amo (Lita Morales, Romeo Gavio)" 1940 2:50
18. Edgardo Donato - Horacio Lagos  "Soy mendigo" 1939 2:34
19. Rodolfo Biag - Jorge Ortíz "Lagrimas Y Sonrisas (vals)" 1940 2:41
20. Rodolfo Biagi - Jorge Ortíz "Por Un Beso De Amor (vals)" 1940 2:44
21. Rodolfo Biagi - Teofilo Ibanez  "Viejo porton (vals)" 1938 2:27
22. Pedro Laurenz - Alberto Podestá  "Recien" 1943 2:43
23. Pedro Laurenz - Alberto Podestá  "Garua" 1943 3:09
24. Pedro Laurenz - Alberto Podestá  "Todo" 1943 2:37
25. Enrique Rodriguez - Armando Moreno  "Tango argentino" 1942 2:37
26. Enrique Rodriguez - Armando Moreno "Marinero"  1943 3:10
27. Enrique Rodriguez - Fernando Reyes "Alma en pena" 1946 3:05
28. Francisco Canaro - Ernesto Fama "Milonga sentimental" 1933 3:10
29. Francisco Canaro - Ernesto Fama "Milonga del 900" 1933 2:55
30. Francisco Canaro - Roberto Maida "Milonga criolla" 1936 3:05
31. Ricardo Tanturi - Enrique Campos  "Oigo Tu Voz" 1943 3:07
32. RicardoTanturi - Alberto Castillo "Madame Ivonne" 1942 2:18
33. Ricardo Tanturi - Enrique Campos "Que Nunca Me Falte" 1943 2:42
34. Carlos di Sarli - Alberto Podestá  "Lloran las campanas" 1944 2:58
35. Carlos Di Sarli - Alberto Podestá  "La Capilla Blanca" 1944 2:55
36. Carlos Di Sarli - Alberto Podestá  "Junto a tu corazon" 1942 3:00
And now for a series of special waltzes, for my own birthday & for Lis and Regina's going-away dances, followed by the 4th track "for everybody to dance". 

The light-hearted "Cuando estaba enamorado" holds a special place in my personal shrine of tango music ... you may say that my path there started from Homer and Christina's dancing to Canaro's rendition of this vals in Portland in 2010.
37. Francisco Lomuto - Fernando Diaz  "Cuando estaba enamorado" 1940 2:19
A Berliner band with several tango-danceable, ethnically inspired tunes remixed and dramatically accelerated a very classic, originally very sorrowful Russian waltz which mourned the war dead of the 1905 Battle of Mukden.
38. 17 Hippies  "Time Has Left Me Ma Belle (Vals) aka Manchurian Hills" 2004 3:56
Eugen Doga's most famous movie soundtrack hit is a faux-XIXth century waltz from the "Tender and Affectionate Beast", but milonga-wise, I prefer a different waltz from a virtually unknown flick, composed nearly 15 years later:
39. Eugen Doga "Gramophone" 1992 2:28
The closing track for this special tanda of love and farewell is from the Klezmatics. "Di Goldene Pave", the Golden Peahen, is a fairy-tale flying messenger, and a metaphor for the separation from the loved ones in Yiddish poetry - truly, a metaphor for poetry itself. Chava Alberstein composed the music to a 1920s poem by Anna Margolis, then a recent immigrant from Russia to New York. 
40. The Klezmatics & Chava Albertstein "Di Goldene Pave" 2003 4:01
41. Edgardo Donato - Romeo Gavio, Lita Morales "Mi Serenata" 1940 3:02
42. Edgardo Donato - Horacio Lagos, Lita Morales, Romeo Gavio "Sinfonia de Arrabal" 1940 3:07
43. Edgardo Donato - Horacio Lagos "El adios" 1938 3:19
"Pa'que lagrimear" is another recording which I couldn't get out of my head in recent days. The oldtime insistence of the beat, the stretchy sound of bandoneon, the voice of the estrebillista singing only refrains but not the verses of tango lyrics, in a way which has just been recently pioneered by Canaro (Traditionally, danceable tangos didn't have any vocal at all, to keep it easy for the dancers; while tango cancion had all the verses sung. Canaro realized that if a singer stops being a featured soloist, and becomes one of the instruments of a tango orchestra, subservient to the beat like the rest of them, then the dancers might actually like it ... in small quantities. And they did, more and more so with the passage of time, but to this day almost no tango lyrics are sung in their entirety, beginning to end, in the tangos "para bailar". They do sing some verses, but skip others)
44. Adolfo Carabelli - Carlos Lafuente "Pa'que lagrimear" 1933" 2:39
45. Adolfo Carabelli - Alberto Gómez "El 13" 1932 2:37
46. Adolfo Carabelli - Carlos Lafuente  "El pensamiento" 1932 2:39
Some of the best contemporary milongas. The first one is truly outstanding.
47. Otros Aires "Los Vino"  2:41
48. Otros Aires "Un Baile De Beneficio" 2010 3:42
49. Otros Aires "Rotos en el Raval" 2005 3:53
50. Osvaldo Fresedo Roberto Ray "No quiero verte llorar" 1937 2:42
51. Osvaldo Fresedo Roberto Ray "Vida mia" 1933 3:23
52. Osvaldo Fresedo Roberto Ray "Isla de Capri" 1935 3:16
(The dance floor is absolutely full of people now but I'm reluctantly deleting lots from the draft list from this point on, in order to wrap it up no more than half an hour later than the practica's official end. Milongas, another vocal Fresedo tanda, and an occasional third-tune-in-a-set get the cut)
53. Anibal Troilo - Francisco Fiorentino "El Bulín De La Calle Ayacucho" 1941 2:31
54. Anibal Troilo - Francisco Fiorentino "Tabernero" 1941 3:20
55. Anibal Troilo - Francisco Fiorentino "Toda Mi Vida" 1941 2:58
56. Enrique Rodriguez - Armando Moreno  "Con tu mirar" 1941 2:13
57. Enrique Rodriguez - Armando Moreno  "Llora corazon" 1945 2:51
58. Enrique Rodriguez - Ricardo Herrera, Fernando Reyes  "Mecha" 1946 3:11
59. Miguel Caló - Raúl Berón "Tristezas De La Calle Corrientes" 1942 2:46
60. Miguel Caló - Raúl Berón  "Al Compas Del Corazon" 1942 2:48
61. Miguel Caló - Raúl Berón "Jamas Retornaras" 1942 2:31
62. Francisco Canaro - Roberto Maida "Recuerdos De Paris" 1937 3:12
63. Francisco Canaro - Roberto Maida "Condena (S.O.S.)" 1937 2:39
64. Alfredo De Angelis "Mi dolor" 1957 2:51
65. Alfredo De Angelis  "Pavadita 1958" 2:53
66. Alfredo De Angelis  "Felicia 1969" 2:48
67. Osváldo Pugliese "Farol" 1943 3:22
68. Osváldo Pugliese "Remembranzas" 1943 3:41
69. Osváldo Pugliese "La mariposa" 1966 3:32
70. Angel D'Agostino - Angel Vargas "La Cumparsita" 1946 3:00
Both post-Cumparsita tracks sound pretty good, but their youtube videos are even better IMO. The first one is, of course, a spoofy remix of Sholom Secunda's 1932 Yiddish operetta hit, "Bei Mir Bistu Schein", which took the world by storm and must have been performed in dozens languages (there is an Argentine version too, "Para mi eres divina" by Enrique Rodriguez - Armando Moreno)
71. Cream Margot  "Poka igraet dzhaz"  3:16

72. Damour Vocal Band "Sway"  3:49


Monday, May 19, 2014

So that's why "Poema" is hard to fit into a tanda...

Most of of the practicing and aspiring DJs must have noticed that Canaro-Maida's superb (and much overplayed) 1935 "Poema" doesn't quite fit seamlessly into tandas. "Poema" is quite singular in its gently melancholic, softly nostalgic flow, while other Canaro's hits of the period tend to be more insistent and dramatic in quality, energetically driving rather than softly soothing.

One can't help noticing a few more peculiarities about this hit. Its popularity peaks overseas, especially in Europe, and reaches the low point in Buenos Aires. And no other orchestras in Argentine recorded the piece. 

Thanks to German Nemoljakin's constant flow of stories from tango's past, I got an intriguing glimpse of Poema's special history, and couldn't resist digging deeper into it. To sum it up:

The beautiful "Poema" isn't quite an Argentine tango, it is as much a European tango, composed by the expat musicians who were singularly successful in transplanting tango to the musical scene of Paris.
Furthermore, Poema's lack of acceptance in Buenos Aires wasn't helped by the dark political undertones of its story, and the fact that its lyrics are a thinly veiled confession of a banished murderer.

"Poema" is undoubtedly the best composition of Eduardo Bianco, an Argentine who lived in Europe for nearly 20 years, and who mastered the art of making the tango of Argentina sound the Parisian way. The oft-retold story says that Bianco and Mario Melfi, aided by others in their band, composed it on a train during a 1932 tour of Germany. What is rarely mentioned is that Bianco's lyrics tell his personal, and thoroughly suppressed, story from his final year in Buenos Aires. In 1924, Eduardo Bianco played the first violin in the orchestra of the famous Teatro Apolo at Avenida Corrientes. Bianco learned that his wife cheated on him with the pianist of the orchestra, and shot his rival to death in a fit of jealousy. As translated into English by Alberto Paz, Bianco's stanzas tell us how a dream of sweet love ended up awakening the heart's monsters, the chimeras which can never be fully grasped; the words "intenso mal" which Alberto Paz translated as "intense misfortune" may be better interpreted as "overpowering evil":

...You'll remember my love,
and you will come to know 
all my intense misfortune.

Of that one intoxicating poem,
nothing is left between us,
I say my sad goodbye,
you'll feel the emotion
of my pain…

Eduardo Bianco was jailed and tried for murder, and acquitted - according to Jose Maria Otero, owing to political connections of Bianco's influential rich friend, Martin "Macoco" Álzaga Unzué, a race driver, bon vivant, and night club owner whose circle included top entertainers, aristocrats, and mobsters. But the acquitted violinist had to leave Argentina. Soon, he sailed for France.

In Paris, Bianco with the bandoneonist Juan Bautista Deambroggio "Bachicha" assembled Orquesta Tipica Bianco-Bachicha, which started to play in the downstairs cabaret of the famed Argentine-themed Montmartre boîte, "El Garron", and toured Europe, the Americas, and Middle East. He continued cultivating relationships with the rich and powerful, even dedicating his tango compositions to kings and queens, and (twice) to Benito Mussolini, and boasting of praise from Stalin and Hitler. It was the 1926 "Plegaria", dedicated to Spanish king Alfonso XIII, "symbol of Spanish democracy" (who fled after the electoral victory of the Republicans, and supported Franco with the outbreak of Spanish Civil War) , which brought Bianco most infamy.

The most detailed account of Bianco's European years has been provided in Enrique Cadícamo's 1975 "La Historia Del Tango En Paris" (and summarized in a recent El Litoral article). Cadícamo, who toured Europe with Gardel, advised his tango friends to avoid discussing politics with Eduardo Bianco because Bianco supposedly informed for Gestapo (the French police detained and investigated him in 1937, but released him). Bianco associated himself with Eduardo Labougle Carranza, Argentine ambassador in the Third Reich Berlin and an avowed antisemite. They supposedly convinced Goebbels that tango should take place of the "racially tainted" Jazz music, and were invited to perform in Berlin's "La scala".  Then, at an Argentine asado reception at the Embassy, Bianco's orchestra got to entertain Hitler himself (even with a bandoneon player personally grilling meats for him), and the fuhrer asked for an encore performance of "Plegaria" ("Prayer" in Spanish). The sentimental monster must have enjoyed the play between the solemn sound of the piece and the frivolous, erotic perception of the word "tango", because soon, he found a horrible use for Bianco's score. In a short time, "Plegaria" would be dubbed "Tango of Death", as the Auschwitz prisoner band was ordered to play it when the camp prisoners were led to the gas chambers. The horror of "Tango of Death" has been immortalized in the verses of Paul Celan, a Jewish Romanian death camp survivor; but Celan had to strike any reference to "tango" when he translated his poem from Romanian to German, because "tango" still sounded disrespectfully racy in German. So "Plegaria" turned into "Todesfuge", "The Death Fugue"!

(A personal side note here ... this is how I got to understand another allusion in Psoy Korolenko's "Ilimsky Ostrog", an amalgamation of quotes and allusions of three centuries of Russian and foreign classic poetry, folk song, pop and rock, where peeling off the layers of meaning never ends ... "Meine Todesfuge" is heard near 4:55 in this concert record)

 The WWII broke out, and Ambassador Labougle returned to Argentina to champion the cause of South American neutrality in the war, the cause which must have been largely anti-American and anti-Brazilian, rather than pro-Axis, in Argentina, since it traditionally allied itself with Great Britain, its main export market, and, after the Great Depression-era unfair trade treaties went into effect, also Argentina's main supplier of manufactured goods. The United States, in the meantime, practiced the ideology of continental domination, the Manifest Destiny, and armed Argentina's regional arch-rival, Brazil. Although truth be said, Argentine leaders sought to emulate many aspects of the Axis, from nationalist fervor to regional expansion plans (Argentina even covertly installed a friendly, pro-fascist government in Bolivia in a 1943 coup). But time was running out for the open sympathizers of the Reich, and in January 1944, Argentina had to break relations with Nazi Germany (although it didn't declare war until a year later). In the meantime, Bianco played across occupied Europe for the Nazi troops, and on the Third Reich radio stations. As it's become clear that Argentina will sever relations with the Reich soon, he left on a Spanish visa from King Alfonso's times, and faced a lengthy investigation by the British intelligence services - Bianco himself wrote that he was only cleared owing to his investigator's appreciation of the music of tango. He finally returned to Buenos Aires in 1943, at the peak of Tango's Golden age, amid insane richness of tango orchestras. Bianco tried hard but has never succeeded in competing against the local talent; his remained a purely export version of Argentine tango.

Before we return to 1935, and to Canaro, let me mention that "Poema" has been recorded by one more Parisian band, the Orquesta Tipica Auguste-Jean Pesenti du Coliseum de Paris (A.-J. Pesenti was a bandoneonist from Colombia known to us largely owing to the Japanese collectors; in fact pre-WWII tango dancers and listeners in Japan played French tango records of Bianco, Bachicha, Pizzarro, and others, and generally believed that tango was a genre of French music)

Canaro, of course, also famously chose Paris to be his base after 1925 (embarking on tours to New York, Berlin, Hamburg, and Madrid, and to a family roots discovery trip to Italy, from France). Sometimes people say that Canaro stayed abroad for a whole decade, and supposedly didn't make a comeback to Buenos Aires until 1935! Technically, it's very untrue, and yet in terms of Francisco Canaro's legacy and influence, it may be true that the decade between 1925 and 1934 was the low-key part of his tango carrier. He tried diversifying into other genres - rancheras, maxixe, foxtrot, jazz, and even recorded such Americana pieces as "Red Red Robin" as "Francisco Canaro Jazz Band". He toured the provincial towns, played a lot for the radio stations, launched a series of comedy musicals, and appeared in a movie with Gardel, all to regain his fame and to secure the grand dance halls of BsAs for himself again. Perhaps it was the chilling effect of the Great Depression on the porteno party scene. Or Canaro's affiliation with the recording company Nacional Odeon, which pitted him against the more prominent RCA Victor. Or it could have been the continuing echo from yet another fatal gunshot story which may have played a role in Canaro's departure to Paris in the first place.

This is a story which began almost exactly 100 years ago, in September 1914. Francisco Canaro's lucky break into the ranks of most-listened-to tango orchestras was catalyzed by his invitation to highlight Primero Baile del Internado, the First Ball of Medical Interns, which marked the end of the spring break in the School of Medicine. The interns of Buenos Aires found their inspiration in Paris, in traditional medical students Bal de L’Internat held at Bullier Hall. To this rancorous celebration at the famous Palais de Glace, Canaro premiered a tango titled Matasano, "The Slayer of the Healthy" (as the medical students were humorously called), dedicated to Hospital Durand in Caballito neighborhood. The following year, Canaro premiered tango "El Internado", "The Intern", at the Intern's Ball.


The tradition continued for 11 years, with many pranks and with tango titles such as "Aqui se vacuna" ("Immunizations shots here", dedicated to Public Health Office), "Anatomia", "Cloroformo", "El termómetro", "La biblioteca" ("The Medical Library"), "Hospital Durand", "Mano Brava" and "Qué
muñeca" (dedicated to outstanding surgeons' hands), "La inyección" and "El microbio" (continued with tangos about specific pathogens, "El dengue" and "Ae. Aegypti"), even "Paraiso Artificial" ("Artificial Paradise",  a tango cancion about morphine). The tango which premiered in 1924 was titled "El once: el divertismento" - "The 11th: let's have fun".
But soon after the 1924 celebration, the medical students took part in a prank gone horribly wrong, and an intern Ernesto O’Farrel was shot and killed by an administrator at Hospital Piñero, triggering a physician strike at all municipal hospitals. The Baile del Internado was never held again. And Canaro's memoirs mourn the things tango lost after 1924...

Yet Canaro's tango also gained from being exposed to the music of the European expats, and he kept returning to the scores from Paris, starting from a 1928 recording, with Charlo, of "Bandoneón arrabalero", a tango Canaro re-recorded several times. The 1925 score is signed by Juan Bautista Deambrogio Bachicha himself, although Enrique Cadícamo says in “La historia del tango en París” that it was Horacio Petorossi, a guitar player in Bianchi-Bachicha orchestra, who sold the score to Bachicha for a thousand franks. The 1935 recording of Bianco's Poema continued the trend of cross-fertilization of Parisian and BsAs tango music, but failed to impress the listeners in Argentina. Yet you can understand now how it struck a chord with the European tangueros of the generation of the Great Worldwide Tango Rebirth!

Tuesday, May 13, 2014

Practica Del Centro playlist, 5/12/14

With the parallel - but earlier in the evening - Heritage Center practica, Del Centro now comes to live only about a dozen tracks down the playlist, after the tangueros from the University join in. So for the after-class warm-up, I started with the instrumental favorites - the more rhythmical pieces of Di Sarli and Fresedo & I still don't know how this selection would have worked with a larger, more varied crowd. 
01. Carlos di Sarli - Instrumental  "Shusheta" 1940 2:22
02. Carlos di Sarli - Instrumental  "Catamarca" 1940 2:23
03. Carlos di Sarli - Instrumental  "La trilla" 1940 2:21
04. Osvaldo Fresedo - Instrumental  "Arrabalero" 1939 2:32
05. Osvaldo Fresedo - Instrumental  "Pimienta" 1939 2:52
06. Osvaldo Fresedo - Instrumental  "Derecho viejo" 1941 2:31
07. Rodolfo Biag Jorge Ortíz "Lagrimas Y Sonrisas (vals)"  2:41
08. Rodolfo Biagi Jorge Ortíz "Pajaro Herido (vals)" 1999 2:18
09. Rodolfo Biagi - Jorge Ortiz  "Cuatro palabras (vals)" 1941 2:20
10. Enrique Rodriguez - Armando Moreno  "Tango argentino" 1942 2:37
11. Enrique Rodriguez - Armando Moreno  "El encopao" 1942 2:34
12. Enrique Rodríguez "Como has cambiado pebeta" 2:37
Quinteto Don Pancho (from todotango site where
I could no longer find it after the site overhaul...)
Canaro's Quintets existed alongside with his main, large Orquesta Tipica (and, occasionally, a couple more "Canaro orchestras" led by Francisco's brothers). Unlike the Tipica's, the Quintets never played live for the dancers - they worked for recording studios and for the radio. Very talented musicians, very slick, shiny quality of the music, it feels strangely modern, perhaps because modern classic tango bands usually have few musicians too? But these records are all from the 1930s! 
El Pirincho (Guira guira)
Quinteto Don Pancho was the first of the two Canaro Quintets (after 1940, followed by Quinteto Pirincho). Both bands were sort of named after their creator, but without spelling out "Francisco Canaro" ("Don Pancho" would have been a nickname for Francisco in Spain, and "Pirincho" was Francisco Canaro's actual nickname in Uruguay and Argentina, given to him at birth by a midwife who was amused by the newborn's cute little tuft of hair, and compared it to a crest of feathers of a local bird, el pirincho). Quinteto Pirincho recorded a lot more than the earlier, and lesser known, Quinteto Don Pancho; in fact two of the three tracks below were mis-attributed to Quinteto Pirincho in the files' metadata.
13. Quinteto Don Pancho - Francisco Canaro "Champagne tango" 1938 2:30
14. Quinteto Don Pancho - Francisco Canaro "El garron" 1938 2:27
15. Quinteto Don Pancho - "El flete" 1939 2:55
Another shot at a milonga tanda with "Ella Es Asi":
16. Edgardo Donato - Horacio Lagos  "Sacale punta" 1938 2:16
17. Edgardo Donato - Horacio Lagos  "De punta a punta (milonga)" 1939 2:21
18. Edgardo Donato  "Ella Es Asi - milonga" 2005 2:35
19. Ricardo Tanturi - Alberto Castillo  "Así Se Baila El Tango"  2:34
20. Ricardo Tanturi  "Que Nunca Me Falte"  2:42
21. "Ricardo Tanturi - Enrique Campos / Oigo Tu Voz" 3:07
22. Miguel Caló - Raúl Berón  "Corazón no le hagas caso" 1942 3:00
23. "Miguel Caló - Raúl Berón / Jamas Retornaras" 2:31
24. Miguel Calo - Raul Beron  "Que te importa que te llore" 1942 2:44
25. Angel D'Agostino - Angel Vargas "Esquinas porteñas 1942 (Vals)" 2:51
26. D'Agostino, A. Vargas "Tristeza Criolla" 1945 2:28
27. Angel D'Agostino - Angel Vargas  "Que me pasara (vals)" 1941 2:29
Now it was time for Irina's melodic, dramatic favs, and I didn't realize until later that the two sets below, classic Di Sarli and classic Laurenz, were united by the same vocalist, Alberto Podestá :) Alberto Podestá started singing tango with the famous Golden Age orchestras as a teenager, first with Caló and then with Di Sarli and Laurenz (It was Carlos Di Sarli who gave him his artistic name, and predicted to him a long singing career). Di Sarli was right, Alberto still sings in Buenos Aires at the age of 89. Two years ago he even visited Tango Element Festival in Baltimore and sang there with the band of Alex Krebs!
28. Carlos Di Sarli Alberto Podestá  "Junto a tu corazon"  3:00
29. Carlos Di Sarli Alberto Podestá "Nada"  2:45
30. Carlos Di Sarli - Alberto Podestá  "Lloran las campanas" 1944 2:58
31. Pedro Laurenz - Alberto Podestá  "Garua" 1943 3:09
32. Pedro Laurenz - Alberto Podestá  "Todo" 1943 2:37
33. Pedro Laurenz - Alberto Podestá  "Recien" 1943 2:43
34. Francisco Canaro - Roberto Maida  "Larga las penas" 1935 3:09
35. Francisco Canaro - Instrumental  "Milonga de mis amores" 1937-05-26 3:03
36. Francisco Canaro - Roberto Maida  "Milonga brava" 1938-06-20 2:37
These three Krebs records turned out to be a DJ's disappointment. I got excited by their super-grounded, almost underworld-ish vibe, but I forgot about strange noisy sections at the end of these tracks. Alas!
37. New York Tango Jam Session  "Duelo Criollo -- old school" 2010 2:29
38. New York Tango Jam Session  "Triste Destino -- old school" 2010 3:31
39. New York Tango Jam Session  "Ventarron -- old school" 2010 2:49
I haven't played from Donato's earlier, playfu and rhythmic period before. Liked the first two out of this trio, but the last one sounded weaker...:
40. Edgardo Donato  "El Acomodo" 2:27
41. Edgardo Donato - Horacio Lagos  "Gato" 1937 2:42
42. Edgardo Donato  "Tierrita" 3:19
Alberto Podestá again, now with the orchestra he started his career with at 16, and to which he kept returning for over 30 years. "Bajo un cielo de estrellas" was his very first record (and the one Podestá counted among his best hits). The young singer performed then under an assumed name of Juan Carlos Morel - he would become Alberto Podestá only a year later, rather unimaginatively rechristened by Di Sarli (Podestá was his mother's family name so the young singer's real full official name was Alejandro Washington Podestá Alé; he mentioned to Carlos Di Sarli that there are already renowned musicians by the same name, such as a tango singer Martín Podestá, but was told not to worry, that he'll eclipse them all :) ).
43. Miguel Calo - Alberto Podesta  "Bajo un cielo de estrellas (vals)" 1941 2:37
44. Miguel Caló - Raúl Berón  "El vals soñador" 1942 3:32
45. Miguel Calo - Alberto Podesta  "Pedacito de cielo (vals)" 1942 2:21
Another Quintet, and a more complex but again, classic and at the same time intriguingly modern sound. It dates to the 1960s "dark years" of Argentine Tango, and owes its existence to the continued love of tango among some of its most talented musicians (and to the continued infatuation of Japan with the Argentine Tango, because it was the tours of Japan which helped the tango musicians survive the 1960s) . The tango titans such as Pedro Láurenz, Horacio Salgán, Enrique Francini performed together as Quinteto Real and, later, Láurenz convened his own quintet (which included Jose Colangelo, piano, and Eduardo Walczak, violin). The following tracks are from their 1969 album, "Pedro Láurenz interpreta a Pedro Láurenz"
46. Pedro Láurenz - Instrumental  "De puro guapo" 1966 2:48
47. Pedro Láurenz - Instrumental  "Orgullo criollo" 1966 2:57
48. Pedro Láurenz - Instrumental  "Mal de amores" 1966 3:16
Aces de Candombe tanda! You may remember how, a couple months ago, I wrote how hard it might be to put together an Enrique Rodriguez milonga tanda (and I got away, then, by playing a tanda of tangofox). Here is a different idea: Rodriguez recorded one of the most memorable milonga candombes of all times, the 1943 Tucu-Tun. It's one of those records which are so good and so special, it may be hard to find them a proper match in a tanda. Rodriguez recorded another notable candombe milonga, "La rumbita candombé";  Bernhard Gehberger suggested adding late Rodriguez records, Tamboriles & Color Punzo, while Tangology 101 suggests Demare's Carnavalito and Troilo's "Papá Baltasar";  for my set, I add two more records by different orchestras (I thought of Canaro's "Candombe criollo", too, but nothing makes a truly satisfying match. Any better thoughts?)
49. Enrique Rodriguez - Armando Moreno  "El tucu-tun" 1943 2:34
50. Osvaldo Fresedo - Oscar Serpa  "La rumbita candombé" 1943 2:34
51. Miguel Caló - Raúl Berón  "Azabache" 1942 3:05
And now the time is running out & the sets are getting shorter and shorter :)
52. Donato, Edgardo Various Artists "La Melodía Del Corazón" 1940 3:18
53. Donato, Edgardo  "El Adios" 1938 3:09
54. Alfredo de Angelis - Instrumental  "Mi dolor" 1957 2:51
55. Alfredo De Angelis  "Felicia 1969"  2:48
56. Osváldo Pugliese Osvaldo Pugliese "Farol" 1943 3:22
57. Osváldo Pugliese "Rondando Tu Esquina" 1945 2:49
The Cumparsita is a different kind of Pedro Laurenz, one of his earliest surviving records, of a bandoneon duet with the legendary Pedro Maffia. "The lad from Flores" Maffia played bandoneon like no one else - he truly revolutionized not just bandoneon playing, but the tango music in general. Pedro Maffia, famed for the rich, complex, dark voice of his instrument, became, in 1924, the first bandoneonist of Julio De Caro's Sextet,  and one of the leaders of the Decaroist movement in tango music, which transformed tango beyond the simplicity and boastfulness of the original Old Guard. Pedro Láurenz joined De Caro's orchestra the following year, in 1925, and over the next couple years, the two great bandoneon players also recorded about a dozens tangos in a duet. The tango records of the mid-1920s tend to be affected by poor record quality ( the first electric records appeared in Argentina only after 1926). This Cumparsita may be a great exception.
58. Pedro Láurenz y Pedro Maffia  "La cumparsita" 1926 3:01
Both post-Cumparsita tracks are Russian, from two very different epochs. "Nau", as they were called, were the pioneers of the Russian rock bloom of the 1980s. "Good-buy America", a bossa nova-tinged 1985 composition originally titled "The last letter" but better known for the line of its refrain, has become a sort of a generational anthem song. Although back in the 80s, few us could have thought that its theme of disillusionment about American culture would fit so well to Russia's 2010's... Danceability of "Good-buy America" is a source of perennial contention among Russian tangueros, but you know my opinion on this matter, right?
59. Nautilus Pompilius - V. Butusov "Good-buy America" 1988 3:38
Eddie Rosner's is one of the many tragic stories of Russian tango. The best jazz trumpet player of all Europe in his teens and early twenties, he fled Berlin, his birthplace, in 1933 to his Jewish parents' homeland of Poland, and discarded his birth name, Adolph, for Eddie. In 1939, escape from the Nazi bombing raids lead him from Warsaw to Belostok, which was soon absorbed into the USSR as a part of Western Belorussia. Eddie Rosner hardly spoke any Russian, but the circumstances made him one of the leaders of Russian jazz and swing. After the war, he attempted to return to Poland but was stopped and sent to Gulag for this "subversive act of attempted emigration". In the dreaded labor camps of Kolyma, Rosner survived as a prison band musician, eventually loosing his teeth to scurvy and re-learning to play trumpet with dentures. In 1954, he was set "free" and organized the Big Band of his dreams, but he was never allowed to go to Poland - or to the US to visit those relatives who survived the Holocaust. As the chill of the Cold War thickened, Eddie was blacklisted again, and confined to a provincial town in Belarus, until the authorities finally allowed him to return to (Western) Berlin to die. 
To record this tango, his best known, Rosner's largely Polish and Jewish band was assigned a great Russian singer, "lest Polish accent seeps into the sound of Russian tango music"; Eddie is said to have been really happy to work with a jazz-singer of such talent.
60. Eddie Rosner - Georgy Vinogradov "Zachem" 1944 3:11


Tuesday, April 22, 2014

Practica Del Centro Playlist, 4/21/2014

Totally squeezed for time, between a major spring cleanup / kids moving in after the semester and a Canada trip. But I still found an hour to try different tunes, measure them up, roll them together, & it was fun!
01. Juan D'Arienzo - Alberto Echagüe  "Nada más" 2:43
02. Juan D'Arienzo - Alberto Echagüe  "No mientas" 1938 2:39
03. Juan D'Arienzo - Alberto Echagüe  "Qué importa" 1939 2:10
I suspect that I played far too little D'Agostino lately :)
04. Ángel D'Agostino - Ángel Vargas "A Quién Le Puede Importar" 3:14
05. Ángel D'Agostino  - Ángel Vargas "El Yacaré" 3:09
06. Ángel D'Agostino  - Ángel Vargas "Adiós Arrabal" 3:10
"Tangon" was supposed to be a new all-rage genre of 1935, when the grand orchestras were locked in fierce competition for novelty, and Sebastian Piana's original reborn slow milonga, then fast milonga, and then milonga candombeanda all already debuted. But the new would-be hit rhythmic trend fizzled with just this one track, and Canaro moved on. "Tangon" remained one of tango's one-of-a-kind, hard-to-match unusuals.
07. Francisco Canaro  - Roberto Maida "Milonga Brava" 2:35
08. Francisco Canaro - Roberto Maida "Milonga criolla" 1936 3:05
09. Francisco Canaro - Roberto Maida "Tangon" 1935 3:17
Can't have enough Rodriguez!
10. Enrique Rodríguez "Como has cambiado pebeta" 2:37
11. Enrique Rodriguez "En la buena y en la mala" 1940 2:26
12. Enrique Rodriguez "Danza Maligna" 1940 2:27
"Gitana Rusa", a self-described "Tango Europeo" originally composed by Saul Zhadan, a Jewish fiddler in Ukraine just before his death in the Holocaust, is another hard-to-match unique sound of Argentine tango, and I don't think I did good service to it by combining it with two different-quality Malerba records...
13. Ricardo Malerba -"Embrujamiento"  2:52
14. Ricardo Malerba - Antonio Maida "Encuentro" 2:20
15. Ricardo Malerba & Garcia "Gitana Rusa" 2:47
The 2nd of the three D'Arienzo's valses may have been a hasty choice here...
16. Juan D'Arienzo - Instrumental  "Corazon de artista (2) vals" 1936 2:22
17. Juan D'Arienzo - Alberto Echagüe  "En tu corazon (2) vals" 1938 2:46
18. Juan D'Arienzo - Instrumental  "Pabellon de las rosas" 1935 2:50
We were talking with a friend in Ukraine about Uruguayan tango music, a topic precipitated by my quest for Lita Morales biography (see below), and I mentioned Nina Miranda (the most famous female voice of Uruguay of her time, who sang with tango orchestras of Racciatti and Pellejero). In fact I just pointed my own attention to Donato Racciatti and Nina Miranda for the first time a couple months ago, when my much-loved teachers from Tokyo, Akiyoshi and Noriko, performed to "Tu corazón" at a festival in Honolulu. Racciatti almost missed the Golden Age of tango; an Italian immigrant to Uruguay, he put together his orchestra in 1948, but didn't really reach fame until the mid-1950s. The success came to Raciatti with the amazing voices of his two female singers, Nina Miranda and later on, Olga Delgrossi.
19. Donato Racciatti - Nina Miranda "Tu corazón" 2:32
20. Donato Racciatti - Nina Miranda "Gloria" 1952 2:47
21. Donato Racciatti - Nina Miranda "Sin estrellas" 1953 2:46
So many amazing records Laurenz records, so little time in the playlist!
22. Pedro Laurenz - Alberto Podesta  "Todo" 1943 2:37
23. Pedro Láurenz - Instrumental  "Amurado" 1952 2:58
24. Pedro Laurenz - Juan Carlos Casas  "Al Verla Pasar"  3:23
An admission to make: I always think of "Ella Es Asi", "That's the Way She Is", as a song about my beloved dancing half. "A ray of light, a beautiful flower, you're filled with kindness - and candor". But do I have enough Donato materiel to mix this perfect milonga track into a tanda?
25. Edgardo Donato  "Ella Es Asi - milonga" 2:35
26. Edgardo Donato  "La Milonga Que Faltaba" 2:24
27. Edgardo Donato  "El Torito - 1939" 2:19
Could "Así Se Baila El Tango" - sometimes boastful, more often ironic and mildly self-deprecating title meaning "This is how Tango is danced!" -  be a perfect practica track ;) ? Kind of like, "look what I can do ... or can I, really? Let's give it a shot!". 
28. Ricardo Tanturi - Alberto Castillo  "Así Se Baila El Tango"  2:34
29. Ricardo Tanturi  "Que Nunca Me Falte"  2:42
30. Ricardo Tanturi - Enrique Campos "Oigo Tu Voz" 3:07
Only one Fresedo track for the night? Only three songs of sheer sweetness to accentuate the bitters of tango?
31. Osvaldo Fresedo - Roberto Ray "Isla de Capri" 1935 3:16
32. Osvaldo Fresedo - Roberto Ray "Canto de amor" 1934 3:25
33. Osvaldo Fresedo - Roberto Ray "Vida mia" 1933 3:23
34. Rodolfo Biagi - Alberto Lago  "Amor y vals" 1942 2:48
35. Rodolfo Biagi - Andrés Falgás "El Ultimo Adios (vals)" 2:08
36. Rodolfo Biagi - Teofilo Ibanez  "Viejo porton (vals)" 1938 2:27
Donato, as I already mentioned, is, in a way, an Urugayan musician, although Argentine-born. He and his band were only invited to play in BsAs after years of increasing success in Montevideo, and many of his later BsAs team members came from Uruguay. But Lita Morales? The most captivating female voice of tango, like, ever? The one whose song lyrics were so often first-person that one just won't dare to separate the singer from the character: "I'm this little girl who kept on repeating how life is like a sea with a bright bue boat", "I love you, my heart, I love you for your gift of passion" ... ?
From RCA poster
 Well, we don't know anything about Lita Morales. Not even when or where she was born, or died. Hardly more than a couple faded pictures exist.
Lita Morales briefly sang for OTV in 1937 and then joined Donato with her husband, Horacio Lagos (Stigliani), forming a wonderful duet. In 1939, an Uruguayan violinist and singer Romeo Gavioli joined the ochestra. People suggest that over time, the vocalist trio may have become a triangle, and finally, late in 1942, Edgardo Donato (famed for his absent-mindedness, as if living on the Moon), decided to terminate them all. Soon, the whole world of what has been Donato's orchestra fell apart. The band itself didn't survive much longer, with his pianist brother Osvaldo leaving first, and most of the rest of the musicians leaving to join Osvaldo soon after. Gavioli returned to Uruguay in 1943 and formed his own orchestra, recording some remarkable candombes. But, overcome with depression, he plunged his car into the sea off Montevideo embankment, killing himself at the age of 44. Maruja Pacheco, who wrote tango lyrics specially for Lita, left tango and embraced religion. But what happened to Lita and Horacio is simply unknown. According to a Todotango commenter, they had a son named Daniel Stigliani, and Lita died in about 1994. Discographies tell that she recorded a handful of tangos with Vieri Findazini more than a decade later, in 1955; the voice in those recordings is considerably more coarse but perhaps recognizable. Tango "is" full of sadness, there is no denying that; but how can we tangueros totally consign to oblivion one of tango's  most inspiring voices? It is depressing. Should we listen to her voice, full of sparkling laughter, and try to forget the injustice? I start from one of the happiest tangos ever, Carnaval de Mi Barrio.
37. Edgardo Donato  "Carnaval De Mi Barrio" 2:25
38. Edgardo Donato  "Yo Te Amo (Lita Morales)" 2:50
39. Edgardo Donato "La Melodía Del Corazón" 1940 3:18
40. Francisco Canaro - Roberto Maida  "Ciego" 1935 2:57
41. Francisco Canaro - Roberto Maida "Solo una novia" 1935 3:23
42. Francisco Canaro - Roberto Maida "Condena (S.O.S.)" 1937 2:39
Milongas with abandon!
43. "Orquesta Tipica Victor - Milonga De Los Fortines - Mariano Balcarce" 19372:52
44. Orquesta Tipica Victor  "Cacareando"  2:45
45. "Emilio Pellejero - Mi Vieja Linda - Enalmar De Maria - 1941" 2:26
And finally, for the close, dramatic late De Angelis and of course Pugliese, topped by a couple post-Cumparsita cleanup-and-last-hugs tracks.
46. Alfredo de Angelis - Instrumental  "Mi dolor" 1957 2:51
47. Alfredo De Angelis  "Felicia 1969" 2:48
48. Alfredo De Angelis  "Pavadita 1958" 2:53
49. Osvaldo Pugliese "La Abandone Y No Sabia" 1944 3:12
50. Osváldo Pugliese "Farol" 1943 3:22
51. Osvaldo Pugliese - Roberto Chanel  "Rondando tu esquina" 1945 2:48
52. Juan D'Arienzo - Instrumental  "La cumparsita" 1951 3:49
53.  Goan Bregovic & Kayah "Tabakiera"  4:15
54. Carlos Libedinsky  "Otra Luna" 2006 3:43
(54 total)