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

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