Saturday, September 8, 2018

San Diego Decir Tango playlist, September 2018

Many thanks to the amazing Patricia Becker for inviting me to DJ at Practica Tinto Chocolate in San Diego! So great to meet So Ca friends again! It's not even two hours of music, but a wonderful memory...
01. Edgardo Donato - Horacio Lagos y Lita Morales "Sinsabor" 1939 2:53
02. Edgardo Donato - Lita Morales, Romeo Gavioli "Yo Te Amo" 1940 2:50
03. Edgardo Donato - Horacio Lagos, Lita Morales, Romeo Gavioli "Triqui trá" 1940 2:34
04. Gilda  "No Me Arrepiento de Éste Amor cortina long"  0:40
05. Juan  D'Arienzo - Instrumental "El Internado" 1938 2:31
06. Juan  D'Arienzo - Instrumental "Ataniche" , 1936 2:32
07. Juan  D'Arienzo - Instrumental "El Cencerro" 1937 2:40
08. Tatyana Kabanova  "Mama, ya zhulika lyublyu cortina"  0:21
09. Carlos Di Sarli - Roberto Rufino "Pena Mulata" 1841 2:27
10. Carlos Di Sarli - Roberto Rufino "La Mulateada" 1941 2:22
Podesta with Alex Krebs orchestra!
September is a month to celebrate one of the most-played tango singers, Alberto Podestá. He was born Alejandro Washington Alé in San Juan on September 22, 1924 and lived to the age of 91 - even touring the US in his late 80s and famously performing with Alex Krebs's tango band in Baltimore! Given that Alberto Podestá started singing on stage at the age of 13, earning himself a nickname "Gardelito", after his father died and his family was left destitute, it means over 75 years on stage! By the age 15, of Alberto Podestá already moved to Buenos Aires to sing there, and at 16, recorded his first ageless hits with Miguel Caló, such as vals "Bajo un cielo de estrellas" (still under a different stage name - it was Carlos Di Sarli who gave him the now-famous scenic name of Alberto Podestá the following year). The milonga "Entre pitada y pitada" ("Between one whiff and another") was their first recording, said to have been commissioned as a jingle for a tobacco company:
11. Carlos Di Sarli - Alberto Podestá "Entre pitada y pitada" 1942 2:32
12. Los Iracundos  "Puerto Montt rock" 1971 0:27
I just featured Jorge Ortiz, born on September 18, 1912, in three tandas the night before. There is only time for two tonight, showcasing the singer short but very productive stint with Calo, and long collaboration with Biagi.
13. Miguel Calo - Jorge Ortiz  "A las siete en el cafe" 1943 3:07
14. Miguel Calo - Jorge Ortiz  "Barrio De Tango" 1943 3:06
15. Miguel Calo - Jorge Ortiz "Pa'que seguir" 1943 2:13
16. Soda Stereo  "Corazon elator"  0:28
17. Rodolfo Biagi - Jorge Ortiz  "Todo te nombra" 1940 3:33
18. Rodolfo Biagi - Jorge Ortiz  "Carrillón De La Merced" 1941 2:31
19. Rodolfo Biagi - Jorge Ortiz  "Quiero Verte Una Vez Más" 1940 2:58
20. Gilda  "No Me Arrepiento de Éste Amor cortina long"  0:40
OTV in the 1920s
Adolfo Carabelli, an incredibly talented and very underappreciated jazz and tango musician, has been born almost exactly 125 years ago to date; I only had a chance to plane a lone track of his the previous tonight, but will make up for it tonight with two full tandas. Carabelli formally trained as a composer in Europe; having returned home for a summer break in 1914, he ended up stuck in Argentina due to WWI. By the early 1920s, he's built himself a name in jazz - and then Victor Argentina gave him a job of the musical director, which put Carabelli in charge of tango programming and Victor's house bound, the famous OTV, Orquesta Típica Victor. The OTV's talent pool and the zeal to innovate were just amazing; many musicians from Carabelli's jazz band took part, and soon, the band also started recording tangos under the name of Orquesta Típica Carabelli. But then, buoyed by Carabelli's achievements, Victor made a business decision to organize a whole array of house tango orchestras, undercutting the success of its flagship OTV on the radio. Just as importantly, the OTV musicians worked in the studio and slept at night, instead of working the night clubs and the milonga halls. further limiting its appeal to the dancing public. As the D'Arienzo Revolution unfolded in the second half of the 1930s, and as the dance scene of tango exploded again, Carabelli found himself on the sidelines, then lost his orchestra director job just as the Golden Age of Tango of the 1940s came into bloom. He died in oblivion 7 years later. 
21. Orquesta Típica Victor (dir. A. Carabelli) - Lita Morales "Noches de invierno" 1937 2:47
22. Orquesta Típica Víctor (dir. A. Carabelli) - Ángel Vargas "Sin Rumbo Fijo" 1938 2:18
23. Orquesta Típica Victor (dir. A. Carabelli) - Mario Pomar  "Temo" 1940 2:55
24. Soda Stereo  "En la ciudad de furia"  0:24
25. Orquesta Típica Victor (dir. A. Carabelli)  "Nino bien" 1928 2:43
26. Orquesta Típica Victor (dir. A. Carabelli)  "Che, papusa, oi" 1927 2:37
27. Orquesta Típica Victor  (dir. A. Carabelli)  "Coqueta" 1929 2:47
28. Eruption  "One way ticket cortina long"  0:31
Tango historians argue, without ever agreeing, who created the paradigm of the Singer of the Orchestra which defined the vocal tango of the Golden Age, after the earlier orchestras carefully experimented with adding little vocal snippets into tango for dancing (as opposed to tango for listening, where vocal soloists were the norm ever since Gardel sang "Mi niche triste" in 1918). Both Ángel Vargas, in D'Agostino's orchestra, and Francisco Fiorentino, in Troilo's orchestra, demonstrated this equal partnership between the vocalist and the band by 1941. Tonight, we shall celebrate the great "Fiore", born September 23, 1905.
29. Aníbal Troilo - Francisco Fiorentino "Maragata" 1941 2:45
30. Aníbal Troilo - Francisco Fiorentino "El Bulín De La Calle Ayacucho" 1941 2:29
31. Aníbal Troilo - Francisco Fiorentino "Te aconsejo que me olvides" 1941 2:58
32. Tatyana Kabanova  "Mama, ya zhulika lyublyu cortina"  0:21
Alberto Podesta with Laurenz's orchestra at Radio Belgrano
from tangosalbardo blog
Alberto Podestá has the fondest memories of the orchestra of Pedro Láurenz, especially remembering their super-fancy, same-style, same tailor shop suits. The night before, I played their dramatic tango classics. Let's turn to a couple of their excellent milongas tonight!
33. Pedro Láurenz - Alberto Podestá "Yo soy de San Telmo" 1943 2:31
34. Pedro Láurenz - Alberto Podestá "Maldonado" 1943 2:04
35. Pedro Láurenz - Martín Podestá "La Vida Es Una Milonga" 1941 2:25
36. Sandro de America  "Yo Te Amo cortina" 1968 0:23
The Uruguayan band of Donato Racciatti is, alas, better known in Japan than in the West. Their pianist - whose name I don't even know, because Uruguayan tango is so much less studied - is totally awesome. But to me, Racciatti greatest strengths are his own compositions (eagerly picked by the leading orchestras of Buenos Aires),and, especially, his stunning female vocals. A signature example is "Hasta siempre amor", recorded in September 1958. Shall we mark the occasion tonight?
37. Donato Racciatti - Olga Delgrossi "Hasta siempre amor" 1958 2:57
38. Donato Racciatti - Olga Delgrossi "Sus Ojos Se Cerraron" 1956 2:47
39. Donato Racciatti - Olga Delgrossi "Queriendote" 1955 2:49
40. Russian Folk  "Gypsy Girl (cortina)"  0:22
Jorge Maciel was born on September 17 ,1920. It's impossible to pay tribute to him without playing "Remembranzas", a song which first propelled him to fame when he sang it with Gobbi's orchestra in 1948. Yet later, with Pugliese, Maciel outdid himself!
41. Osvaldo Pugliese - Jorge Maciel "Esta Noche De Luna" 1955 3:45
42. Osvaldo Pugliese - Jorge Maciel "Cascabelito" 1955 2:41
43. Osvaldo Pugliese - Jorge Maciel "Remembranzas" 1956 3:41
44. Los Naufragos  "Zapatos Rotos rock"  0:34
Salamanca and his orchestra - Todotango photo
I already featured Salamanca, one of tango's most talented pianists and arrangers, who unfortunately left us too few records because of political blacklisting, in the previous post. Please read it. The guy was really amazing ... directed his first tango band at 14 and continued into his 70s ... 17 years with the King of the Beat, 380 D'Arienzo recordings featuring Salamanco on the piano!... One thing I may have to add is how masterfully Salamanca captured the new technical possibilities of the improving recording technology in the mid-1950s, adding signature flowing, higher-pitch sound of the violin into the arrangement. A truly unique tonal and emotional treasure.
45. Fulvio Salamanca - Armando Guerrico "Adios Corazon" 1957 2:40
46. Fulvio Salamanca - Armando Guerrico "Todo Es Amor" 1958 2:47
47. Fulvio Salamanca - Armando Guerrico "Bombomcito" 1958 3:22
48. Juan D Arienzo "La cumparsita" 1955 4:03

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