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Enrique Cadícamo. Música en Escuela de Tango de Buenos Aires.

“Garúa” by Pedro Laurenz y su Orquesta Típica with Alberto Podestá in vocals, 1943.

Enrique Cadícamo. Argentine music at Escuela de Tango de Buenos Aires.Enrique Cadícamo

Poet, lyricist, composer, writer and theatral writer
(15 July 1900 – 3 December 1999)

“An everlasting boy —wrote León Benarós—, Cadícamo seems to live counter clockwise. He keeps his hair intact, of a pale blond color, that becomes square at the back of his neck and rather long in a juvenile fashion… He wears light-colored ties —once we saw him with one of a subtle yellow color— and his sports coats add him youth. He wants to forget about time because he knows that time —“that dark enemy that sucks our blood”, according to Baudelaire’s lines—, feeds on our illusions, on our life…” Continue reading.

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Alberto Podestá. Argentine tango music at Escuela de Tango de Buenos Aires. Collection Marcelo Solis.

“Alma de bohemio” by Pedro Laurenz y su Orquesta Típica with Alberto Podestá in vocals, 1943.

Argentine Tango dance classes for beginners, intermediate and advanced level. Argentine Tango dance Private lessons. one to one Argentine dance lessons. Argentine Tango dance lessons for couples. Argentine Tango Milongas and workshops. San Francisco, Lafayette, Walnut Creek, Orinda, Danville, San Jose, Cupertino, Campbell, Mountain View, Sunnyvale, Milpitas. With Marcelo Solis at Escuela de Tango de Buenos Aires.Alberto Podestá

Singer and composer
(22 September 1924 – 9 December 2015)
The appointment was at one of the venues where the figures that work in Buenos Aires by night are accustomed to meet: El Tío Felipe. There the charming talk of its thoroughly Italian owner makes even more pleasant the dialogue with an artist of our city song tradition in vogue since the 40s up to the present. For over half a century he has been in the crest of the wave, where he knew how to keep his balance, in spite of the waves and the tides that our tango music underwent during that period.

Our interview is with Alberto Podestá and what, in many cases, is made like a chat, with the lovable talkative Gordo (Fats) becomes a monologue:

«Roberto Caló, made me the connection to sing for the orchestra led by his brother Miguel. Its members where the most promising figures of the new generation of our city music. But among them there were two whom I want to highlight, because with the passing of time they would become my brothers-in-life: Armando Pontier and Enrique Francini.

«The first four numbers recorded with Miguel Caló I made them under the name Juan Carlos Morel, because there were then other singers with the family name Podestá, which was my mother’s, but Caló was not willing to have any trouble with family names.

«I gigged at the Singapur cabaret, located on Corrientes and Montevideo. I lived on Piedras Street near the corner with Alsina. Between one place and the other I used to get a streetcar at the beginning. Later when I started to earn my first “bucks” I used to take taxi cabs.

«When I was working at that place, one evening somebody brought me a card, it had been handed to the waiter by a gentleman named Vázquez, that was Carlos Di Sarli’s agent. He wanted me to meet him at a nearby barroom after my show was over. At the beginning I held it in my hands. As I realized I was creasing it, I put it into my pocket. Since the time the card was handed to me until the end of my performance my body was shivering. But I swear that I sang as never before. Imagine, to have the chance of singing with Di Sarli before I were 18. It was like a dream come true! Continue reading

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“La vida es una milonga” by Pedro Laurenz y su Orquesta Típica with Martín Podestá in vocals (1941)

Todo el mundo está esperando
Mejorar su situación,
Todos viven suspirando
Con razón o sin razón.

Todo el mundo se lamenta
Si en la buena ya no están,
Nadie aguanta la tormenta
Si la contra se le da.

La vida es una milonga
Y hay que saberla bailar,
En la pista está sobrando
El que pierde su compás.

La vida es una milonga
Y hay que saberla bailar,
Porque es triste estar sentado
Mientras bailan los demás.

Music and lyrics: Fernando Jose Juan Montoni and Rodolfo Pascual Sciammarella.
Recorded by Pedro Laurenz y su Orquesta Típica, singing Martín Podestá, in May 1941.

(“Life is a milonga”

Everyone is waiting
Improve their situation,
All live sighing
Rightly or wrongly.

Everyone regrets
If in the good they are no longer,
No one can stand the storm
If the contrais given.

Life is a milonga
And you ought to know how to dance it,
The one who loses his rhythm
Is one too many on the dance floor.

Life is a milonga
And you ought to know how to dance it,
Because it’s sad to be sitting
While the others dance.)

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