Ricardo Brignolo. Escuela de Tango de Buenos Aires. Argentine music.

“Chiqué” by Juan D’Arienzo y su Orquesta Típica, 1942.

Ricardo Brignolo. Escuela de Tango de Buenos Aires. Argentine music.Ricardo Brignolo

Bandoneonist, leader, composer and lyricist
(7 March 1892 – 27 March 1954)

This excellent musician left for our memory thirty-seven 78 rpm discs, with 74 numbers, most them with vocals.

The passing of time and the evolution of tango gradually made him step aside and, in the early forties his name had been overshadowed by the younger ones. But his mark was left on those gems: “Chiqué” and “Intimas”, which by themselves are enough to deserve a place in the hall of fame of the greats of tango. Continue reading at www.todotango.com…

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Juan D'Arienzo y su Orquesta Típica. Argentine Tango music at Escuela de tango de Buenos Aires.

“Loca” by Juan D’Arienzo y su Orquesta Típica, 1942.

Juan D'Arienzo. Escuela de Tango de Buenos Aires and Marcelo Solis offer Argentine Tango lessons in the San Francisco Bay AreaJuan D’Arienzo: El Rey del compás

Violinist, leader and composer
(14 December 1900 – 14 January 1976)

In 1949 D’Arienzo said: «In my point of view, tango is, above all, rhythm, nerve, strength and character.

Early tango, that of the old stream (guardia vieja), had all that, and we must try not to ever lose it. Because we forgot that, Argentine tango entered into a crisis some years ago. Putting aside modesty, I did all was possible to make it reappear.» Continue reading at www.todotango.com...

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El Entrerriano. Rosendo Mendizabal. Argentine music at Escuela de Tango de Buenos Aires.

“El Entrerriano” of Rosendo Mendizábal, by Juan D’Arienzo y su Orquesta Típica, recorded in 1946.

El Entrerriano. Rosendo Mendizabal. Argentine music at Escuela de Tango de Buenos Aires.The story of “El entrerriano” and its main recordings

The canyengue liveliness of the melody amazed the audience from the first bar. The dancer José Guidobono —who was present— was unable to dance as he used to do because he was paralyzed by the spell of those music notes. When the number was finished he approached the composer and suggested him: «Why don’t you dedicate it to Segovia?»

He was referring to Ricardo Segovia, a landowner from Entre Ríos, who was making whoopee in the Buenos Aires nights. Mendizábal told him he would honor him by naming “El entrerriano” his new tango. Continue reading at www.todotango.com…

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