Pianist and leader
(26 January 1914 – 5 February 1945)
With soft sound, clean and paused phrasing, and a never-ending creative imagination, he had an inimitable way of «driving» the orchestra. He was used to a strange position seated at the piano, without orthodox postures, spreading his legs wide open, and generally not using the pedals. He had an informal attitude with his low-register left hand connecting phrases, sort of tired, with a close comping beat and legato chords in rubato tempo.
In the Buzón’s orchestra he met Aníbal Troilo, whom he met again in 1936 in the Juan Carlos Cobián Orchestra.
In 1937 Troilo decided to put together his own group and summoned his friend Goñi to be the pianist of the orchestra.
For him Troilo was another soul with the same musical ideas. He switched from one orchestra to another, but here he remained until September 1943. That was enough time to achieve a recognition that would last for decades. Continue reading at www.todotango.com…
Singer, bandoneon player and composer
(23 September 1905 – 11 September 1955)
Fiorentino was, no doubt, the archetype of the orchestra singer, a concept which synthetically describes the main feature of tango in the 40s, when the singer was a member of the group on the same level as the musicians. Fiorentino and Troilo achieved a well-oiled mechanism, of a perfect match where the orchestra was spotlighted in a long introduction to afterwards provide the adequate background necessary for the singer´s showcasing.
He was not virtuoso, his voice was small and his diction was far from impeccable, but these technical disadvantages did not hamper his amazing success. His interpretations of the tangos “Gricel”, “Garúa” and “De barro”, of the waltz “Tu diagnóstico” and of the milonga “Mano brava” turned out anthological. Continue reading at www.todotango.com…
Bandoneonist, leader, composer, teacher
(28 August 1899 – 16 October 1967)
It is not known what secret gift made Pedro Maffia find in the core of the bandoneon sounds that nobody had discovered before.
Until the second decade of the twentieth century bandoneon players had a tendency to imitate the flute —gradually displaced in the early quartets— and the barrell organ with their instrument. Pedro Maffia was who delivered the bandoneon needed by this popular genre so to leave behind the playful Guardia Vieja (old stream) and turn serious, concentrated, fairly dreaming and frequently sad. Continue reading at www.tangomango.com…
Anibal Troilo and Francisco Fiorentino achieved a well-oiled mechanism, of a perfect match where the orchestra was spotlighted in a long introduction to afterwards provide the adequate background necessary for the singer´s showcasing. Continue reading.