Tag: tango music

Alberto Podesta. Argentine music at Escuela de Tango de Buenos Aires.

“Yo soy el Tango” by Miguel Caló y su Orquesta Típica with Alberto Podestá in vocals, 1941.

Alberto Podestá

Singer and composer
(22 September 1924 – 9 December 2015)

“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.”

“Later, Di Sarli asked me my surname and said: “Boy, from now on you’ll be Alberto Podestá and from all those who bear that last name you’ll be the only one who’ll sing for the longest time”. See how much Don Carlos knew!”. Continue reading at www.todotango.com…

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“Una tarde cualquiera” by Miguel Caló y su Orquesta Típica with Roberto Arrieta in vocals, 1945.

Roberto Puccio

Guitarist and lyricist (June 1, 1904 – March 30, 1959)

In 1924 he debuted as a singer’s accompanist alongside his brother Miguel Ángel Puccio. He also played in the folk group called Los Trovadores de Cuyo.

In the 30s, both brothers were staff artists in Radio El Mundo and accompanists of the Lito Bayardo and Alfredo Lucero Palacios duo. They as well backed Hugo Del Carril.

During the 40s, they appeared in Brazil.

As composer he has written several songs, among them: “Una tarde cualquiera”.

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We are happy to have a collaboration with the people from tangotunes.com from whom some of you may have heard, they do high-quality transfers from original tango shellacs.

It is the number 1 source for professional Tango DJs all over the world.

Now they started a new project that addresses the dancers and the website is https://en.mytango.online
You will find two compilations at the beginning, one tango and one vals compilation in amazing quality.
The price is 50€ each (for 32 songs each compilation) and now the good news!

If you enter the promo code 8343 when you register at this site you will get a 20% discount!

Thanks for supporting this project, you will find other useful information on the site, a great initiative.

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“Arrabal” by Pedro Laurenz y su Orquesta Típica, 1937.

Pedro Laurenz

Bandoneon player, director and composer
(10 October 1902 – 7 July 1972)

In 1937 he started recording for the Víctor company, and his version of “Arrabal” by the pianist José Pascual, is considered by some scholars, as the hinge of the newly born golden epoch of the tango which would reach the top in the 40s.

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Recuerdo. Argentine music at Escuela de Tango de Buenos Aires

“Recuerdo” by Osvaldo Pugliese y su Orquesta Típica, 1944.

The tango piece “Recuerdo”, a family secret

The tango piece “Recuerdo” was born at a time when the genre grew and evolved constantly, when the inspiration of the composers seemed infinite, so much so that today it would be difficult to choose a «hinge», a milestone, from which one concludes that there is a time before and a time after some or other piece.

However, we can say that “Alma de bohemio” (1914) by Roberto Firpo is an indubitable mark of an avant-garde creation because of the originality of its melodic structure and the complex density of its music that foretell us the appearance of a tango more polished, of a modern tango. The same happens with “Recuerdo” ten years later, with the difference that it bore lyrics almost since its inception and these words also influenced, finally, on the musical result of the piece. Let us remember that the lines by Juan Andrés Caruso for “Alma de bohemio” date back to 1929, that is to say, fifteen years after its creation. Continue reading at www.todotango.com…

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“Milongueando en el cuarenta” by Anibal Troilo y su Orquesta Típica, 1941.

Armando Pontier

Bandoneonist, leader and composer
(August 29, 1917 – December 25, 1983)

A complete musician, a good bandoneon player and a great composer, he belongs to a generation that recreates tango, consolidating the task of arranging, where, as composer, he brings a work of nicely harmonized structure with completely original melodies, sometimes simple and melodic:

“Corazón no le hagas caso”, “Trenzas”, “Tabaco” and “Claveles blancos”; others based on harmonic designs with a rhythmical treatment more complex: “Margo” and “Anoche” or even, in a definitively modern trend: “A los amigos”, possibly his masterpiece, “A Zárate” and “A tus pies bailarín”. Continue reading at www.todotango.com…