Argentine Tango School

Author: Marcelo Solis

I was born in Argentina. Through my family and the community that saw my upbringing, I have been intimately involved with the culture of Tango all my life, and have been an Argentine Tango dance performer, choreographer and instructor for over 30 years. I profoundly love Tango dancing, music, and culture, particularly that of the Golden Era. I am a milonguero.
Adolfo Carabelli. Argentine music at Escuela de Tango de Buenos Aires.

“El 13” by Adolfo Carabelli y su Orquesta Típica with Alberto Gómez, 1932.

Adolfo Carabelli

Pianist, composer, and leader.
(September 8, 1893 – January 25, 1947)

The real amplitude of Carabelli’s capacity is evidenced in 1926 when Victor hired him as artistic director of the label and, at the same time, commissioned him to form an orchestra that would play either jazz or tango music. Thanks to Carabelli, since then, the Victor staff has reached a higher hierarchy since the Victor staff has achieved the inclusion of notable musicians and chosen an attractive repertoire. Similarly, the development of orthophonic recordings reached an unexpected sound quality just a few months before.

Among the best well-known tangos of his tango orchestra (orquesta típica) are the most authentic creations he made of “Mi refugio” (1931); “Cantando” (1931, with the added vocals by Simone and Alberto Gómez as a duo), “Felicia” (1932), “Por dónde andará” (1932), “Inspiración” (1932), “Mar adentro” (1933), etc. Also, some renditions with the refrain of tangos that usually are played only instrumentally, like “Rodríguez Peña” (1932) and “El Trece” (1932), are well remembered. Read more at www.todotango.com…


We selected more Argentine Tango music for you:

Juan Carlos Godoy. Argentine music. Escuela de Tango de Buenos Aires.

“Entre tu amor y mi amor” by Alfredo De Ángelis with Juan Carlos Godoy, 1959.

Juan Carlos Godoy

(21 August 1922 – 12 February 2016)
In the city of Campana, where «the soft water was fresher than the river», my friend interviewed today was born.

There’s a gate through which memories go back home and through that open door represented by Juan Carlos’s heart I step into his life, asking him to tell me things. Those things that are said when you are drinking mate in the shade of an old plantation and which we guess may appeal to the public who are the indisputable addressees of our songs.

«Tango began to be something that interested me by 1933 when Agustín Magaldi came to Campana. He had to appear one Sunday at the theater of the Sociedad Italiana, but he had temporarily lost his voice and was unable to sing. He then only talked to the audience and his five guitarists played instead. I was a kid but I recall that Magaldi was a good-looking man and the fact that he was there was enough to please the audience.

«By that time Carlos Gardel appeared at the Teatro Moderno. Continue reading at www.todotango.com...

Ernesto Fama. Argentine music at Escuela de Tango de Buenos Aires.

“El llorón” by Francisco Canaro y su Orquesta Típica, with Ernesto Famá, 1941.

Ernesto Fama. Argentine music at Escuela de Tango de Buenos Aires.Ernesto Famá

Singer and composer
(18 August 1908 – 19 July 1984)

By Néstor Pinsón
Famá was born in Buenos Aires in the neighborhood of San Cristóbal.

He left more than three hundred recordings as vocalist and he can be regarded, even though he was not the first one, as the estribillista (refrain singer) par excellence.

Out of that great number of recordings there are no more than twenty on which he sang the lyrics in full form.

His was not a voice to be showcased, not even his style which was not much different from those of his peers at that period, furthermore his intonation was far from perfect. But his interest for entertainment, which was evidenced when he was very young and his pleasant manners, plus a nice appearance and a good patronage placed him on the top ranks of his time.

He started in theater, later he was vocalist with Osvaldo Fresedo and, shortly, with Carlos Di Sarli. The association with Francisco Canaro that lasted a year, meant tours, radio and theater plays, and made possible his way up to fame.

Canaro’s popularity was great at its peak and Famá was part of this successful stage, one of the golden chapters of our tango. Continue reading.

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Miguel Bucino. Escuela de Tango de Buenos Aires. Argentine music.

“Bailarín compadrito” by Alfredo De Ángelis y su Orquesta Típica with Oscar Larroca in vocals, 1953.

Miguel Bucino. Escuela de Tango de Buenos Aires. Argentine music.Miguel Bucino

Bandoneonist, dancer, lyricist, and composer
(14 August 1905 – 15 December 1973)

He played the bandoneón and had not yet turned 18 when he joined, in 1923, Francisco Canaro’s orchestra, who, after four or five performances, dismissed it as bad, inducing him to dance because he had the natural vocation to it.

You must reach the goal of what is proposed by every being who wants to achieve it. Continue reading at www.todotango.com…

Jorge Vidal. Argentine Tango music at Escuela de Tango de Buenos Aires. Marcelo Solis collection

“Puente Alsina” by Osvaldo Pugliese y su Orquesta Típica with Jorge Vidal, 1949

Listen to “Puente Alsina” by Osvaldo Pugliese y su Orquesta Típica with Jorge Vidal, 1949:

Jorge Vidal. 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.Jorge Vidal

Singer and composer
(12 August 1924 – 14 September 2010)

n the daily language that men use it is possible to find hints that mark some of their facets. That day of 1992 when I met with El Negro Jorge Vidal in his office, the first thing that he told me was: «Wait a minute that I have to go to the viorsi (toilet). And with this single word that is already out of fashion, even in old lunfardo, the guy was sketching his own portrait. When he returned he touched my shoulder: “Yes, brother, tell me…” And he sat down to please all my questions.

«From an early age I had a clear position towards life, concerning social and political matters. And I was very lucky, God was always on my side. There were many bitter times, characteristic of the humans, but I was putting them in a corner». And he finished his introduction with this hard sentence, without concessions, easy to express, but not so easy to take into practice: «Man should always have the interest to continue ahead and to keep on fighting. When he loses his capacity of astonishment, when there is nothing that may draw his attention, when he no longer has an interest that allows him to keep on living with enthusiasm and he doesn’t have strength to improve, well, he’d better kill himself.

«I was born in the neighborhood of Caballito… Continue reading at www.todotango.com….