Argentine Tango School

Alberto Marino, "The Golden voice of Tango"

“Sombras nada más” by Anibal Troilo y su Orquesta Tipica with Alberto Marino in vocals, 1944.

“Sombras nada más” by Anibal Troilo y su Orquesta Tipica with Alberto Marino in vocals, 1944.

Alberto Marino

Singer and composer (26 April 1923 – 21 June 1989)

He switched from a powerful high note to a deep bass with the facility of the blessed, he had an unmistakable vibrato but he used it with discretion.

What is true is that the great orchestra leader Alfredo Gobbi named him «La voz de oro del Tango» (the golden voice of Tango).

Aníbal Troilo heard him sing and invited him to join his orchestra.

For many people it was the singer’s best time.

Read more about Alberto Marino at www.todotango.com

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Néstor Pellicciaro, Blas Catrenau and Marcelo Solís at Milonga Parakultural in Buenos Aires.

“Tres amigos” by Anibal Troilo y su Orquesta Tipica with Alberto Marino in vocals, 1944 (English translation of the lyrics).

“Tres amigos” by Anibal Troilo y su Orquesta Tipica with Alberto Marino in vocals, 1944 (English translation of the lyrics).

Néstor Pellicciaro, Blas Catrenau and Marcelo Solís at Milonga Parakultural in Buenos Aires.

Tres amigos

Music and lyrics: Enrique Cadícamo.

De mis páginas vividas, siempre llevo un gran recuerdo
mi emoción no las olvida, pasa el tiempo y más me acuerdo.

Tres amigos siempre fuimos
en aquella juventud…
Era el trío más mentado
que pudo haber caminado
por esas calles del sur.

¿Dónde andarás, Pancho Alsina?
¿Dónde andarás, Balmaceda?
Yo los espero en la esquina
de Suárez y Necochea…
Hoy… ninguno acude a mi cita.
Ya… mi vida toma el desvío.
Hoy… la guardia vieja me grita:
“¿Quién… ha dispersado aquel trío?”
Pero yo igual los recuerdo
mis dos amigos de ayer…

Una vez, allá en Portones, me salvaron de la muerte.
Nunca faltan encontrones cuando un pobre se divierte.
Y otra vez, allá en Barracas,
esa deuda les pagué…
Siempre juntos nos veían…
Esa amistad nos tenía
atados siempre a los tres.

English translation:

From my lived pages, I always carry a great memory
my emotion does not forget them, time passes and I remember more.

Three friends always went
in that youth …
It was the most talked about trio
who could have walked
through those southern streets.

Where will you go, Pancho Alsina?
Where will you go, Balmaceda?
I wait for you in the corner
from Suárez and Necochea …
Today … no one keeps this appointment.
Already … my life takes the detour.
Today … the old guard yells at me:
“Who … has scattered that trio?”
But I still remember them
my two friends yesterday …

Once, back in Portones, they saved me from death.
Encounters are never lacking when a poor person has fun.
And again, back in Barracas,
I paid them that debt …
They always saw us together …
That friendship had us
always tied to all three.

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Enrique Francini & Troilo featured photo

“La vi llegar” by Anibal Troilo y su Orquesta Típica with Alberto Marino in vocals, 1944.

“La vi llegar” by Anibal Troilo y su Orquesta Típica with Alberto Marino in vocals, 1944.

Enrique Francini & Troilo

Enrique Francini

Violinist, leader and composer (14 January 1916 – 27 August 1978)

Horacio Ferrer refers to him as: «a violinist of remarkable precision, standard vibrato, polished and unmistakable sound with a prodigious left hand, he has stood out, also, because of a personal way of dividing the musical phrase».

He turned out an important musician due to hard studying on his instrument, even in the peak of his success, he studied more than ever before.

Among the hits of his book, we highlight his great creation “La vi llegar”:

Read more about Enrique Francini at www.todotango.com

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Homero Manzi. Argentine music at Escuela de Tango de Buenos Aires.

“Fuimos” by Anibal Troilo y su Orquesta Típica with Alberto Marino in vocals, 1946.

Homero Manzi. Argentine music at Escuela de Tango de Buenos Aires.Homero Manzi

Poet and lyricist
(1 November 1907 – 3 May 1951)

Manzi has given, like no one else, poetry to tango lyrics. He was a poet who never published a book of poems.

His poetry was evidenced only through songs, from country themes to urban music, the latter where he would be at his best. In this way he became immensely popular without giving up his poet feelings. He resorted to metaphors, even surrealist, but never so much as to prevent ordinary people from fully understanding his message.

“Fuimos”, written together with the inspired bandoneon player José Dames, is a poem with extremely daring images (“I was like a rain of ashes and fatigue /in the resigned hours of your life …”) considering that it was a popular song; however, “Fuimos” would charm both public and interpreters, remaining as a paradigm of the elaborated and aesthetically ambitious tango. Continue reading at www.todotango.com…

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