“Cacareando” by Orquesta Típica Victor with Carlos Lafuente in vocals, 1933.
The first milongueros
The names of the first Tango dancers milongueros are not in a book on the history of Tango but in police records.
In a newspaper from 1862, it is read that Daniel Molina, Feliciano Orsine, Rufino Olguín, and José Sandoval, with the women Catalina Barsolo and Francisca Díaz, were imprisoned at the police station for dancing with “cortes y quebradas”… which was forbidden.
“Tomala con soda” by Adolfo Carabelli y su Orquesta Típica with Carlos Lafuente in vocals, 1933.
Pianist, composer and leader (8 September 1893 – 25 January 1947)
The real amplitude of Carabelli’s capacity is evidenced as from 1926 when Victor hired him as artistic director of the label, and at the same time commissioned him to form an orchestra which would play either jazz or tango music.
Thanks to Carabelli, since then the Victor staff reached a higher hierarchy, achieving the inclusion of notable musicians and choosing an attractive repertoire.
Among the best well-known tangos of his tango orchestra (orquesta típica) is “Tomala con soda”.
“Vivorita” by Agesilao Ferrazzano y su Orquesta Típica, 1927.
Violinist, leader and composer (31 July 1897 – 18 January 1980)
He was a tango violinist with a very personal style born in Buenos Aires by the end of the nineteenth century.
His first professional engagement was with the Roberto Firpo Orchestra in which he made his debut as second violin, when the lead and only violinist was Tito Roccatagliata. This was back in 1914.
Our chronology places us in 1927. Agesilao formed a new orchestra to perform at the cabaret Florida and signed a recording contract until October. In November he again traveled to Europe from Buenos Aires.
It is known that he heavily worked in Europe as member of different orchestras but he never returned to Buenos Aires.
“Carillón de La Merced” by Orquesta Típica Victor with Ernesto Famá in vocals, 1931.
Alfredo Le Pera
Poet, lyricist, journalist, playwright and cinema script writer. (7 June 1900 – 24 June 1935)
In his lyrics Le Pera tried to use a language that would be understood by all the Spanish-speaking world.
Then widening, in that way, the geography of tango.
In fact, Gardel, with his mimicry, broke the barriers of the language. Like every great interpreter, his language was universal.
However, in spite of that we cannot underestimate Le Pera’s contribution, who, by launching the singer beyond the closed localism which surrounded the poetry of tango, he helped his friend by making easier his road to a vast conquest.