Héctor Mauré. Argentine music at Escuela de Tango de Buenos Aires.

“Tango Brujo” by Juan D’Arienzo y su Orquesta Típica with Héctor Mauré, 1943 (English translation of the lyrics).

“Tango que sos un encanto
De quien escucha tus sones,
Tango que atraes corazones,
Con tus dulces cantos
Y tus bandoneones.
Sos de cuna humilde,
Y has paseado el universo,
Sin más protocolo,
Que tu música y tus versos,
Para abrirte paso
Has tenido que ser brujo,
Por tus propios medios
Lograste tu triunfo.
Tango que sos un encanto,
Hoy vive tu canto,
En mi corazón.

¡Tango!, ¡Tango!
Tango bravo, tango lindo,
Tango noble, tango guapo
Tango hermano
De mis largas noches tristes,
Compañero de mi pobre corazón.
Tango bravo, fascinante,
¡Tango brujo!,
Tango bravo, combatido,
Tango bravo,
Tango gaucho
Que a pesar de tanta contra
Defendiste con altura,
Tu bravura de varón.”

“Tango, you are an enchanter
Of those who listen to your sounds,
Tango, you attract hearts,
with your sweet songs
and your bandoneons.

You have humble origins
And traveled the universe
without more attributes
other than your music and your verses.
To open your path
you had to be a sorcerer
with your resources
you achieved success.
Tango, you are an enchantment,
today your song lives
in my heart.

Sorcerer Tango!
Brave Tango, Beautiful Tango!,
Noble Tango, courageous Tango!
Brother Tango
Of my long sad nights,
mate of my barren heart.

Fascinating courageous Tango!
Sorcerer Tango!
Brave Tango, Opposed,
Brave Tango!
Gaucho Tango,
despite the odds against you,
you loftily defend your manly bravery.”

Music and lyrics: Francisco Canaro.

“Orquestas de mi ciudad” by Anibal Troilo y su Orquesta Típica with Francisco Fiorentino in vocals, 1943.

Francisco Fiorentino

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.

His personality, his taste and the permanent supervision by Pichuco resulted in an intimate singer of great warmth in his interpretation who knew how to touch the audience, establishing himself as a milestone in the history of tango vocalists.

More about Francisco Fiorentino at www.todotango.com

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“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:

“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 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.