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Argentine Tango School

Tag: argentine tango

“Champagne Tango” by Carlos Di Sarli y su Orquesta Típica, 1958.

Argentine Tango dance classes at Escuela de Tango de Buenos Aires with Marcelo SolisManuel Aróztegui

Pianist and composer

(4 January 1888 – 14 November 1938)

He was an Oriental (Uruguayan) born in Montevideo on January 4, 1888. This is the exact date given by his nephew Bernardo, a pianist, who, besides exhibiting documents, stated that the right spelling of the family name is with “z” and not with “s”. As we found a certain generalized confusion about that, we think we have cleared out the issue.

Héctor Bates and Luis Bates (in La Historia del Tango) mention bibliographic references of the composer we are talking about. We include a summary of them:

«He was a little above one year old when he settled in Buenos Aires with his family. He studied up to third degree in grammar school, because he admitted he used to play truant. He carried out varied trades.

«His devotion for music was born after he heard Pacho who, by that time (1905), played at a café placed on Thames and Guayanas (now Niceto Vega).

«In his spare time he devoted himself to learn music: guitar, mandolin and violin. Finally he chose piano; his first lessons were taught by a hatter named Leopoldo, later he continued with Carlos Hernani Macchi. Continue reading at www.todotango.com...

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“Criolla linda” by Cayetano Puglisi y su Sexteto Típico, 1929.

Cayetano Puglisi. argentine music at Escuela de Tango de Buenos Aires.Cayetano Puglisi

Violinist, leader and composer

(2 January 1902 – 2 November 1968)

The eldest in a family of three musician brothers, Cayetano Puglisi was born in Messina, a region of Sicily (Italy).

Emilio, a violinist like him, of an uneasy spirit, after enjoying the sweet smell of success in the Buenos Aires orchestras, played in international orchestras, even in the far distant Teheran (capital of Iran). José, instead, from the humblest place in the teatro “Colón” orchestra of Buenos Aires, carried out his career devoted to violoncello, totally apart from tango life.

Cayetano Puglisi arrived in Buenos Aires in 1909. A violin student, he was alumnus of the maestro Pessina, seeming to become a great player of so difficult instrument. In his beginnings, inclined to classical music, after playing a concert at the Teatro Nuevo, the La Prensa journal granted him a scholarship to polish his studies in Europe, a voyage he was unable to make because the World War burst out in 1914.

By those difficult times, the riverside cafés at the neighborhood of La Boca witnessed his early gigs, although his formal memories as for the name of partners lead us to the famous Iglesias barroom on Corrientes Street, lining up a trio with Carlos Marcucci (bandoneon) and Pedro Almirón (piano), the latter replaced by Robledo, none of them was older than 13. It was a trio of kids. Continue reading at www.todotango.com...

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If you are in the San Francisco Bay Area and want to learn to dance Tango, you can:

“Loca” by Juan D’Arienzo y su Orquesta Típica, 1942.

Juan D'Arienzo. Escuela de Tango de Buenos Aires and Marcelo Solis offer Argentine Tango lessons in the San Francisco Bay AreaJuan D’Arienzo: El Rey del compás

Violinist, leader and composer
(14 December 1900 – 14 January 1976)

In 1949 D’Arienzo said: «In my point of view, tango is, above all, rhythm, nerve, strength and character.

Early tango, that of the old stream (guardia vieja), had all that, and we must try not to ever lose it. Because we forgot that, Argentine tango entered into a crisis some years ago. Putting aside modesty, I did all was possible to make it reappear.» Continue reading at www.todotango.com...

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“Así se baila el Tango” by Ricardo Tanturi y su Orquesta Típica with Alberto Castillo, 1942.

“Así se baila el Tango” by Ricardo Tanturi y su Orquesta Típica with Alberto Castillo in vocals, 1942.

Alberto Castillo, Argentine Tango singer.

Alberto Castillo

Singer, actor, composer and lyricist (December 7, 1914 – July 23, 2002)

Alberto Castillo’s distinctive style perhaps finds its roots in the whimsically humorous charm prevalent in the backgrounds of Rosita Quiroga, Sofía Bozán, or Tita Merello. However, it’s crucial to note that these figures do not serve as influences on Castillo, as there exists neither a discernible similarity among them nor does Castillo bear any resemblance to them. Rather, they can be grouped together—alongside the subsequent addition of Elba Berón—due to a shared essence characterized by an unrefined cadence.

What ties them together is not an influence but a common atmosphere, a shared unpolished rhythm.

Yet, when Alberto Castillo delves into profound themes, the remarkable tenderness he imparts becomes evident.

In essence, he is a “voice that resonates unlike any other,” echoing the profound words of the unforgettable Julián Centeya.

Read more about Alberto Castillo at www.todotango.com

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We are happy to have collaborated 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 have started a new project that addresses the dancers, and the website is https://en.mytango.online
    You will find two compilations of fantastic quality at the beginning, one tango and one vals collection.
    The price is 50€ each (for 32 songs for each compilation), and now the good news!

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

Thanks for supporting this project. You will find other helpful information on the site; it’s a great initiative.

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“Farol” by Osvaldo Pugliese y su Orquesta Típica with Roberto Chanel, 1943.

Roberto Chanel. Argentine Tango music from Marcelo Solis collection at Escuela de Tango de Buenos Aires.Roberto Chanel

Singer, composer, and lyricist.
(26 November 1914 – 24 July 1972)

Of the greatest importance was, when his orchestra finally recorded in 1943, the arrival of Roberto Chanel, a tough singer with nasal sound and compadrito style, who left 31 recordings. To achieve a contrast, Pugliese included Alberto Morán as a vocalist because of his dramatism, sensuality, rare quality for the mezza voce, and perfect match with the orchestral accompaniment. Any other singer has ever equaled his appeal to women. Morán left 48 recorded songs. Between 1949 and 1950, Jorge Vidal, another of the popular voices in the history of this orchestra, recorded only eight. Among the subsequent singers outstanding, although with repertories of irregular quality, Jorge Maciel and Miguel Montero. Read more at todotango.com…