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“Ave de paso”, by Ángel D’Agostino y su Orquesta Típica with Ángel Vargas (1945)

Enrique Cadícamo - 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.Cadícamo: “Tango needs not to be changed”

Excerpts from a conversation with Enrique Cadícamo: «I don’t agree at all with the so-called avant-garde of tango. Vanguard is what first falls in a line of fire. In a combat a vanguard is the part of an army which goes ahead of the main body. In tango there is something similar. The vanguard of tango is the first thing that falls before the indifference of all those who know what tango is.

«Tango has popular roots, like other rhythms in other parts of the world that have not changed nor have they been distorted nor have they been presented with a new packaging. Can one update cante jondo? It would be nonsense. Why? Because it comes from popular roots, Moorish, Spanish. I love all that means progress but in some things it doesn’t make sense. For machinery, for computers, for shows is all right. But not for this.

«Tango is a very humble, very simple thing. It was played by guys who had no formal musical training like Ángel Villoldo, Eduardo Arolas, Enrique Delfino. It was a feeling that was worth more than all the orthodox part contained in the written music. We have to keep tango the way it is. It is our thing, it is a landscape that remained as it was before. The tango has already come. It is impossible to speak of tango yet to come. Continue reading

“Volvamos a empezar” by Alfredo De Ángelis y su Orquesta Típica with Oscar Larroca in vocals, 1953.

“Volvamos a empezar” by Alfredo De Ángelis y su Orquesta Típica with Oscar Larroca in vocals, 1953.

Oscar Larroca, Argentine Tango singer.

Oscar Larroca

Singer 5 July 1922 – 26 August 1976

The great singer Oscar Larroca was born in the neighborhood of Almagro.

In 1951, an event that allowed Oscar’s development and his definitive consecration took place.

A violinist in Alfredo De Angelis‘ orchestra, attracted by the color of his baritone-like voice, good intonation, diction, and good-looking appearance, introduced him to De Angelis, who hired him immediately.

Oscar quickly adapted himself to the style of the orchestra.

In a short time, he was recognized by the public, who admired the so-called “orchestra of the youth”, as the De Angelis Orchestra was known.

Subsequently, he will record the tango that will open all the doors of Latin America for him: “Volvamos a empezar”.

Read more about Oscar Larroca at www.todotango.com

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We are happy to have a collaboration with the people from tangotunes.com from whom some of you may have heard, they do hi-quality transfers from original tango shellacs.

It is the number 1 source for professional Tango DJs all over the world.

  • Now they started a new project that address the dancers and the website is https://en.mytango.online
    You will find two compilations at the beginning, one tango and one vals compilation in an amazing quality.
    The price is 50€ each (for 32 songs each compilation) and now the good news!

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

Thanks for supporting this project, you will find other useful information on the site, a great initiative.

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Juan D’Arienzo recorded “Desde el Alma” and “Hotel Victoria” on July 2, 1935.

Juan D’Arienzo y su Orquesta Típica recorded “Desde el Alma” and “Hotel Victoria” on July 2, 1935, jump starting the Golden Era of Tango:

Juan D'Arienzo portrateJuan D’Arienzo: “El Rey del compás”

Violinist, leader and composer
14 December 1900 – 14 January 1976.

In 1935, Juan D’Arienzo successfully appeared in the disputable territory of popularity.

He was just 35 years old, one less than Julio De Caro —stylistically placed on the other end of the musical horizon of tango— he had been a star since 1924 and D’Arienzo started to become one when Pablo Osvaldo Valle took him to the brand new El Mundo radio station.

What in no way meant, at all, that D’Arienzo were a late tango player.

Like almost all the musicians in those days, he started in tango as a boy. Continue reading at www.todotango.com…

“Embrujamiento” by Ricardo Malerba y su Orquesta Típica vocals by Orlando Medina, 1943.

Ricardo Malerba and Orlando Medina. Argentine music at Escuela de Tango de Buenos Aires.Ricardo Malerba

Bandoneonist, leader and composer
(24 August 1905 – 29 June 1974)

He was lucky to live, in his beginnings, in the tango ambience of the late twenties, to travel to Europe and take part of a bohemia that shaped him artistically. His orchestra was known either for the quality of its sound or the swinging attributes of its rhythm.

He started gigging with a group lined-up with his brothers, the bandoneon was played by Ricardo, on piano was Alfredo and on violin, Carlos. Their stints were at cinema theaters in the local neighborhoods. They earned one peso a day.

Later, in 1927, along with his brothers he joined the orchestra that Cátulo Castillo put together to go to Europe. Miguel Caló and Roberto Maida were as well members of it. They stayed in Spain for a long period and gigged in numerous cities. There they recorded several records for the Odeon label. The tour ended in 1930, but the Malerba brothers stayed in Europe. Continue reading at www.todotaango.com...

Ricardo Malerba and his orchestra appeared on the movie “La vida de Carlos Gardel” (1939), in which Hugo del Carril and Delia Garcés were starred, performing the tango piece “Noches de Montmartre” (start at 1:11:50).

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“Vida querida” by Osvaldo Fresedo y su Orquesta Típica, vocals by Ricardo Ruiz.

Juan Carlos Thorry

Singer, actor, composer and lyricist
(June 28, 1908 – February 12, 2000)

“My relationship with Tango is old, intimate, and sentimental. I was a young kid, and then my old man, who used to play guitar, taught me some accompaniments (dominant and tonic chords) with which I began my Argentine-Tango-Classes-San-Francisco-Bay-Area-Buenos-Airesearly «two-four» songs. Which melody would I have learned first? I remember, through the distant time, the counter line of “La cumparsita (Si supieras),” the one that says: «Si supieras, que aún dentro de mi alma…» And then, years later, «Buenos Aires, la reina del Plata…» or «Rechiflao en mi tristeza…» when I became acquainted with Carlos Gardel. My first long trousers, the end of my high school studies, and the time I entered the university are closely linked to my early experiences at dance halls. We danced to venues called then cabarets, which later became boites, nightclubs, and boliches. There we held a contest of twists and turned dancing with the best players of the period: Aníbal Troilo, Juan D’Arienzo, Osvaldo Fresedo, Osvaldo Pugliese, Edgardo Donato, Alfredo De Angelis, etc. They caressed our adolescent dreams with the most famous melodies.” Continue reading at www.todotango.com.

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