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“El bulín de la calle Ayacucho” by Anibal Troilo y su Orquesta Típica with Francisco Fiorentino in vocals, 1941.

“El bulín de la calle Ayacucho” by Anibal Troilo y su Orquesta Típica with Francisco Fiorentino in vocals, 1941.

José Servidio

Bandoneonist, leader and composer (18 March 1900 – 6 June 1969)

The lyrics of “El bulín de la calle Ayacucho” belong to Celedonio Flores and the music to the brothers José and Luis Servidio.

It has been a number with a wide popular acclaim.

The brothers used to sign together without caring whose part was more important.

So there were numbers entirely composed by Luis and other ones by José.

But when José was asked about “El bulín de la calle Ayacucho” he said it entirely belonged to him.

In 1923, Celedonio sent the lyrics of this new tango to José Servidio.

Referring to Negro Cele, José said: “We were friends since childhood. He lived on Velazco Street between Malabia and Canning. I composed the music in a couple of days. The apartment really existed on 1443 Ayacucho Street. It was a cozy little room in which we did not even miss mice.”

Read more about “El bulín de la calle Ayacucho” at www.todotango.com

Listen and buy:

  • Amazon music

  • iTunes music

  • Spotify

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.

Ver este artículo en español

More Argentine Tango music selected for you:

We have lots more music and history

How to dance to this music?

Presence

The physical presence of our partner, here and now, is an invitation that can either be accepted or refused, but is hard to postpone.

Marcelo Solis bailando tango con Lola en la milonga.Love is to demand improvement from each other.

Let’s do what we consider to be the best, in every moment, and do it in the most efficient way.

Let’s free ourselves from the actitudes which enclosed our bodies in a shell of prejudice, conformity and cowardice, a shell which made our body redundant.

Own it, care for it, use it, dance with it.

If we are not our body, it is at least a part of our world which remains present to us at all times.

Contemplate the continuity with ourselves, our body and the world with the other people in it.

Let’s be inspired to be productive, selecting creativity rather than inertia or anger. 

Words are an indispensable tool to determine our relationships to objects, both in the case of our interactions with things and in the interactions between people in relation to things (for instance: our belongings).

However, regarding interpersonal relationships, the objective word may be useless.

Challenge, creativity and embrace make most words superfluous.

Dance is a manifestation of our essential freedom of being, making existence beautiful.

“El estagiario” by Carlos Di Sarli y su Orquesta Típica, 1941.

“El estagiario” by Carlos Di Sarli y su Orquesta Típica, 1941.

The title of this tango always arouses curiosity, adding to the beauty of listening to it as the incredible creation that Carlos Di Sarli made of it, recording it on April 18, 1941.

This composition belongs to Martín Lasala Álvarez, an Uruguayan doctor who was a functionary of the Uruguayan state for most of his life, working for the Foreign Service of Uruguay in Paris.

The word “estagiario” does not exist either in the Lunfardo or in the popular jargon of the Oriental people (the people of República Oriental del Uruguay). Instead, it is an adaptation of Lasala himself – from the French “stagiare”, the practitioner or advanced medical student who collaborates in the Hospital’s practices.

Martín Lasala, who completed studies in Paris, was also a piano performer. But, to mitigate nostalgia or to animate meetings, as a good Rio Platense, he gave free rein to his passion, playing and composing tangos.

Carlos Di Sarli was the one who captured and recorded the richness of this tango.

Read more about “El estagiario” at tangosalbardo.blogspot.com

Listen and buy:

  • Amazon music

  • iTunes music

  • Spotify

We are happy to have a collaboration 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 started a new project that addresses 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 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.

Ver este artículo en español

More Argentine Tango music selected for you:

We have lots more music and history

How to dance to this music?

“Cómo se pianta la vida” by Ricardo Tanturi y su Orquesta Típica with Alberto Castillo in vocals, 1942.

“Cómo se pianta la vida” by Ricardo Tanturi y su Orquesta Típica with Alberto Castillo in vocals, 1942.

Carlos Viván, Argentine Tango singer, actor, lyricist and composer.

Carlos Viván

Singer, actor, lyricist and composer (15 April 1903 – 16 July 1971)

He had a warm voice, within an alto-tenor range, as it was common then, plus a feature that made his voice unmistakable: his vibrato.

He was a tireless traveler and made numerous tours throughout Latin America, especially Brazil and the United States.

His figure, stunning image, and way of dressing made possible his participation as a mannequin vivant, by that time a fashionable job, at the main shop windows and on the downtown streets. His definitive artistic last name was born without that final “t”.

He was a featured lead actor and singer in theater plays with many companies.

Carlos Viván, besides being a great vocalist, he was the composer of many widespread tangos.

He is remembered as a gentleman, respectful of friendship and loyal towards his friends, who revered and honored woman and had a great sense of humor.

Read more about Carlos Viván at www.todotango.com

Listen and buy:

  • Amazon music

  • iTunes music

  • Spotify

We are happy to have a collaboration 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 started a new project that addresses 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 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.

Ver este artículo en español

More Argentine Tango music selected for you:

We have lots more music and history

How to dance to this music?

“La milonga que faltaba” by Edgardo Donato y su Orquesta Típica with Horacio Lagos in vocals, 1938.

Edgardo Donato

Violinist, leader, and composer
(April 14, 1897 – February 15, 1963)

He was born in the Buenos Aires neighborhood of San Cristóbal, located to the south of the center of the city of Buenos Aires, where today we find this address: Avenida Belgrano 1657. While still a child, with his family, he moved to Montevideo, the capital of the República Oriental del Uruguay.

When he was ten, he started to study music with his father, and later he studied at a conservatory named Franz Liszt. When he was 21, he was ready to work as a professional. He began with his father in the opera music field, wearing a stiff collar and a much more serious look, even though he was a stubborn humorist then and throughout his lifetime, even when he played the violin.

But, soon, he managed to free himself from that yoke and joined -always in Montevideo- the orchestra of the Negro Quevedo, an Argentine bandoneonist, with the peculiarity that the piano was in charge of Enrique Delfino. Continue reading at www.todotango.com…

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