Tag: dancing

"Yo soy de San Telmo", Argentine Tango music vinyl disc.

“Yo soy de San Telmo” by Carlos Di Sarli y su Orquesta Típica with Roberto Rufino in vocals, 1943.

“Yo soy de San Telmo” by Carlos Di Sarli y su Orquesta Típica with Roberto Rufino in vocals, 1943.

Arturo Gallucci

Double bass player, composer and lyricist (17 January 1909 – 23 June 1978)

Born in the Buenos Aires neighborhood of San Cristóbal, his experience, forged since childhood in the variety troupe Los Fregolini directed by his parents, enriched his musical knowledge (he learnt to play guitar, double bass and cornet) and brought him a charismatic personality with artistic inquisitiveness.

His career, exemplifies the ones of many composers that fully worked in the generation of the forties, almost anonymously nurturing the repertoire of the great tango orchestras with their pieces either those with traditional rhythmical expression or those with a deeper melodic and harmonic evolution.

And always they had a milonguero lineage, danceable and suitable for singing, with wide popular acclaim.

Since a young age he had been acquainted with lyricists, musicians, radio men and people of the night scene.

The Café El Águila, the Marzotto, the Petit Salón were some of his preferred venues. In them he met Carlos Di Sarli, in whose bohemian circle he established a close friendship with him and in whose school of romantic melodiousness he forged his vein in composing.

Precisely, it was Di Sarli who, in 1943, gave him his career move by recording with his orchestra the milonga “Yo soy de San Telmo”.

Read more about Arturo Gallucci at www.todotango.com

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"Seguime si podés", Argentine Tango music sheet cover.

“Seguime si podés” by Osvaldo Pugliese y su Orquesta Típica, 1953.

“Seguime si podés” by Osvaldo Pugliese y su Orquesta Típica, 1953.

Alejandro Scarpino

Bandoneonist, leader and composer (16 January 1904 – 27 May 1970)

He was, as a performer, a player with a very good technique and a great command of his instrument.

He used to impress his audience playing very elaborated embellishment notes —known in the milieu as «verduras»—.

One way in which he displayed his skills was playing two bandoneons, one with each hand, which were vertically placed on the floor.

As it was customary by that time, the financial situation was difficult so besides attending grade school he had to help his father who was a cobbler in the afternoon and in the evening he had to shout out the sixth edition of the newspapers in the streets.

In spite of the hard times he was little by little collecting cents to buy an accordion with only eight bass notes which he learned to play.

Then he and his brother José —who had a good voice— went out to play serenades around the neighborhood.

He composed around 200 pieces.

But with “Canaro en París” and “Seguime si podés” it would be enough to take him into account.

Read more about Alejandro Scarpino at www.todotango.com

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"Yo quiero cantar un Tango", Argentine Tango music vinyl disc.

“Yo quiero cantar un tango” by Juan D’Arienzo y su Orquesta Típica with Héctor Mauré in vocals, 1943.

“Yo quiero cantar un tango” by Juan D’Arienzo y su Orquesta Típica with Héctor Mauré in vocals, 1943.

José María Suñé

Lyricist (15 January 1911 – 1 May 1976)

José María Suñé was the manager of several orchestras and singers and stood out in this field for years. 

However, at the same time, he was also a poet who knew how to embrace the sensibilities that the city that saw him born daily spreads. 

He came to the world in 1911, in the Balvanera neighborhood, he wrote his first tango lyrics at the age of 18, and he knew how to join composers who would put music to his works.

Among them “Yo quiero cantar un tango” with music by José Nieso and Miguel Nijensohn.

Read more about José María Suñé at tangosalbardo.blogspot.com

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Marcelo Solis and Mimi Mehaouchi dancing Argentine Tango at a class.

Argentine Tango class for beginners 1: walking, change of weight and musicality.

"El Cencerro", Argentine Tango music sheet cover.

“El cencerro” by Juan D’Arienzo y su Orquesta Típica, 1937.

“El cencerro” by Juan D’Arienzo y su Orquesta Típica, 1937.

José Martínez

Pianist leader and composer (28 January 1890 – 27 July 1939)

In 1890, in the early days of Tango and still in the period of struggle for reaching a definitive form, several figures that in a short time, fifteen or twenty years, had an outstanding importance in the later development of our music were born.

Of all those names, José Martínez, was a name of a truly remarkable importance.

This musician was known in the milieu with the nickname of “El Gallego” (The Spanish), about which he used to say: «That is ridiculous, I am porteño. I have a Spanish family name but my parents, my grandparents and great-grandparents were Argentine».

He was self-taught, and practiced piano at the place of some friends, despite he had no previous music instruction.

Read more about José Martínez at www.todotango.com

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