Bandoneonist, leader and composer
(18 November 1881 – 14 July 1934)
He was essential to the acceptance of bandoneon as a musical instrument of Tango.
Lots of people came to listen to Pacho there. The special rhythm of Pacho’s interpretations of tangos brought many of the best dancers of the time, like El Cachafáz, to listen, because it was not place to dance.
Some of his compositions are: “Armenonville”, “Un copetín”, “Quasi nada” and “Sábado inglés”.
In 1912 he started to record for Columbia. His success was so great that the word “Pacho” became a synonym of “recordings”. Continue reading at todotango.com…
Oigo tu voz
engarzada en los acordes de una Iírica guitarra…
Sos milonga de otros tiempos… Yo te vi crecer
prendida en las polleras de un bailongo guapo y rompedor
como jamás ha de volver.
Nadie, tal vez,
comprendió mejor las penas y el sentir de mi barriada…
Sin embargo te olvidaron y en el callejón
tan sólo una guitarra te recuerda, criolla como vos,
y en su gemir tiembla mi ser.
Vuelvo cansado de todo
y en mi corazón lloran los años…
Mi vida busca tan sólo
la tranquilidad del viejo barrio…
Y encuentro todo cambiado menos tu canción, milonga mía…
El progreso ha destrozado toda la emoción
de mi arrabal.
Quiero olvidar
y tus notas van llenando de tristeza el alma mía…
He cruzado tantas veces ese callejón,
llevando entre los labios un silbido alegre y tu cantar
emborrachando el corazón.
Era feliz
entregado a las caricias de la única sincera
que acunó una primavera que no floreció…
Milonga, ya no puedo continuar… El llanto me venció…
Quiero olvidar… y pienso más.
Milonga 1937.
Music: Pedro Laurenz.
Lyrics: José María Contursi.
English translation:
I hear your voice
set in the chords of an Iyric guitar…
You are milonga of other times… I saw you growing up
stitched in the skirts of a brave and groundbreaking dancing
as never to return.
No one but me, perhaps,
understood better the sorrows and the feeling of my neighborhood…
However, they forgot you, and in the alley,
only a guitar remembers you, criolla like you,
and in my groan, my whole being trembles.
I return tired of everything
and in my heart the years cry…
My life seeks only
the tranquility of the old neighborhood…
And I find everything changed except your song, my milonga…
Progress has shattered all the emotions
of my suburb.
I want to forget
and your notes fill my soul with sadness…
I’ve crossed that alley so many times,
bringing a happy whistle between my lips and your singing
getting my heart drunk.
I was happy
and committed to the caresses of the only sincere one
that cradled a spring that didn’t bloom…
Milonga, I can no longer continue… The crying beat me…
I want to forget … and I think more.
Singer and composer
(November 4, 1915 – February 19, 1999)
Due to his commanding presence, which seamlessly blends the true essence of a tango singer, and owing to his profound, resonant voice, he honored the innate rhythm of the Buenos Aires melody. He was driven by a spirited tenacity that compelled him to share his vocals far and wide.
For all these reasons, Carlos remains and will continue to be one of the greatest vocalists of Tango.
By the end of 1942, he was requested by Rodolfo Biagi and made his debut on Radio Splendid. As he turned out a boom, the broadcasting itself organized for them a tour throughout the country. They also made as well a successful tour of Chile. His career with Biagi ended in 1944, and he committed to record twelve pieces. Continue reading at www.todotango.com…
Pianist, leader and composer.
(2 November 1910 – 31 March 1992)
Alfredo De Angelis belongs to the group of orchestras that focused their interest on dancing.
This, however, does not mean they lacked artistic value, on the contrary, they were precise in execution, with good arrangements and were lined-up with great musicians and vocalists.
De Angelis had the beauty of a harmonious and synchronized work, from which a neat simple tango was evidenced, achieved through an efficient handling of rhythm, a careful respect for melody and the showcasing of the singer. Continue reading at www.todotango.com…
Poet and lyricist
(November 1, 1907 – May 3, 1951)
Manzi has given, like no one else, poetry to tango lyrics. He was a poet who never published a book of poems.
His poetry was evidenced only through songs, from country themes to urban music, where he would be at his best. In this way, he became immensely popular without giving up his poet feelings. He resorted to metaphors, even surrealist, but never so much as to prevent ordinary people from fully understanding his message.
“Fuimos”, written together with the inspired bandoneon player José Dames, is a poem with extremely daring images (“I was like a rain of ashes and fatigue /in the resigned hours of your life …”) considering that it was a popular song; however, “Fuimos” would charm both public and interpreters, remaining as a paradigm of the elaborated and aesthetically ambitious tango. Continue reading at www.todotango.com…
Juan Maglio “Pacho”
