Tag: lesson

“Entre tu amor y mi amor” by Alfredo De Ángelis with Juan Carlos Godoy, 1959.

Juan Carlos Godoy

(21 August 1922 – 12 February 2016)
In the city of Campana, where «the soft water was fresher than the river», my friend interviewed today was born.

There’s a gate through which memories go back home and through that open door represented by Juan Carlos’s heart I step into his life, asking him to tell me things. Those things that are said when you are drinking mate in the shade of an old plantation and which we guess may appeal to the public who are the indisputable addressees of our songs.

«Tango began to be something that interested me by 1933 when Agustín Magaldi came to Campana. He had to appear one Sunday at the theater of the Sociedad Italiana, but he had temporarily lost his voice and was unable to sing. He then only talked to the audience and his five guitarists played instead. I was a kid but I recall that Magaldi was a good-looking man and the fact that he was there was enough to please the audience.

«By that time Carlos Gardel appeared at the Teatro Moderno. Continue reading at www.todotango.com...

“Bailarín compadrito” by Alfredo De Ángelis y su Orquesta Típica with Oscar Larroca in vocals, 1953.

Miguel Bucino

Bandoneonist, dancer, lyricist, and composer
(14 August 1905 – 15 December 1973)

He played the bandoneón and had not yet turned 18 when he joined, in 1923, Francisco Canaro’s orchestra, who, after four or five performances, dismissed it as bad, inducing him to dance because he had the natural vocation to it.

You must reach the goal of what is proposed by every being who wants to achieve it. Continue reading at www.todotango.com…

Jorge Vidal. Argentine Tango music at Escuela de Tango de Buenos Aires. Marcelo Solis collection

“Puente Alsina” by Osvaldo Pugliese y su Orquesta Típica with Jorge Vidal, 1949

Listen to “Puente Alsina” by Osvaldo Pugliese y su Orquesta Típica with Jorge Vidal, 1949:

Jorge Vidal

Singer and composer
(12 August 1924 – 14 September 2010)

n the daily language that men use it is possible to find hints that mark some of their facets. That day of 1992 when I met with El Negro Jorge Vidal in his office, the first thing that he told me was: «Wait a minute that I have to go to the viorsi (toilet). And with this single word that is already out of fashion, even in old lunfardo, the guy was sketching his own portrait. When he returned he touched my shoulder: “Yes, brother, tell me…” And he sat down to please all my questions.

«From an early age I had a clear position towards life, concerning social and political matters. And I was very lucky, God was always on my side. There were many bitter times, characteristic of the humans, but I was putting them in a corner». And he finished his introduction with this hard sentence, without concessions, easy to express, but not so easy to take into practice: «Man should always have the interest to continue ahead and to keep on fighting. When he loses his capacity of astonishment, when there is nothing that may draw his attention, when he no longer has an interest that allows him to keep on living with enthusiasm and he doesn’t have strength to improve, well, he’d better kill himself.

«I was born in the neighborhood of Caballito… Continue reading at www.todotango.com….

“Muchacho” by Ángel D’Agostino y su Orquesta Típica with Ángel Vargas

Celedonio Flores

Poet and lyricist
(August 3, 1896 – July 28, 1947)

Born in Buenos Aires, in the Villa Crespo neighborhood, the place where natives and immigrants of various origins co-existed. His childhood and adolescence were spent in such a popular environment until he became, in his 20s, a very famous poet and lyric composer. His tangos, many times full of condemn, moral reflections and master descriptions of his characters, very much resorted to the lunfardo, the local argot/slang. Like other famous lyricists and composers, Flores was both an educated and popular poet. A bohemian, also a boxer. His most creative time extended until the early 30s, but his work survived.

In 1920, he sent to the then-published newspaper Última Hora a poem entitled Por la pinta, for which he received 5 pesos. But he would be much more rewarded when those verses called the attention of Carlos Gardel and his duet partner, José Razzano, who both composed the music. This is how the tango “Margot” was born: a bitter criticism of the humble, beautiful girl who adopts a French style and perverts to get rid of her poverty fate, arousing people’s feelings. Continue reading at www.todotango.com...

Gramofono. Argentine music at Escuela de Tango de Buenos Aires.

“Corazón de papel” by Miguel Caló y su Orquesta Típica and Roberto Arrieta in vocals (1948)

Alberto Franco

Lyricist (14 July 1903 – 14 August 1981)

By Orlando del Greco

He wrote the lyrics of the tango “Corazón de papel”, with music by Cátulo Castillo, recorded by Carlos Gardel. On this matter he stated:

“The tango ‘Corazón de papel’ was something simply accidental. I was in the house of Don Jose Gonzalez Castillo, the great man and illustrious playwright, with whose children, Cátulo and Gema, I joined a cordial friendship. It was about 1929, one Saturday, Gardel appeared and snapped us: “Why do not you write a tango and give it to me?”

“Cátulo and I looked at each other and agreed to do it right away. I sat down and wrote the lyrics (I am not unaware that it is very poor, but the music of Cátulo saves it). The next day we gave it to Gardel who immediately recorded it.” Continue reading.

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