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Argentine Tango School

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“La abandoné y no sabía” by Ricardo Tanturi y su Orquesta Típica with Enrique Campos, 1944.

Jose Canet and Alberto Gomez. Know about Argentine Tango. Classes with Marcelo Solis at Escuela de Tango de Buenos Aires. San Francisco Bay Area.José Canet

Guitar player, leader, composer and lyricist
(December 15, 1915 – March 10, 1984)

Canet is the prototype of the classic tango guitarist, always ready to back with his guitar a tango vocalist.

His influences date back to the style of the players that accompanied Gardel, Magaldi, and Corsini.
He was one of the few guitarists who managed to stay away from Roberto Grela’s influence and create a major trend in tango. His style was deeply rooted and directly based on the classic guitar groups. On many of his performances, he added to the guitar trio or quartet other string instruments: contrabass, violins, and violoncello.

At age twelve, his vocation awakened when he heard Ignacio Corsini, and he was greatly struck by the guitar trio that backed the singer, which was lined up by Armando Pagés, Rosendo Pesoa, and Enrique Maciel.
By that time, he lived in the neighborhood of La Paternal and used to go fishing the Maldonado Creek with a friend a little older than him: Piero Hugo Bruno Fontana, who time later would become Hugo Del Carril. Continue reading at

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“Tigre viejo” by Elvino Vardaro y su Sexteto, 1933.

Elvino Vardaro y su Sexteto. Argentine music at Escuela de Tango de Buenos Aires.Elvino Vardaro

Violinist, leader and composer
(18 June 1905 – 5 August 1971)

At frequent talks with tango musicians, you’ll always find the same answer when mentioning the name of Elvino Vardaro: “there was no other violin player like him”, “he is unmistakable”.

Someone said: «Of short flight, but round; full, suggestive.» Continue reading at…

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“Soy un arlequín” by Carlos Di Sarli y su Sexteto Típico, 1929.

Sexteto Di Sarli y Fama en la radio. Argentine Tango music at Escuela de Tango de Buenos AiresDuring Di Sarli’s sextet years, 1928-31, his sound still fit with the slow marching beat that was popular at the time among orchestras like Francisco Canaro’s and Osvaldo Fresedo’s (Di Sarli’s personal inspiration).

However he was beginning to carve out his personal signature of a unified orchestral sound, lush melody, and soft understated rhythm.

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“Mi Dolor” by Héctor Varela y su Orquesta Típica, 1953.

Héctor Varela. Argentine music at Escuela de Tango de Buenos Aires.Héctor Varela

Bandoneonist, leader, arranger and composer
(29 January 1914 – 30 January 1987)

Luis Adolfo Sierra tells us in his book Historia de la orquesta típica: «Héctor Varela, lead bandoneon and arranger of the Juan D’Arienzo Orchestra, for ten years, identified himself with the trends of a genuine traditional origin, and his orchestra boasted, as major attraction, the precision of a difficult technical performance, in the middle of a very personal hasty rhythmic beat». And Jorge Palacio (Faruk) added: «And that is, exactly, what Varela strove for during his tango career: to play with his orchestra for dancers».

He was born in Avellaneda where he spent all his childhood and youth. He graduated as accountant but he never worked as such. He had his first studies of bandoneon with the teachers of his neighborhood, he later attended the conservatory led by maestro Eladio Blanco with whom, time later, he would play at the bandoneon section of Juan D’Arienzo. Continue reading at

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“Sobre el pucho” by Juan D’Arienzo y su Orquesta Típica with Héctor Mauré in vocals, 1941.

“Sobre el pucho” by Juan D’Arienzo y su Orquesta Típica with Héctor Mauré in vocals, 1941.

José Gonzalez Castillo, author of tangos

José González Castillo

Poet and lyricist (25 January 1885 – 22 October 1937)

Lyrics for tango were born around 1914, based on those ones conceived by Pascual Contursi that year and the following years (“De vuelta al bulín”, “Ivette”, “Flor de fango”, “Mi noche triste (Lita)”), and they were growing strong very slowly.

So much so that in Carlos Gardel’s repertoire tangos were, until the next decade, a rare bird. There was not even a notion of how to sing a tango, a standard that Gardel was gradually establishing after 1922.

That was, precisely, the year José González Castillo truly disembarked in the genre with the lyrics of “Sobre el pucho”, after Sebastián Piana’s music, which was introduced at the talent contest organized by Tango cigarettes.

José Gobello (Crónica general del tango, Editorial Fraterna) stated about this work that, with it «some novelties broke into tango that the tango literary work of Homero Manzi would later turn into true constants. By the way, Pompeya («Un callejón en Pompeya/y un farolito plateando el fango…»); later, the description of the neighborhood and, soon, the enumeration as a descriptive procedure».

But in those lyrics there is something else, metaphor, that springs up in the memory that the malevo devotes to his lost love «…tu inconstancia loca/me arrebató de tu boca/como pucho que se tira/ cuando ya/ni sabor ni aroma da». It is clear that González Castillo was a forerunner, and also that other later lyricists were who deepened those trends.

Read more about José González Castillo at

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We are happy to have a collaboration with the people from 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
    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.

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