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“Nobleza de arrabal” by Carlos Di Sarli y su Orquesta Típica, 1940.

Carlos Di Sarli y su Orquesta Típica

His early groups were sextets with which he recorded 48 numbers from November 26, 1928 to August 14, 1931.

Previously he had played piano in a large number of movie theaters as background music for silent movies. In 1923 he joined the group led by Anselmo Aieta.

The following year he played with the outfit fronted by Juan Pedro Castillo and, also, in a trio along with Alejandro Scarpino (bandoneon) and Lorenzo Olivari (violin) to back up the singers that appear on the LOX Radio Cultura radio station.

In the mid- 1926 Osvaldo Fresedo summoned him to perform as piano player of a second orchestra he had put together to appear at the same time of his main aggregation in which the pianist was José María Rizzuti.

1940. Carlos Di Sarli (piano); Roberto Guisado, Ángel Goicoechea, Alfredo Pérez and Antonio Rossi (violins); Roberto Gianitelli, Félix Verdi, Domingo Sánchez, Roberto Mititieri and Luis Porcell (bandoneons); Domingo Capurro (double bass) and Roberto Rufino (vocals).

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“Romántico bulincito” by Rodolfo Biagi y su Orquesta Típica with Jorge Ortiz in vocals, 1941.

Augusto Gentile

Pianist and composer (September 11, 1891 – March 18, 1932)

His work as a tango composer began around 1913. As a player, his name is known only after 1918, when he recorded some tangos as a piano soloist for the Telephone label. He was the musical director of the latter. After that, he had the same position at the Electra record company.

But he stood out as a composer. He wrote “Romántico bulincito”.

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Thanks for supporting this project, you will find other useful information on the site, a great initiative.

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“Mano brava” by Anibal Troilo y su Orquesta Típica with Francisco Fiorentino in vocals, 1941.

Francisco Fiorentino

Singer, bandoneon player and composer
(23 September 1905 – 11 September 1955)

Fiorentino was, no doubt, the archetype of the orchestra singer, a concept which synthetically describes the main feature of tango in the 40s, when the singer was a member of the group on the same level as the musicians. Fiorentino and Troilo achieved a well-oiled mechanism, of a perfect match where the orchestra was spotlighted in a long introduction to afterwards provide the adequate background necessary for the singer´s showcasing.

He was not virtuoso, his voice was small and his diction was far from impeccable, but these technical disadvantages did not hamper his amazing success. His interpretations of the tangos “Gricel”, “Garúa” and “De barro”, of the waltz “Tu diagnóstico” and of the milonga “Mano brava” turned out anthological. Continue reading at www.todotango.com…

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“Patotero sentimental” by Carlos Di Sarli y su Orquesta Típica with Roberto Rufino in vocals, 1941.

Manuel Romero

Lyricist and playwriter
(September 21, 1891 – October 3, 1954)

The tango lyricists that have achieved numerous lasting booms are not more than ten or twelve, and among them Manuel Romero has to be included. Let us remember this title: “Patotero sentimental”.

His personality resembled a typical porteño, so tango was very profoundly inside him. Continue reading at www.todotango.com…

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Raul Iriarte with Miguel Caló. Argentine music at Escuela de Tango de Buenos Aires.

“Cada día te extraño más” by Miguel Caló y su Orquesta Típica with Raúl Iriarte in vocals, 1943.

Raúl Iriarte

Singer
(October 15, 1916 – August 24, 1982)

In early 1943, Alberto Podestá split with Miguel Caló and joined the Pedro Laurenz Orchestra. Because of that, they began to look after a substitute.

The author Oscar Rubens suggested Raúl Iriarte’s name to Caló and they went to see him. After hearing him the leader hired him and on May 17, 1943.

At Iriarte’s debut, the orchestra led by Miguel Caló was lined up by Osmar Maderna on piano; Enrique Mario Francini, Aquiles Aguilar, Antonio Bogas, and Mario Lalli on violins; Domingo Federico, Armando Pontier, José Cambareri and Felipe Richiardi on bandoneons; and on double bass, Armando Caló.

He soon reached success and managed to impose on the public two Carlos Bahr’s numbers, “Mañana iré temprano” and “Cada día te extraño más” that he recorded on August 10, 1943. Continue reading at www.todotango.com…