Tag: tango music

Angel Vargas. Argentine music at Escuela de Tango de Buenos Aires.

“No aflojés” by Ángel D’Agostino y su Orquesta Típica with Ángel Vargas in vocals, 1940.

Ángel Vargas

Singer, lyricist and composer
(22 October 1904 – 7 July 1959)

He was the paradigm of the orchestra singer, to such an extent that when we refer to Ángel Vargas, we are inevitably reminded of Ángel D’Agostino, the orchestra leader of his greatest hits.

A singer with impressive personality, he is the symbol of porteño (from Buenos Aires) tango phrasing in the 40s. Vargas sings as only in the 40s tango was sung.
His phrasing was reo and compadrito but at the same time of an infinite good taste.

He had a sweetness which compensated for his small but masculine voice, he generated sympathy and was, above all, a charismatic singer.

Among his recordings these tango interpretations stand out “No aflojés”. Continue reading at www.todotango.com…

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“Tu corazón” by Alfredo de Ángelis y su Orquesta Típica with Carlos Dante in vocals, 1955.

Donato Racciatti

Bandoneon player, leader and composer
(18 October 1918 – 27 May 2000)

As the historian Juan Carlos Legido says, to write the history of Racciatti is to write a part of the history of Uruguay and of tango in Uruguay in a period of over fifty years. I further say, not only of tango in that brotherly republic, but also in both banks of the River Plate.

Donato Racciatti contributed to the vogue of danceable and popular tango, with great acclaim from the commercial standpoint. He was very often hired throughout Latin America and in Japan. Continue reading at www.todotango.com…

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“La mariposa” by Osvaldo Pugliese y su Orquesta Típica, 1966.

Pedro Maffia

Bandoneonist, leader, composer, teacher
(August 28, 1899 – October 16, 1967)

It is not known what secret gift made Pedro Maffia find in the core of the bandoneon sounds that nobody had discovered before.

Until the second decade of the twentieth-century bandoneon players tended to imitate the flute —gradually displaced in the early quartets— and the barrel organ with their instrument. After undergoing his childhood frequent beating with a chain made by his brutal father, who forced him to beg for money after each tango he played, Maffia was who delivered the bandoneon needed by this popular genre to leave behind the playful Guardia Vieja (old stream) and turn serious, concentrated, fairly dreaming and frequently sad. Continue reading at www.todotango.com…

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“Ansiedad” by Juan D’Arienzo y su Orquesta Típica with Alberto Echagüe in vocals, 1938.

Francisco Gorrindo

Lyricist
(October 5, 1908 – January 2, 1963)

Around the late 30s the name of Francisco Gorrindo reached, suddenly, a great reputation, as a consequence of the appearance of a series of tangos whose lyrics were immediately included into the popular ear and feeling.

Sententious, persuading lyrics because they were conveyed with direct, touching, and plain language, and even though they evidenced disbelief and pointed out injustice, this material caused a striking impact between 1936 and 1940. And all that had originated in this poet’s pen from Quilmes, standing as a would-be boom at that period.

Those hits were “Las cuarenta”, “Paciencia”, “Mala suerte”, “Gólgota”, “La bruja”, and “Ansiedad”, to mention only the pieces that sprung up almost one after the other during that short period. Continue reading at www.todotango.com…

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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).

Continue reading at www.todotango.com…