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Argentine Tango School

Tag: tango music

Augusto Gentile portrait. Argentine Tango muci composer.

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

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

Augusto Gentile portrait. Argentine Tango muci composer.

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”.

Read more about Augusto Gentile at www.todotango.com

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We are happy to have a collaboration with the people from tangotunes.com 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 https://en.mytango.online
    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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“Mano brava” by Anibal Troilo y su Orquesta Típica with Francisco Fiorentino in vocals, 1941.

Francisco Fiorentino. Argentine music at Escuela de Tango de Buenos AiresFrancisco 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. Argentine music at Escuela de tango de buenos Aires.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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“Cada día te extraño más” by Miguel Caló y su Orquesta Típica with Raúl Iriarte in vocals, 1943.

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

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“Silueta Porteña” by Francisco Canaro y su Orquesta Típica with Roberto Maida in vocals, 1936.

Popular dance or, simply, the milonga

This is a thing connected with urban music and, some decades before, was an activity to which boys used to devote rather long time because they regarded dancing as a spiritual channel and for many of them it became a joyful rite, hardly replaceable.

In the twenties and also partly in the thirties, the venues where people used to go to dance were: backyard dances, neighborhood clubs —where dancing reunions were held—, dancing clubs, dancehalls, tearooms and night clubs. Many of these places lasted up to the late fifties. Continue reading at www.todotango.com…

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We have lots more music and history…