Interview with Alberto Podesta - A Tango Legend [1080p]

https://youtu.be/VV5uloZgZrE


Sent from my iPad

RollingStone : Watch Led Zeppelin’s John Paul Jones Re-Record ‘When The Levee Breaks’ With Musicians From Around The World

https://www.rollingstone.com/music/music-news/john-paul-jones-re-record-when-the-levee-breaks-1278309/ - Watch Led Zeppelin's John Paul Jones Re-Record 'When The Levee Breaks' With Musicians From Around The World


“When The Levee Breaks” is a powerful, thought-provoking and emotionally-charged classic by Led Zeppelin, from their Led Zeppelin IV album. The song is a rework of the 1929 original release by Kansas Joe Mccoy and Memphis Minnie about the Great Mississippi Flood of 1927; the most destructive river flooding in U.S. history. “It seems that little has changed since 1927, or even 2005 with Katrina. It’s still a really powerful track, both musically and lyrically.”- John Paul Jones

Legendary multi-instrumentalist, John Paul Jones, is accompanied by Stephen Perkins of Jane's Addiction, Susan Tedeschi, Derek Trucks and over 20 musicians and dancers from seven different countries, in this Song Around The World version featured in Peace Through Music: A Global Event for the Environment. Feel the impact of these compelling lyrics and let the music move your spirit! "When The Levee Breaks" was written by John Bonham, John Paul Jones, Kansas Joe Mccoy, Memphis Minnie, Jimmy Page and Robert Plant This Song Around The World was produced by Sebastian Robertson and Mark Johnson FEATURING: Alfredo Arce: Siku Flute Ben Lee: Harmonica Buffalo Nichols: Vocals, Guitar Davey Chegwidden: Dundun Drums Derek Trucks: Slide Guitar Drums of the Pacific: Dancing, Log Drums Elle Márjá Eira: Vocals Jason Tamba: Banjo John Paul Jones: Bass Keith Secola: Slide Guitar Mermans Mosengo: Harmonica Mihirangi: Vocals Nakeiltha Campbell: Dundun Drums Pete Sands: Acoustic Guitar Sebastian Robertson: Electric Guitar Sikiru Adepoju: Talking Drum Susan Tedeschi: Vocals Stephen Perkins: Drums Watch "Peace Through Music: A Global Event for the Environment." Learn more at https://playingforchange.com/peacethr... #PeaceThroughMusic2021 #EnvironmentalJustice Learn More About Our Impact Partners: https://www.americanrivers.org https://www.worldwildlife.org https://reverb.org https://www.conservation.org JOIN THE MOVEMENT Subscribe to our mailing list: http://bit.ly/1x9CAfJ Join us as a PFC Member: http://bit.ly/JoinAndSupportPFC GET SOCIAL https://www.facebook.com/PlayingForCh... https://twitter.com/playing4change http://instagram.com/playing4change https://playingforchange.com SPECIAL THANKS TO OUR PARTNERS IN MAKING CHANGE: Corning® Gorilla® Glass launched in 2007. Since its inception, Gorilla Glass has become the glass of choice for mobile consumer electronics manufacturers around the globe. The patented, durable glass technology has been designed into more than 8 billion consumer electronic devices by more than 45 major OEMs. Formed through Corning’s proprietary fusion draw process and strengthened through an ion-exchange process, Corning Gorilla Glass continues to deliver industry-leading performance and durability with a thin, pristine surface that is ideal for the mobile consumer electronics industry as well as automotive applications. Audio-Technica—Audio pioneer in high-performance sound design Established in 1962, Audio-Technica is a worldwide group of companies devoted to the design, manufacture, marketing and distribution of problem-solving audio equipment. Initially known for state-of-the-art phonograph cartridges, A-T now creates high-performance microphones, headphones, wireless systems, mixers and electronic products for home and professional use. For more information visit: https://www.audio-technica.com Playing For Change (PFC) is a Certified B Corp (Social Purpose Organization) created to inspire and connect the world through music, born from the shared belief that music has the power to break down boundaries and overcome distances between people. The primary focus of PFC is to record and film musicians performing in their natural environments and combine their talents and cultural power in innovative videos called Songs Around The World. Creating these videos motivated PFC to form the Playing For Change Band—a tangible, traveling representation of its mission, featuring musicians met along their journey; and establish the Playing For Change Foundation—a separate 501(c)3 nonprofit organization dedicated to supporting music programs for children around the world. Through these efforts, Playing For Change aims to create hope and inspiration for the future of our planet. To learn more, visit https://playingforchange.com To learn more about the work of the PFC Foundation, visit http://www.playingforchange.org

Mercy

Sandunga -- Live

Orquesta La Juan D'Arienzo | Valentango | 2019 U.S. Tour

Ears + Heart + Feet: Talking About Tango Music :: Jessica Schilling

Jessica gave this presentation at the 2019 Albuquerque Tango Festival. This is a condensed "practice" version.


From the YouTube description: Let's talk about tango music! As dancers, knowing more about tango music's history and development can help us shine -- as well as make dancing a lot more fun. This talk from tango DJ Jessica Schilling goes over some of the history of tango music, what we can learn from the different eras of tango to help inform our dancing, and what we can bring with us into the milonga. It's a condensed version of a presentation given 9 November 2019 at the Albuquerque Tango Festival.

Big thanks to Pablo Stafforini for creating the wonderful "20 Tango Endings" video included in this talk!





Sent from my iPad

My Top 5 Most Played Tango Songs

Based on iTunes play counts...


#1
"Café de los Angelitos", Rodolfo Biagi, Alberto Amor, 06/15/1945



"Cuando Se Ha Querido Mucho"con Jorge Ortiz (also recorded on 06/15/1945) is up there, too, as is "Indiferencia" (09/10/1942) with Jorge Ortiz as well.



#2
"Yo no sé por qué razón", Enrique Rodriguez, Armando Moreno, 05/13/1942





#3
"Verdemar", Carlos diSarli, Oscar Serpa, 09/16/1955





#4
"Nostalgias", Osvaldo Fresedo, Héctor Pacheco, 11/21/1952





#5
"Malena", Anibal Troilo, Raúl Berón, 08/18/1952

Gustavo Santaolalla - De Ushuaia a la Quiaca

Gustavo Santaolalla is the force behind Bajofondo Tango Club aka Bajofondo. He won two consecutive Academy Awards for Best Original Score for the films Brokeback Mountain and Babel in 2005 and 2006 respectively.


https://en.wikipedia.org/wiki/Gustavo_Santaolalla

Julio de Caro Playlist

The accompanying playlist from Michael Lavocah's book "Tango Stories - Musical Secrets"…

Musicality Part II :: How to get your musicality to flourish

Part II in my musicality the holy grail of tango series is primarily this: Listening to Tango Dance Music - A Beginner's Guide.

Scroll down for some of my original drivel-thought on the flourishing part.

Here's Part I Musicality The Holy Grail of Tango if you missed it.



You might call this one a prequel. Going back to basics. Or rather going to the original, the root/s, the foundations. The genesis of musicality.

The music.

Wow. That's some profound shit there Alex. He says. Self-deprecatingly. (grin)



Sidenote: I found this beginner's guide on TodoTango.com, excerpted from Michael Lavocah's "Tango Stories - Musical Secrets"



So, as I pointed out in Part I (parroting what Elizabeth said in her post), it's important to listen to a lot of tango music. The good stuff, not the bad shit. It's also important to have some background into what you are listening to. The structure and the elements and all that musicological jazz.

It's also important to think (hard) about what you are listening to. Sure, yes, just "listen" sometimes, letting the music wash over you and envelope your heart and soul, only engaging your brain by maybe throwing in some astral projection (see Part I). But sometimes do engage your brain, and think about the structure and elements Michael describes. And describe it very well does he. Not sure why I just dropped into Yoda-speak. (grin)



I would add a fifth element to acknowledge/be aware of/think about whilst listening. Another element beyond beat, rhythm, melody, and lyrics.

That fifth element would be emotion. First, the emotion "of" the music. Inside it. Emanating from the instruments, emanating from the musicians through their instruments. The vibrations sent forth across the air, making contact with your ear drums. Next, doing all the primordial things that the miraculous human body and brain does, all of the energetic electro chemical type stuff swirling around your heart and your soul and your being. Eliciting some sort of emotional response, hopefully. Your internal emotional response to the emotionally infused music that was just delivered unto you. You might ask ten different people to describe the emotion(s) "of" a particular song and get ten different answers. Then you might get different responses if you ask about the internal emotions of the listener, or rather their emotional responses. The stuff that wells up inside you when you listen to a really beautiful tango. Your favorite tango. The bubbles that form on the surface of your primordial ooze and then pop, manifesting into righteousness multitudinous itty-bitty thought bubble/clouds that we think when we're emotionally vibrationally energetically stimulated. Whilst dancing. Dancing tango. To good tango music. Dancing tango to good golden-age tango music. The warm and fuzzy shit.

Is there a song that makes you cry every time you listen to it? Or nearly every time? Or even some times? For me it's this one. I don't know why. I don't have any historical or experiential connection to the song. But it gets me nearly every time. It's just so fucking beautiful. And the magnitude of the beauty that the human animal is capable of creating. And the magnitude of the utter destruction of humanity itself, not to mention the destruction of the planet, unleashed by humanity itself. That's what gets me when I listen to this one. I think. Perhaps.



But I digress.



Hell, that one, perhaps, being the fifth, might even be the elusive quinta essencia. The Fifth Element. The Quintessence. Earth, Fire, Water, Air. Tango.

I've written about that before. https://alextangofuego.blogspot.com/2009/01/deep-tango-thoughts-golden-age.html



Okay, maybe the emotion of tango music isn't actually "THE" Quintessence of Tango.

But maybe it (the emotion of tango) just touches the surface of the concept (of the quintessence of tango).

Like a single candle illuminating a large dark room.



If you've read my blog for any length of time, you'll know that I tend to go round and round and digress all over the place and then gel it down to something in the end. That's what I love about extemporaneous writing disjointed bullshittery. Not knowing the point/conclusion/gist of what I'm writing until I get to the end, and I'm kinda sitting here pondering what I've just written. And then it comes to me. Voilà. I like that.

My point with this one, the point that I didn't realize until I got to the point of writing all the drivel above, is that for your musicality to flourish, there needs to be a direct connection between it and your emotions and the emotion(s) of the music. Think of it as a web of energetic interconnectivity/ed/ness.

IMHO.

Ensueños, by La 'Petit' Orquesta Social del Tango

La Llorona :: Fabrizio Cammarata (and Chavela Varga, too)

I first heard/discovered Fabrizio Cammarata in Austin, well, outside of Austin in Wimberley, a number of years ago...happened across this first one whilst putzing around this morning...and then found the second one searching further...

There is nothing quite like live music, in person, being right there in the moment...

I like the first performance better...


From wiki: La Llorona - In Mexican folklore, La Llorona (pronounced [la ʝo.ˈɾo.na], "The Weeping Woman") is a ghost of a woman who lost her children and now cries while looking for them in the river, often causing misfortune to those who are near, or who hear her

From wiki/the song/lyrics here: https://en.wikipedia.org/wiki/La_Llorona_(song)









Here's the scene from the film "Frida" with Chavela Vargas singing La Llorona:



And here's a high def version:

A Rainy Night In Georgia :: Tony Joe White

This is the best version of this song, in my view. It's on the KGSR Broadcasts Vol 15, CD 1, Song 5.

Ignacio Varchausky :: Estilos Fundamentales de Tango Seminarios

I ran across this on YouTube and created a playlist - somewhere in the neighborhood of 20 or 22 hours of lectures by Ignacio Varchausky on the "fundamental styles of tango". All in Spanish, but no worries for those of us whose Spanish sucks. Click the little gear icon at the lower right of the video screen and turn on the auto-generated Spanish subtitles, let them populate, then click on "auto-translate" and pick your language. It will hesitate for a moment while it's queuing up. Thank God for Google.

Also note that Ignacio is the founder of TangoVia - a non-profit and website which aims at preserving, spreading and developing tango culture throughout the world. Be sure to check out their Tango CD collections, although the Spanish version website is better for this. Looks like you could find them on Amazon, but there are no direct purchase links.

There are also a dozen or so playlists on the Parkinson TeVe YouTube Channel, or click on "Videos" to see everything listed individually. Lots of stuff to watch and listen and ponder and learn here, including various live orchestra performances.

Here are the titles of the videos in the playlist I've created (above):

Pugliese
D'Arienzo
Piazzolla
La Milonga
Laurenz
El o Los Choclos
Calo
Fresedo
Francini-Pontier
De Caro
Elementos Basicos
Gobbi
Salgan

La Vida Es Corta :: Tango Short by Bassel Hamieh, with Naomi Harris

TANGO: La Vida Es Corta - Life is Short!
Bassel Hamieh is celebrating life with Naomi Harris in Los Angeles, California...on Saturday ·
NEW TANGO SHORT FILM!!! "La Vida Es Corta" - Life is Short! Got to work on this small project with the beautiful Naomi Harris. It was hard to convince her at first, but I knew she would be the perfect fit for it as she not only is a beautiful person on the inside and out, but is an extremely beautiful dancer. When she finally said yes, we spent 3 hours in the cold to film this. It was so fun! Hope you enjoy it.

The song is obviously "La Vida Es Corta", composed by Ricardo Tanturi, lyrics by Francisco Gorrindo, sung by Alberto Castillo, recorded on February 19, 1941.

Will You Love Me Tomorrow

Draft from 07/23/13 - I have 112 draft posts that never got posted for some reason...all the way back to March of 2008...

Originally written by Carole King & Gerry Goffin...http://en.wikipedia.org/wiki/Will_You_Love_Me_Tomorrow

Ran across this on Facebook today...from "The Other Side of Amy Winehouse"...no longer available...




Originally by The Shirelles...

La Academia Tango Club

Amazing. Huge tango orchestra. Playing La Yumba (Video below the photo.)

http://laacademiatangoclub.com/?lang=en
La Academia Tango Club is a community of orchestras.Over a 100 people group together to learn Tango where it was created. Our orchestras develop professionally with weekly presentations in Buenos Aires and national and international tours. La Academia Tango Club also offers workshops, courses and seminars given by the most important tango musicians.

Orquesta Típica Misteriosa Buenos Aires / 7 de enero (J.Arias)

As good as it gets...

Nuevo videoclip de 7 de enero, tango de Javier Arias que registramos en nuestro ultimo disco "Tu lado acústico" con la aparición estelar de: Roxana Suarez/Sebastián Achaval, Inés Muzzopappa/Fernando Galera y Rocio Lequio/Bruno Tombari.

La Cumparsita Redux :: La Ultima Canción :: 100th Anniversary

Note that April 16, 2017 is the 100th Anniversary of the song...

http://www.worldnewsenespanol.com/309_hispanic-world/4507519_uruguay-celebrates-100th-anniversary-of-la-cumparsita-tango.html

http://www.elintransigente.com/espectaculo/musica/2016/8/23/uruguay-quiere-declarar-2017-como-tango-la-cumparsita-398734.html



On the subject of why La Cumparsita is played as the last song at milongas:

This from Glen Royce on Facebook:

Alex: Ahhh- I thought the story was more well-known! :) Pugliese was a communist, and one night the police showed up at the milonga where his orquestra was playing, to bring him in, right when they were playing 'La Cumpa' ...my good tanguero friends down here in BA who are in their 70's and 80's say he WAS arrested, and so the milonga was finished- end of the night! (because the orquestra's director had been taken away...!) Anyway, feel free to read and visit the folllowing : ;)

"Once when Pugliese was playing La Cumparsita, the police entered the club he was performing in, and directed everything to stop as he was banned. The club owners said that they could not be interrupted whilst the orchestra was playing and the dancers was tangoing. On stage, Pugliese was told about this - so started playing La Cumparsita over and over again. The audience just kept on dancing! Eventually the police gave up and left. It was, perhaps, a world record in playing La Cumparsita?"

***Again, I have been told Pugliese DID get arrested and the milonga was finished for the night (no more director OR pianit...!) So that was the last song of the night! :)







And this from Luigi Seta - his blog at: http://tangopills.blogspot.com/2017/04/por-que-la-cumparsita-es-el-ultimo.html

Saturday, April 22, 2017
¿Por qué La Cumparsita es el último tango de la milonga? (Why is La Cumparsita the last tango of the milonga?)
Los milongueros asocian este tango inmortal con Juan D’Arienzo, El Rey del Compás, porque revolucionó todo el mercado con su grabación.

The milongueros associate this immortal tango with Juan D'Arienzo, El Rey del Compás, The King of the Beat, because he revolutionized the whole market with his recording.

Fue además el tema que más veces grabó, hasta en 7 oportunidades. En los años 1928 y 1929, con las voces de Carlos Dante y Raquel Notar, respectivamente, para el sello Electra, propiedad de su tío, Alfredo Améndola. Y luego para el sello Victor en otras cinco placas, en los años 1937, 1943, 1951, 1963 y 1971. La placa de 1951 tenía en la otra faz, la milonga de Pintín Castellanos La Puñalada, que también registró en cuatro ocasiones, y batió records de venta.

It was also the tango that he recorded the most times, up to 7 opportunities. In 1928 and 1929, with the voices of Carlos Dante and Raquel Notar, respectively, for the Electra label, owned by his uncle, Alfredo Améndola. And then for the Victor label on five other records, in 1937, 1943, 1951, 1963 and 1971. The record of 1951 had on the other side, the milonga of Pintín Castellanos La Puñalada, which also recorded four times, to became a sales blockbuster.

La versión de 1951 fue tan famosa, con más de un millón de discos vendidos sólo en Argentina, y más de doscientos mil en Japón, que el público deliraba al escucharla en sus presentaciones en vivo, entonces Juancito decide dejarla siempre para el final de sus shows, como la frutilla del postre.


The 1951 version was so famous, with more than one million albums sold only in Argentina, and more than two hundred thousand in Japan, that the audience raved when listening to it at their live performances, so Juancito decides to leave it always for the end of their Shows, as the icing on the cake.

Y fue así que se impuso como cierre de las milongas a partir de de los años cincuenta en todos los clubes de Buenos Aires. Y quedarse sin bailar este último tango significaba toda una frustración.

And so it was imposed as a closure of the milongas since the fifties in all clubs in Buenos Aires. And then, staying without dancing this last tango meant a whole frustration.

Los muchachos de entonces se reunían para escucharla y también se armaba toda una revolución en las milongas con este tema. Fulvio Salamanca, el pianista de D’Arienzo por 17 años, tuvo especial intervención en los arreglos de esta versión de 1951 y se nota su sabia mano en el resultado final. Una obra maestra y super milonguera.

The guys of the time met to listen to it at home, the streets, everywhere, and then a whole revolution was set up in the milongas with this tango. Fulvio Salamanca, the D'Arienzo pianist for 17 years, had an special intervention in the arrangements of this version of 1951 and it shows his wise hand in the final result. A super milonguera masterpiece.

A continuación La cumparsita por la orquesta de Juan D'Arienzo, en su versión del año 1951, quizás la más famosa de todas.

Next The cumparsita by the orchestra of Juan D'Arienzo, in its version of the year 1951, perhaps the most famous of all.

Presten atención al toque magistral del piano a cargo de Fulvio Salamanca, que le imprimió el clásico compás a la orquesta, una variación moderna y menos eléctrica, que la que le impusiera Rodolfo Biagi.

Pay attention to the masterful touch of the piano by Fulvio Salamanca, who impressed the classic compass to the orchestra, a modern and less electric variation, than that imposed by Rodolfo Biagi.

Escuchen a Enrique Alessio, primer bandoneón, en su famosa variación del segundo coro, magistral, sin palabras.


D'Arienzo, and his line of bandoneons
Junnissi, Lazzari and Alessio

Listen to Enrique Alessio, first bandoneon, in his famous variation of the second choir, masterful, without words.

No dejen de lado la melancolía del final, con el toque impecable del primer violín de la orquesta, Cayetano Puglisi.

Do not leave aside the melancholy of the end, with the impeccable touch of the first violin of the orchestra, Cayetano Puglisi.

Finalmente, la perfecta sincronización instrumental que en corto tiempo le diera a Juan D'Arienzo el acertado calificativo de El Rey del Compás.

Finally, the perfect instrumental synchronization that in a short time gave Juan D'Arienzo the correct qualifier of El Rey del Compás, the King of the Beat.

¡A disfrutar esta joya!
Enjoy this gem!














Here's my prior post:






La Cumparsita is the song that is traditionally the last song played at a milonga. It signals to everyone that this is the last song, and that the milonga has concluded. There was a time when I was on a mission to collect as many versions of the song as I could find. At this point, I have forty [40] distinct versions.

It was written by Gerardo Hernán Matos Rodríguez, an amateur pianist and architecture student, in late 1915 or early 1916 by all accounts. He was 17 years old when he wrote it. It's important to note that he was a student in Montevideo - so the song originated in Uruguay.

The song has a very interesting story behind it - with changed lyrics, new music arrangements, ownership and royalties lawsuits (four or five), and plenty of drama over the years. It's often billed as "the most famous tango in the world". Astor Piazzolla called it "the most frighteningly poor thing in this world" in reference to the original score by Matos Rodríguez and its simple melody.




Here are a couple of links to good, in depth treatments of the song and its history:

Keith Elshaw's www.totango.net

Ricardo García Blaya's www.todotango.com

Note that both of these sites contain a wealth of information about tango music and all things tango.

Alberto Paz' www.planet-tango.com includes a lyrics translation of the re-written version. Alberto's site is well known for his lyrics translations, and also includes a wealth of information about tango.




This 1930 version, with the original lyrics sung by the opera singer Tito Schipa, is my personal favorite.





Lastly, here's a "mashup" of many versions over 26 years...

The Story Behind Orquesta Típica Victor aka OTV

From Todotango.com

When the officials of that record company had the idea of putting together an orchestra that would represent the corporation, they turned to a pianist classically trained, who had not yet played tango: Adolfo Carabelli.

This great artist studied with the best teachers of his time and when he was fifteen he was already playing concerts in the theaters of the city of Buenos Aires. When he was very young he went to Bologna, where he stayed until 1914. There he went to school and continued his musical studies. When the war broke up he returned to his country where he put together a small group of classical music: Trío Argentina.

Around that time he became acquainted with the pianist Lipoff, who accompanied the well-known dancer Anna Pavlova, and through him he was introduced to jazz, a genre that was beginning to get a wide acclaim.

His first orchestra was named River Jazz Band, later, when switching to the radio, the group bore his name, and the orchestra achieved an overwhelming success and was requested by all the nightclubs of the period. Eduardo Armani and Antonio Pugliese, among others, passed through its ranks.

He recorded his early records for the Electra label and later he is hired by the Victor company as musical advisor and responsible for the creation of a tango orchestra.

It was a seminal orchestra in tango, that never performed in public, but which left for us, during its long career, the indelible memory of its perfection and quality.

The first setting chosen by Carabelli, and that made its debut recording two tangos on November 9, 1925: “Olvido [b]”, by Ángel D'Agostino, and “Sarandí” by Juan Baüer, was the following: Luis Petrucelli, Nicolás Primiani and Ciriaco Ortiz (bandoneons); Manlio Francia, Agesilao Ferrazzano and Eugenio Romano (violins); Vicente Gorrese (piano) and Humberto Costanzo (double bass).

The composition of the orchestra changed very often, the musicians were continuously replaced, but they all were of an excellent level. So that so that some experts recognize, on certain recordings, the violin of Elvino Vardaro, for example.

Other important names that passed through the ranks of the orchestra were: Federico Scorticati, Carlos Marcucci and Pedro Laurenz (bandoneon players); Orlando Carabelli, brother of the leader, and Nerón Ferrazzano (double bass); Nicolás Di Masi, Antonio Buglione, Eduardo Armani and Eugenio Nobile (violins). Cayetano Puglisi, Alfredo De Franco and Aníbal Troilo were also included in the orchestra on some occasions.

Years later, and due to commercial reasons, the label thought that only one orchestra was not enough. For that reason a number of orchestras began to appear: Orquesta Victor Popular, the Orquesta Típica Los Provincianos led by Ciriaco Ortiz, the Orquesta Radio Victor Argentina led by Mario Maurano, the Orquesta Argentina Victor, the Orquesta Victor Internacional, the Cuarteto Victor lined up by Cayetano Puglisi, Antonio Rossi (violins), Ciriaco Ortiz and Francisco Pracánico (bandoneons) and the excellent Trío Victor, with the violinist Elvino Vardaro and the guitarists Oscar Alemán and Gastón Bueno Lobo.

The already mentioned quality of the musicians made the Orquesta Típica Victor one of the highest musical expressions of its period, and it would remain at the same level until the late thirties. And this is important to highlight, because other important orchestras, such as Julio De Caro, had lost their north.

Unfortunately later, because of a repertory that tried to fit into the commercial needs of the period, the quality of it declined, but neither its sound nor the capability of its members were of a poor level. Its vocalists, likewise, kept on being of a first rate level.

In 1936 the leadership of the orchestra is transferred to the bandoneonist Federico Scorticati, and its early recordings were the tangos “Cansancio” (by Federico Scorticati and Manuel Meaños) and “Amargura” (by Carlos Gardel and Alfredo Le Pera), sung by Héctor Palacios.

In 1943 the orchestra was led by the pianist Mario Maurano, and recorded the tangos “Nene caprichoso” and “Tranquilo viejo tranquilo” (both by Francisco Canaro and Ivo Pelay), with Ortega Del Cerro on vocals, on September 2.

The last recordings under the name Orquesta Típica Victor were made on May 9, 1944, and they were the waltzes “Uno que ha sido marino” (by Ulloa Díaz) and the popular “Sobre las olas” (by Juventino Rosas), both sung by the Jaime Moreno and Lito Bayardo duo.

According to Nicolás Lefcovich's discography, the recordings were 444, but to this number we would have to add many recordings coupled on discs that on the opposite face had renditions of varied interpreters.

Even though it was an orchestra that mainly played tango, it also recorded other beats, more than forty rancheras and a similar number of waltzes, around fifteen foxtrots and very few milongas. Also polkas, corridos, pasodobles, etc.

As for vocalists, they appeared only three years after its creation, after over a hundred instrumental numbers were recorded. And the first one was a violinist, Antonio Buglione (a total of four recordings), with the tango "Piba", on October 8, 1928.

He was followed by Roberto Díaz (27 recordings), Carlos Lafuente (37, the one who recorded most), Alberto Gómez (25), Ernesto Famá (17), Luis Díaz (14), Teófilo Ibáñez (9), Ortega Del Cerro (7), Juan Carlos Delson (7), Mario Corrales —later Mario Pomar — (6) and Charlo (4).

Through the ranks of the orchestra the following vocalists passed: Alberto Carol, Jaime Moreno, Lito Bayardo, Lita Morales, Eugenio Viñas, Ángel Vargas, José Bohr, Osvaldo Moreno, Vicente Crisera, Dorita Davis, Oscar Ugarte, Fernando Díaz, Héctor Palacios, Mariano Balcarce, El Príncipe Azul, Francisco Fiorentino, Armando Barbé (also with the name Armando Sentous), Samuel Aguayo, Hugo Gutiérrez, Jimmy People, Deo Costa, Alberto Barros, Raúl Lavalle, Augusto "Tito" Vila and Gino Forsini.

When in 1944 the label decided to put an end to its career, tango was so successful that it would not be an exaggeration to say that everyday a new orchestra was put together. Somehow, with the great orchestras of the forties: Troilo, D'Arienzo, Di Sarli, D'Agostino, Tanturi, Fresedo, Laurenz, among others, the need of having one's own orchestra has come to an end.


From Todotango.com