(Organized by Epoch and Style)
Old Guard — Orquesta Tipica Victor, Carabelli,
Lomuto
Early Golden Age — De Caro, Fresedo, Canaro
Golden Age Harder Rhythmic — D'Arienzo,
Biagi, Rodriquez
Golden Age Softer Rhythmic — Tanturi,
Caló, Laurenz, D'Agostino, Troilo, Di Sarli
Golden Age Smooth — Di Sarli, Canaro, Fresedo,
Troilo
Golden Age Lyrical — Caló, Di Sarli,
Canaro, Fresedo, Tanturi, Demare, De Angelis
Golden Age Dramatic — De Angelis, Pugliese
Transitional and New Tangos
Modern Dance Orquestas
Milongas
Valses
La Cumparsita — The Finale
Old Guard — Orquesta Tipica Victor, Carabelli, Lomuto
The tangos of the old guard generally had less complex arrangements and simpler rhythms in comparison to tangos played during golden age and later eras. These tandas can be used sparingly in early in the evening when simple rhythms will help the dancers find the beat of the music. They can also be used in the morning—as a postscript or cup of coffee after to a full evening of dancing.Los Tubatango
(This tanda consists of novelty recordings that are fun when used sparingly.)
Caminito
Rodriguez Pena
Zorro Gris
– all from Una Noche de Garufa (Music Hall
10044-2)
Orquesta Tipica Victor
(On the newer versions of this CD, the tracks are mislabeled.
The tangos below are found on tracks 1, 3, 8 and 14)
Negro
Pato
Re Fa Si
Che Papusa Oi
– all from 1926-1940 (El Bandoneon EBCD
85)
Adolfo Carabelli
Felicia
Mi Refugio
El Cabure
Cuatro Palabras
– all from Cuatro Palabras (El Bandoneon EBCD
87)
Early Golden Age — De Caro, Fresedo, Canaro
Tangos from the early golden age represent a transition from the old guard to the golden age of tango. They have clear, simple rhythms but show signs of the stronger orchestration that characterizes golden age tangos. These tandas can be used early in the evening to help educate the dancers to the beat.Julio De Caro – Golden Age
El Monito
Colombina
Derecho Viejo
Boedo
– all from Instrumental Tangos of the Golden Age
(Harlequin compilation HQCD 45)
Osvaldo Fresedo – Tigre Viejo
Derecho Viejo (1941 version)
Arrabalero
Poliya
Tigre Viejo
– all from Tigre Viejo (privately mastered
CD-R)
Francisco Canaro y su Quinteto Pirincho
Viento en Popa
Don Esteban
Champagne Tango
– all from Nobleza de Arrabal (El Bandoneon
EBCD 90)
Francisco Canaro – La Melodia de Nuestro Adios
(This tanda is a classic set of tracks to help dancers find the beat
of tango music)
La Melodia de Nuestro Adios
Pampa
Retintin
– all from La Melodia de Nuestro Adios (El
Bandoneon EBCD 30)
Mixed Tanda
(Although some purists would object to this mix of orchestras, dancers
seem to enjoy it. It works well early in the evening.)
La Melodia de Nuestra Adios – Francisco Canaro,
– from La Melodia de Nuestra Adios (El Bandoneon
EBCD 30)
Yo Soy El Tango – Miguel Caló,
– from Yo Soy el Tango (El Bandoneon EBCD
34)
El Once – Osvaldo Fresedo,
– from El Pibe de la Paternal (El Bandoneon
EBCD 48)
Mano a Mano – Francisco Lomuto
– from Great Bands of Tango’s "Golden Age" 1936-47
(Harlequin HQCD 89)
Golden Age Harder Rhythmic — D'Arienzo, Biagi, Rodriguez
In the 1930s, Juan D'Arienzo and Rodolfo Biagi joined together to revolutionize tango by returning to strong staccato rhythms in 2x4 time while using more modern arrangements and instrumentation. After leaving D'Arienzo's orchestra, Biagi formed his own orchestra and added more striking and challenging rhythmic elements to the music. For the tangos in this style that have vocals, the singer stayed relatively close to the orchestra's rhythm, and an occasional mixing of vocals with instrumentals in the same tanda is possible (if not advised). The strong ric-tic-tic rhythms of the music played by either orchestra seems to insist on milonguero- or club-style dancing. The simpler rhythms of D'Arienzo's music helps the dancers find the rhythm for milonguero-style dancing. Once the dancers find the rhythm for milonguero-style dancing, Biagi's music is a wonderful challenge.Juan D'Arienzo – El Flete
El Flete
– from The Tango Lesson (Sony movie
soundtrack)
Pensalo Bien
– from The Tango Lesson (Sony movie soundtrack)
Union Civica
– from El Rey del Compas (El Bandoneon)
Canaro en Paris
– from La Puñalada (Blue Moon)
Juan D'Arienzo – El Rey del Compas
Retintin
Don Esteban
El Irresistible
La Morocha
– all from El Rey del Compas (El Bandoneon
EBCD 43)
Juan D'Arienzo – Felicia
El Internado
Felicia
Viejo Smoking
Independencia
– all from La Puñalada (Blue Moon BMT
011)
Juan D'Arienzo – Vol. 21
El Pollo Ricardo
– from Vol. 21 (Club Tango Argentino CTA 321)
Che Negrito
– from Vol. 21 (Club Tango Argentino CTA 321)
Jueves
– from La Puñalada (Blue Moon BMT 011)
Tucuman
– from La Puñalada (Blue Moon BMT 011)
Juan D'Arienzo con Mario Bustos
Justo El 31
Si Soy Asi
No Te Quiero Mas
Susanita
– all from Tangos Orilleros (Tango Argentino
BMG-RCA)
Orquesta Juan D'Arienzo
(These tracks are newer recordings in classic D'Arienzo style, but
the orchestra is led by a former D'Arienzo side man.)
Derecho Viejo
Organito de la Tarde
Don Juan
Pampa
– all from La Cumparsita (Phillips)
Rodolfo Biagi – Campo Afuera
La Maleva
Union Civica
A Mi No Me Interesa
Zaraza
– all from Campo Afuera (El Bandoneon
EBCD 40)
Rodolfo Biagi con Jorge Ortiz
Humillacion
Guapo y Varon
Señor, Señor
Pajaro Ciego
– all from Sus Exitos con Jorge Ortiz (EMI,
Reliquias)
Rodolfo Biagi con Alberto Amor
(The music in this tanda is played relatively close to the softer
rhythmic style and has a wonderful romantic feel.)
Nada
Si La Llegaran A Ver
Tus Labios Me Diran
Seamos Amigos
– all from Sus Exitos con Alberto Amor (EMI,
Reliquias)
Enrique Rodriquez con Roberto Flores y Armando Moreno
Son Cosas del Bandoneon
A Media Luz
Como Se Pianta la Vida
En la Buena y en la Mala
– all from 27 Tangos 1939-1952 (EMI)
Golden Age Softer Rhythmic — Troilo, Tanturi, Caló, Laurenz, D'Agostino, Troilo, Di Sarli
Pedro Laurenz, Ricardo Tanturi, Anibal Troilo, Miguel Caló, and Angel D'Agostino played with softer rhythmic accents than typified the music of Juan D'Arienzo and Rodolfo Biagi. The softer rhythmic accents give the music a more romantic feel and the music supports dancing of either salon- or milonguero-style tango. For the tangos in this style that have vocals, the singer stayed relatively close to the orchestra's rhythm, and an occasional mixing of vocals with instrumentals in the same tanda is possible (if not advised). These tandas are useful throughout the evening, and some of the music—particularly that recorded by Miguel Caló—is quite romantic.Anibal Troilo – Pichuco
(I have listed these instrumental tangos as played in the softer rhythmic
style, but some are close to the harder rhythmic
style.)
Cachirulo
Milongueando en el 40
Guapeando
Cordon de Oro
– all from Instrumental (Tango Argentino BMG
RCA)
Anibal Troilo con Francisco Fiorentino – Tinta Roja
(Francisco Fiorentino with the Anibal Troilo Orquesta is one of the
classic matches of singer with a tango orchestra. They recorded in
both a softer rhythmic style and a lyrical style.
I have listed these tangos as softer rhythmic, but some have elements of
the lyrical style.)
Tinta Roja
El Bulin de la Calle Ayacucho
Toda Mi Vida
Tabernero
– all from Troilo/Fiorentino (Solo Tango BMG
RCA)
Ricardo Tanturi con Alberto Castillo
Ese Sos Vos
– from Cuatro Compases (El Bandoneon EBCD
48)
Una Noche de Garufa (Instrumental)
– from Great Bands of Tango's Golden Age (Harlequin)
Recuerdo Malevo
– from Cuatro Compases (El Bandoneon EBCD
48)
Cuatro Compases
– from Cuatro Compases (El Bandoneon EBCD
48)
Miguel Caló – Sans Souci
Sans Souci
Lejos de Buenos Aires
La Cantina
Yo Soy el Tango
– all from Yo Soy el Tango (El Bandoneon EBCD
34)
Miguel Caló – Stock Privado
Tedio
– from Stock Privado (EMI)
Tarde Gris
– from Stock Privado (EMI)
La Maleva
– from Compilation, Pa’ Que Bailen Los Muchachos
(Blue Moon BMT 001/002)
Saludos
– from Compilation, Pa’ Que Bailen Los Muchachos
(Blue Moon BMT 001/002)
Pedro Laurenz
Arrabal
De Puro Guapo
Amurado
Orgullo Criollo
Nunca Tuvo Novio
– all from Milonga de Mis Amores (El
Bandoneon EBCD 82)
Angel D'Agostino y Angel Vargas – Hotel Victoria
A Pan y Agua
Esta Noche en Buenos Aires
Mano Blanca
Hotel Victoria
– all from Tangos de Los Angeles, Vol. 2 (BMG
RCA)
Angel D'Agostino y Angel Vargas – Pero Yo Se
Pero Yo Se
– from Tangos de Los Angeles, Vol. 1 (BMG
RCA)
Una Pena
– from Tangos de Los Angeles, Vol. 1 (BMG
RCA)
Mi Viejo Barrio
– from Tangos de Los Angeles, Vol. 4 (BMG
RCA)
Caricias
– from Tangos de Los Angeles, Vol. 4 (BMG
RCA)
Angel D'Agostino y Angel Vargas – Cafe Dominguez
(this tanda opens with the classic Cafe Dominguez)
Cafe Dominguez
– from Tangos de Los Angeles, Vol. 4 (BMG
RCA)
Me Llaman Tango
– from Tangos de Los Angeles, Vol. 4 (BMG
RCA)
Tomo y Obligo
– from Tangos de Los Angeles, Vol. 4 (BMG
RCA)
El Aristocrata
– from Tangos de Los Angeles, Vol. 4 (BMG
RCA)
Carlos Di Sarli – Shusheta
(Although Di Sarli is most associated with the smooth
style, the music in this tanda was recorded early in Di Sarli's career
when he played in the softer rhythmic style. It is suitable for dancing
milonguero- or salon-style tango.)
Shusheta
El Recodo
La Cachila
La Torcacita
– all from Instrumental, vol. 2 (BMG-RCA Tango
Argentino)
Golden Age Smooth — Di Sarli, Canaro, Fresedo, Troilo
Carlos Di Sarli, Francisco Canaro, Osvaldo Fresedo and Anibal Troilo all recorded smooth-sounding music during the golden age of tango. The music in this category generally lacks the rhythmic accents that help support milonguero-style dancing, but salon-style dancers find it quite enjoyable for dancing.Carlos Di Sarli developed clean sounding arrangements, and his orchestra played the walking beat of salon tango that epitomizes golden age smooth. His music helps educate dancers to the rhythm of salon-style tango and is useful early in the evening or whenever the DJ thinks the dancers need a refreshing change of pace or help in finding the rhythm. It is also useful in the resolution to the evening's dancing. Other than tracks found on Instrumental, vol. 2, most of DiSarli's music lacks the rhythmic accents used to support milonguero-style dancing.
Francisco Canaro contributed many recordings during the golden age of tango, but only a few are enjoyable to modern ears. His lyrical recordings with singers wear much better. Osvaldo Fresedo is associated with the early golden age, but he also contributed a smooth-sounding and lyrical recordings during the golden age. Some of Fresedo's golden-age recordings have the rhythmic elements that help support milonguero-style dancing, but most dancers tend to treat the music as smooth.
Over his career, Troilo gradually made a shift from a softer rhythmic sound to a concert sound. In the process of the transition, he recorded many well-regarded tangos with a smooth sound.
Carlos Di Sarli – Milonguero Viejo
(A tanda with a classic set of tracks. Fresedo's version of "El
Once" fits the tanda so perfectly that only experts, who are also likely
to know that Fresedo and Di Sarli once shared an orchestra, will notice.)
A La Gran Muñeca
– from Milonguero Viejo (Music Hall 10018-2)
El Cabure
– from Milonguero Viejo (Music Hall 10018-2)
El Once
– from Osvaldo Fresedo, El Pibe de la Paternal
(El Bandoneon)
Milonguero Viejo
– from Milonguero Viejo (Music Hall 10018-2)
Carlos Di Sarli – El Choclo
La Morocha
Duelo Criollo
El Choclo
Mi Refugio
– all from Milonguero Viejo (Music Hall 10018-2)
Carlos Di Sarli – Don Juan
Don Juan
Tinta Verde
Germaine
Comme Il Faut
– all from Instrumental (BMG-RCA Tango Argentino)
Carlos Di Sarli – El Ingeniero
Organito de la Tarde
Champagne Tango
El Pollo Ricardo
El Ingeniero
– all from Instrumental (BMG-RCA Tango Argentino)
Carlos Di Sarli – Bahia Blanca
Bahia Blanca
– from The Tango Lesson (Sony movie soundtrack)
El Pollito
– from Instrumental (BMG-RCA Tango Argentino)
El Amanecer
– from Instrumental (BMG-RCA Tango Argentino)
El Once
– from Instrumental (BMG-RCA Tango Argentino)
Anibal Troilo – Quejas de Bandoneon
Quejas de Bandoneon
El Marne
El Pollo Ricardo
Don Juan
– all from Su Mejores Momentos (Music Hall)
Golden Age Lyrical — Caló, Troilo, Di Sarli, Canaro, Fresedo, Tanturi, Demare, De Angelis
During the golden age, sometimes the singer sang with orchestra, sometimes the orchestra played for the singer. Many of the major orchestras that played in the softer rhythmic or smooth styles also recorded music in which they played for the singer. Done right, the result was a compelling, lyrical sound. These tandas have a wonderfully romantic and seductive feel that can help build the mood of the evening.Miguel Caló con Raul Beron
(This tanda has wonderfully romantic tangos for dancing with that special
someone late in the evening.)
Al Compas del Corazon
Trasnochando
Que Te Importa Que Te Llore
Tristezas de le Calle Corrientes
– all from Al Compás del Corazón
(EMI Reliquias)
Anibal Troilo con Francisco Fiorentino – Malena
(Francisco Fiorentino with the Anibal Troilo Orquesta is one of the
classic matches of a singer with a tango orchestra. They recorded
in both a softer rhythmic style and a lyrical
style. This tanda has lyrical tangos and ends with the classic Malena.)
En Esta Tarde Gris
Sencillo y Compadre
Pajaro Ciego
Malena
– all from Troilo/Fiorentino (Solo Tango
BMG RCA)
Carlos Di Sarli – El Señor del Tango
(This tanda contains three great vocal tracks from Jorge Duran and
closes with a classic sung by Roberto Rufino)
Porteno y Bailarin
Un Tango y Nada Mas
Vieja Luna
Verdemar
– all from El Señor del Tango (El Bandoneon
EBCD 38)
Francisco Canaro – Uno
(This tanda consists of wonderfully romantic tangos for dancing with
that special someone.)
Uno
– from Desde al Alma (EMI Reliquias)
Nido Gaucho
– from Desde al Alma (EMI Reliquias)
Como Dos Extraños
– from Tangos Inolvidables del ‘40 (EMI Reliquias)
Cada Vez Que Me Recuerdes
– from Desde al Alma (EMI Reliquias)
Osvaldo Fresedo con Roberto Ray – Vida Mia
(This tanda has wonderfully romantic tangos for dancing with that special
someone either late in the evening as the drama builds or during the resolution
or denouement of the evening's dancing. The rhythmic accents that
support milonguero-style dancing are present in the music to some extent,
but the overall impression is smooth, and most dancers respond that way.)
Vida Mia
Niebla del Riachuelo
Pampero
Sollozos
– all from Tangos de Salon (BMG-RCA Tango
Argentino)
Ricardo Tanturi con Enrique Campos
Muchachos Comienza la Ronda
Asi Se Canta
Una Emocion
Malvon
– all from Una Emoción (El Bandoneon
EBCD 81)
Lucio Demare con Roberto Arrieta
Al Compas de un Tango
Cancion de Rango
Tango Guapo
Malena
– all from Tango Guapo (El Bandoneon)
Alfredo De Angelis – Adiós Marinero
(From an orchestra that is better known for its dramatic tangos and
lyrical valses, this tanda opens and closes with lyrical tangos and has
two smooth instrumentals in the middle.)
Pura Maña
Compadrón
El Entrerriano
Adiós Marinero
– all from Adiós Marinero (El Bandoneon)
Golden Age Dramatic — De Angelis, Pugliese
Alfredo De Angelis and Osvaldo Pugliese played dramatic music that is best used to increase tension and build to the height of the evening. As the evening builds to a climax, more Pugliese and De Angelis is included in the mix. The music on the De Angelis tanda and the first three Pugliese tandas have simpler rhythms and might be used ahead of the next two Pugliese tandas. Of the tandas in this section, only the Pugliese tanda that I have called "De Caro por Pugliese" is suitable for early evening play.Alfredo De Angelis – Pavadita
(This dramatic tanda closes with the must-be-played classic Pavadita.)
El Tango Club
– from Instrumentales Inolvidables (EMI Reliquias)
El Pial
– from From Argentina to the World (EMI)
Guardia Vieja
– from From Argentina to the World (EMI)
Pavadita
– from From Argentina to the World (EMI)
Osvaldo Pugliese – De Caro por Pugliese
(This tanda is of early Pugliese music which is wonderful for dancing
but does not have the heavy thumping "La Yumba" beat that people associate
with Pugliese.)
Tierra Querida
Mala Junta
Orgullo Criollo
Boedo
– all from DeCaro por Pugliese (EMI)
Osvaldo Pugliese – Tiny
(This tanda is primarily of early Pugliese music which is wonderful
for dancing but does not have the heavy thumping "La Yumba" beat that people
associate with Pugliese.)
Tiny
Mala Estampa
Raza Criolla
El Remate
– all from Instrumentales Inolvidables (EMI
Reliquias)
Osvaldo Pugliese – Fuimos
(This tanda is of music in which Pugliese made the transistion to the
heavy thumping "La Yumba" beat.)
Farol
– from Ausencia (EMI Odeon # 8 35886 2)
Fuimos
– from Ausencia (EMI Odeon # 8 35886 2)
El Paladin
– from Instrumentales Inolvidables (EMI Reliquias)
Recuerdo
– from Instrumentales Inolvidables (EMI Reliquias)
Osvaldo Pugliese – Remembranza
(This tanda contains three incredibly passionate vocals and the classic
instrumental "Chique.")
Pasional
Chique
Cascabelito
Remembranza
– all from Ausencia (EMI Odeon # 8 35886 2)
Osvaldo Pugliese – La Yumba
(This tanda opens with the must-be-played classic "La Yumba."
The others are also classics.)
La Yumba
– from The Tango Lesson (Sony movie soundtrack)
Gallo Ciego
– from The Tango Lesson (Sony movie soundtrack)
Corrientes y Esmeralda
– from Recuerdo (El Bandoneon EBCD 71)
Emancipacion
– from Ausencia (EMI Odeon # 8 35886 2)
Osvaldo Pugliese – Nochero Soy
(This tanda opens with the classic "Nochero Soy" and closes with the
classic "La Mariposa.")
Nochero Soy
– from Ausencia (EMI Odeon # 8 35886 2)
Pelele
– from Instrumentales Inolvidables (EMI Reliquias)
Derecho Viejo
– from Instrumentales Inolvidables (EMI Reliquias)
La Mariposa
– from Ausencia (EMI Odeon # 8 35886 2)
Osvaldo Pugliese – Tinta Roja
(The music in this tanda is from the transitional
era when the Pugliese orchestra played dramatic concert music.
It can be used for social dancing, but do not be surprised if some dancers
engage in theatrics.)
Tinta Roja
A Los Amigos
Arrabal
El Andariego
– all from From Argentina to the World (EMI)
Transitional and New Tangos
In the late 1940s and early 1950s, tango orchestras began to shift away from dance music toward a concert sound that culminated in the new tango of Astor Piazzolla. The music from these eras is well recorded but is generally less well suited for social dancing than music from the golden age. I have pulled together a few tandas of music that are played with a dance beat and have the dramatic and lyrical qualities of tangos from the transitional and new-tango eras. Tandas from these eras should be used sparingly, and care should be used in selecting music for the tandas and in positioning them during the evening's mix of music.Mixed Tanda – Carlos Garcia and Others
(Dancers seem to enjoy this tanda of dramatic and lyrical tangos which
can be used to help build toward the climax of the evening, but do not
be surprised if some dancers engage in theatrics. Opening the tanda
with La Cumparsita may fool some dancers into thinking the evening is coming
to a close.)
Carlos Garcia and Tango All Stars – La Cumparsita
– from Tango II (JVC)
Carlos Garcia and Tango All Stars – Adios Nonino
– from Tango II (JVC)
Raul Garello – Verano Porteño
– from Compilation, Buenos Aires by Night
(EMI)
Franicini/Pontier – A Media Luz
– from Tango I (JVC)
Litto Nebbia Quinteto
(This tanda of lyrical music can be used during the resolution or denouement
of the evening's dancing. It can also be used to refresh the dancers
as the drama is building toward the height of the evening. Although
the music has a simple, clear beat, it does not seem to inspire dancers
when it is played early in the evening.)
Tango Canyengue
Maladandra
Nostalgias
– all from Tangos Argentinos de Enrique Cadicamo
(Iris 980)
New York Tango Trio
(This is a tanda of dramatic music that stirs fond memories for those
who have seen the New York Tango Trio live.)
El Entrerriano
Yuyito
9 de Julio
– all from Cabarute (Lyrichord 7428)
Mixed Tanda – Oblivion
(Languid describes the music in this tanda. As such, the tanda
is only useful during the denouement of the evening's dancing, when the
dancers are contemplating oblivion themselves. Use at any other time
could send the DJ to oblivion in short order.)
Trio Pantango – Silbando
– from Tango Argentino (ARC EUCD 1257)
Hugo Diaz (harmonica) – Milonga Triste
– from The Tango Lesson (Sony movie soundtrack)
Daniel Barenboim – Mi Buenos Aires Querido
– from Tangos Among Friends
Gidon Kremer – Oblivion
– from Hommage à Piazzolla
Modern Dance Orquestas
Some modern tango orchestras, most notably Orquesta Color Tango, have returned to the dance beat that characterized the golden era of tango dance music. The recordings made by modern dance orchestras typically have more intricate arrangements with a little more of a dramatic concert feel than those made during the golden era, but the dance beat is prominent and the fidelity is much better than on the old recordings.Orquesta Color Tango
Emancipacion
– Con Estilo de Bailar Vol. 2 (Techno Disc)
Recuerdo
– Con Estilo de Bailar Vol. 2 (Techno Disc)
Festejando
– Con Estilo de Bailar (Techno Disc)
A Evaristo Carriego
– Con Estilo de Bailar Vol. 2 (Techno Disc)
Milongas
The fast pace of milonga music can help give a lift to everyone's energy. It can also be used to exhaust the dancers and send them off the dance floor for a break.Pedro Laurenz – Milongas
Milonga Compadre
– from Milonga de Mis Amores (El Bandoneon)
Yo Soy de San Telmo
– from Milonga de Mis Amores (El Bandoneon)
Milonga de Mis Amores
– from Milonga de Mis Amores (El Bandoneon)
Francisco Canaro – Milongas
(This tanda opens with two very slow milongas and closes with one that
is moderately paced. Some dancers may have difficulty with the slow
rhythms of the first two pieces.)
Milonga Sentimental
– from La Melodia de Nuestro Adios (El Bandoneon)
Silueta Porteña
– from La Melodia de Nuestro Adios (El Bandoneon)
Cuando un Viejo Se Enamore
– from Milongas: Canaro to Firpo
Francisco Canaro – Milongas
(Although Canaro's orchestra recorded many slow milongas, this tanda
has moderately paced milongas that can be used for a variety of milonga
dance styles.)
Reliquias Porteñas
– from La Melodia de Nuestro Adios (El Bandoneon)
Milonga Brava
– from Las Grandes Orquestas del Tango (Blue Moon)
No Hay Tierra Como La Mia
– from Las Grandes Orquestas del Tango (Blue Moon)
Miguel Caló – Milongas
(This tanda closes with the great candombe, Azabache.)
Milonga Antigua
– from Al Compás del Corazón
(EMI Reliquias)
Milonga Que Peina Canas
– from Sus Exitos con Podesta, Ortiz y Beron
(EMI Reliquias)
Azabache
– from Al Compás del Corazón
(EMI Reliquias)
Rodolfo Biagi – Milongas
Campo Afuera
– from Campo Afuera (El Bandoneon EBCD 40)
Picante
– from Campo Afuera (El Bandoneon EBCD 40)
Cantado Se Van Las Penas
– from Sus Exitos con Jorge Ortiz, Vol. 2
(EMI Reliquias)
Flor de Montserrat
– from Sus Exitos con Alberto Amor (EMI Reliquias)
Juan D'Arienzo – Milongas
La Puñalada
– from 16 Grandes Tangos (RCA compilation)
El Esquinazo
– from Sus Primeros Exitos, Vol. 2 (BMG-RCA
Tango Argentino)
Milonga Vieja Milonga
– from La Cumparsita (El Bandoneon)
El Comandante
– from Vol. 21 (CTA-321)
Juan D'Arienzo – Milongas
Milonga Que Peina Canas
– from La Puñalada (Blue Moon)
El Temblor
– from El Rey del Compas (El Bandoneon EBCD
43)
Milonga Querida
– from El Rey del Compas (El Bandoneon EBCD
43)
Milonga del Corazon
– from La Cumparsita (El Bandoneon)
Juan D'Arienzo – Milongas
La Espuela
Por Dos Caminos
El Paisanito
Calandria Pampa
– all from Mario CD #8
Ricardo Tanturi con Alberto Castillo – Milongas
Mi Morocha
Asi Es la Milonga
Mozo Guapo
– all from Tangos de Mi Ciudad (BMG-RCA Tango
Argentino)
Anibal Troilo – Milongas
Ficha de Oro
– from Del Tiempo Guapo (El Bandoneon)
Del Tiempo Guapo
– from Troilo/Fiorentino Vol. 2 (Solo Tango
BMG RCA)
Mano Brava
– from Troilo/Fiorentino (Solo Tango
BMG RCA)
Carlos Di Sarli – Milongas
(A tanda of playful, lyrical, relatively light and delightfully danceable
milongas.)
Rosa Morena
– from Sus Primeros Exitos, Vol 3. (Tango
Argentino BMG-RCA)
Zorzal
– from Sus Primeros Exitos, Vol 3. (Tango
Argentino BMG-RCA)
La Mulateada
– from Sus Primeros Exitos, Vol 3. (Tango
Argentino BMG-RCA)
Pena Mulata
– from Sus Primeros Exitos, Vol 1. (Tango
Argentino BMG-RCA)
Valses
Tango waltz music is delightfully lyrical and romantic. Playing it usually lifts everyone's spirits.Alfredo De Angelis – Valses
(All of these valses are absolutely delightful. A four vals tanda
may seem a little long, but to quote Mae West, "Too much of a good thing
can be wonderful.")
Pobre Flor
Soñar Y Nada Mas
Flores del Alma
A Magaldi
– all from Adios Marinero (El Bandoneon)
Pedro Laurenz – Valses
(Pedro Laurenz played unbeatable vals music.)
Mascarita
Paisaje
Mendocina
– all from Milonga de Mis Amores (El Bandoneon)
Miguel Caló – Valses
(Miguel Caló played incredibly romantic vals music.)
Bajo un Cielo de Estrellas
– from Yo Soy el Tango (El Bandoneon EBCD
34)
Pedacito de Cielo
– from Yo Soy el Tango (El Bandoneon EBCD
34)
El Vals Soñador
– from Al Compás del Corazón
(EMI Reliquias)
Ricardo Tanturi con Alberto Castillo – Valses
Con Los Amigos
Mi Romance
Recuerdo
– all from Tangos de Mi Ciudad (BMG-RCA Tango
Argentino)
Carlos Di Sarli – Valses
Cortando Camino (1941 w/ Rufino)
– Sus Primeros Exitos vol 3 (Tango Argentino
DBN-RCA)
Rosamel (1940 w/ Rufino)
– Sus Primeros Exitos vol 1 (Tango Argentino
DBN-RCA)
Ausencia (1940 w/ Volpe)
– Anthologies Valses et Milongas du Carlos Di Sarli
(Privately Released by SCAQC)
Carlos Di Sarli – Valses
De Vuelta (1947 w/ Podesta)
– Porteño y Bailarin (Maestros del
Tango Blue Moon)
Estampa Federal (1942 w/ Podesta)
– Sus Primeros Exitos vol 3 (Tango Argentino
DBN-RCA)
Acuerdate de Mi (1946 w/ Duran)
– El Señor del Tango (El Bandoneon)
Rodolfo Biagi – Valses
(This tanda closes with Biagi's incredible instrumental rendition of
"Lagrimas y Sonrisas.")
Paloma
– from Sus Exitos con Alberto Amor (EMI Reliquias)
Por Un Beso de Amor
– from Sus Exitos con Jorge Ortiz, Vol. 2
(EMI Reliquias)
Cuatro Palabras
– from Sus Exitos con Jorge Ortiz, Vol. 2
(EMI Reliquias)
Lagrimas y Sonrisas
– from Sus Exitos con Jorge Ortiz (EMI Reliquias)
Dan Diaz and the Tango Camerata – Valses
Palomita Blanca
Romance de Barrio
Desde el Alma
– all from Live at Stanford University (Rio
Plata Institute)
Mixed Tanda – Valses
(This tanda opens with the vals used in a Volkswagen commercial and
contains the incredible and dramatic Desde el Alma.)
Hector Varela – Palomita Blanca
– from Buenos Aires de Noche (EMI compilation)
Lalo Schifrin Orquesta – Corazon de Oro
– from Tango, movie soundtrack
Osvaldo Pugliese – Desde el Alma
– from Ausencia (EMI)
Orquesta Color Tango – Ilusion de Mi Vida
– from Con Estilo Para Bailar (Techno Disc)
La Cumparsita — The Finale
When the DJ plays the classic "La Cumparsita," dancers know the milonga is ending and the evening is coming to a close. At milongas in Buenos Aires, DJs typically play at least two versions of "La Cumparsita" to end the evening. Dancers often dance the first version with whoever is nearby and reserve the second for someone special. Sometimes DJs will play more than two versions of "La Cumparsita."La Cumparsita for Milonguero-Style Dancing
(The following recordings are best for milonguero-style dancing.)
Francisco Lomuto – from Great Orchestras of Tango’s
Golden Age (Harlequin)
Angel D'Agostino y Angel Vargas – from Tangos de
Los Angeles, Vol. 2 (BMG-RCA Tango Argentino)
Juan D'Arienzo – from 16 Grandes Tangos (RCA
compilation)
Rodolfo Biagi con Jorge Ortiz, Vol. 2 (EMI
Reliquias)
Francisco Canaro – Tangos (EPM Musique)
La Cumparsita for Salon-Style Dancing
(The following recordings are best for salon-style dancing.)
Carlos Di Sarli – from Instrumental (BMG-RCA
Tango Argentino)
Alfredo De Angelis – from From Argentina to the
World (EMI)
Carlos Garcia – from Tangos II (JVC)
Tango X 2 Orquesta – from Una Noche de Tango
Francini/Pontier – from Tangos I (JVC)
Los Porteños – from Tangos de Siempre
(Seyer)
Other recordings of La Cumparsita
(The following recordings are of jazz tango but can be used for salon-style
dancing on rare occasion.)
Quinteto Francisco Canaro (Melopea Discos)
New York Buenos Aires Connection – The New Tango
(VAI Audio)