Golden-Age and Old-Guard Redux
Lush Transition-Era Orchestration
Progressive (Pugliese/Piazzolla/Salgan/Troilo)
Sensibilities
Music from Tango Shows
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Recordings
Golden-Age and Old-Guard Redux
These recordings were made later that the golden age, but retain many of the sensibilities of recordings made during the golden age or earlier.Orquesta Color Tango — various recordings
An outstanding orchestra that started with a Pugliese/Piazzolla concert
sound but has moved toward a Pugliese dance sound. In addition to
several CDs of concert music, Color Tango has released three CDs of music
intended for dance in the series Con Estilo de Bailar. All
three of these CDs have tracks that work well for social dancing.
Most are played in Pugliese style, and some are Pugliese classics.
Orquesta Tipica Imperial — various recordings
An orchestra led by Hernan Bartalozzi (the second bandoneonist from
Color Tango), that plays in the Pugliese style with a steady dance beat.
Orquesta Tipica Sans Souci — Al Estilo del '40
An orchestra that plays and records in the style of Miguel Caló
and Osmar Maderna, the latter being a pianist who arranged and played for
Caló and briefly led his own ensemble. Orquesta Tipica Sans
Souci uses Osmar Maderna's arrangements as transcribed from Caló's
and Maderna's recordings made from 1940 through 1951. The mixture of
instrumental and vocal tracks on the one available CD may prove to be an
obstacle to assembling a tanda for dancing that has a consistent sound.
Orquesta Tipica Fervor de Buenos Aires — Quien Sos
An orchestra that plays and records in the style of Carlos Di Sarli
and has a growing list of original compositions recorded with the same
sound.
Gente de Tango — Al Estilo Di Sarli
An orchestra that plays and records in the style of Carlos Di Sarli.
Joaquín Amenabar — Orquesta Tipica De La Guardia Vieja
Despite the name, this modern era orchestra plays in a style reminiscent
of Laurenz, De Caro and Di Sarli.
Juan D'Arienzo — Tangos Para El Mundo, volumes 1 and 2 (Tango Argentino
BMG-RCA)
These two CDs capture some of the D'Arienzo orchestra's later recordings,
after it shifted toward concert music. The fidelity is great, and
many tracks are suitable for dancing, but they are not the classics.
Orquesta Juan D'Arienzo — La Cumparsita (Phillips 832 799-2)
On this recent high-quality recording, the orchestra is led by a former
D'Arienzo side man. The orchestra plays in D'Arienzo's style but
takes many of the songs at a faster tempo than most would like for social
dance. (likely discontinued)
Los Solistas de D'Arienzo — Lo Mejor de (Music Hall)
This CD contains a relatively recent set of recordings of classic tangos
played in D'Arienzo's style. The music does not have quite the playful
energy of authentic D'Arienzo recordings, but the recording is of much
higher fidelity. (discontinued).
Los Reyes del Tango — Ventana (Epsa)
The Los Reyes del Tango orchestra was founded in June 1992 to play
the golden-age music of the late maestro Juan D'arienzo from the golden
era of tango. The orchestra became a part of the stable show at the international
La Ventana Restaurant, in the San Telmo. The orchestra recorded its now
discontinued CD in 1995, and it contains a number of tracks suitable for
dancing.
Orquesta Escuela de Tango — Bien Compadre & De Contrapunto
A modern-era orchestra that plays and records in the many historical
styles including those of Di Sarli, Troilo, D'Arienzo, Pugliese and Gobbi.
Los Tubatango — Una Noche de Garufa (Music Hall)
A modern-era recording with music played in the old-guard style on
guitar, bandoneon, tuba and flute. Works more as a novelty recording.
(discontinued)
Juan Cambareri — y su Quarteto 1952-1957 (Disco Latina)
Juan Cambareri was a virtuoso bandoneon player who played with Roberto
Firpo. He led his own formation in the early 1950s, but retained
Firpo's style. This well-regarded CD has many cuts played at a very
fast tempo. (discontinued)
Dan Diaz and the Tango Camerata
Dan Diaz is leading a modern-era dance orchestra that has some elements
of the progressive (Pugliese/Piazzolla/Salgan) sound but has adhered to
more of golden age dance rhythm—even when playing Piazzolla's music.
The one available recording is of a trio with bandoneon, guitar and bass.
I find the valses on this CD the most compelling for social dance.
I found it difficult to assemble a tanda of tangos from the one currently
available CD because the sound was a little too diverse.
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Lush Transition-Era Orchestration
Some of the tango music recorded shortly after the golden age of tango took the route of playing classics from the golden age but with a fuller, lush and overblown orchestration. These recordings lack the pulsing energy of golden-age tangos and tend to sound repititous and dull if utilized any more than sparingly.Anibal Troilo — Sus Ultimates Instrumentales (Tango Argentino)
Well recorded music from the concert era that with a few exceptions
lacks the beat to support most styles of social dance.
Florindo Sassone — Bien Milonguero, volumes 1 and 2 (EMI Reliquias)
Florindo Sassone was heavily influenced by his instructors, Roberto
Firpo and Osvaldo Fresedo. He also played in the DiSarli orchestra.
As a leader, his music combined the smooth rhythmic feel of DiSarli and
the lyrical sound of Fresedo with the fuller, stronger and more dramatic
ochestration that characterized the transistion era. The fidelity
is greater than that found on most Di Sarli recordings, but the dance beat
is more deeply submerged, and the music is less compelling.
Hector Varela — various recordings
Hector Varela was the first bandoneonist in Juan D'Arienzo's orchestra
for many years. He later led a popular transition era orchestra that
retained elements of D'Arienzo's dance beat while taking on a spacious
concert sound somewhat reminiscent of Di Sarli. Most dancers would
prefer D'Arienzo or Di Sarli.
Carlos Garcia and Tango All Stars — Tango II (JVC)
This CD includes versions of several Piazzolla tangos that are suitable
for dancing. Everyone seems to love the versions of La Cumparsita and Adios
Nonino on this CD when played at the right time, but some of the music
is lost in lush, full orchestration. (discontinued)
Orquesta Francini/Pontier — Tango I (JVC)
Francini and Pontier both played with the Miguel Caló orchestra
before striking out together to form their own orchestra. In some
ways, their orchestra represents a continuation of the Calo sound into
the concert era, but with a much fuller concert orchestration instead of
a dance-band sound. This discontinued CD has many tangos suitable
for dancing, but the overblown orchestral arrangements can grow tiresome
if played too often or in combination with other highly orchestrated music.
The earlier Francini/Pontier recording on El Bandoneon is of particularly
low fidelity. (discontinued)
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Progressive (Pugliese/Piazzolla/Salgan/Troilo) Sensibilities
Pugliese, Piazzolla, Salgan and Troilo introduced progressive sensibilities into tango in which the drama was heightened through pauses and, in some cases, tempo changes. With Pugliese's orchestra, the transitions were used more sparingly and in contrast with a strong marcato rhythm. By contrast, smaller orchestras—such as Piazzolla's and the contemporary orchestras who follow his example—rely heavily on abrupt tempo changes and rubato playing to create their dramatic effects. The smaller orchestras may have taken this approach because they lack enough members to produce drama through the sophisticated instrumental coloring used by larger golden-age orchestras.Osvaldo Pugliese — Instrumentales Inolvidables, Vol. 3 (EMI Reliquias)
This CD contains "Gallo Ciego," "Pata Ancha" and a number of other
outstanding instrumentals that the Pugliese orchestra recorded in its transition
from dance orchestra to concert orchestra. Many would be suitable
for late-evening dancing.
Osvaldo Pugliese — From Argentina to the World (EMI)
Most of the tracks on this CD were recorded for listening rather than
dancing. If you are building a collection strictly for dancing and want
to consider a more modern sound, this excellent CD is still worthy consideration.
About half of the songs are suitable for late evening dancing.
Osvaldo Pugliese — Nostalgico (EMI)
Most of the tracks on this CD were recorded for listening rather than
dancing. If you are building a collection strictly for dancing and want
to consider a more modern sound, this excellent CD is worthy of consideration.
About half of the songs are suitable for late evening dancing, including
the classic "A Evaristo Carriego."
Sexteto Tango — various recordings
This orchestra was formed by members of a later Pugliese orchestra
and went further toward a progressive concert sound. The recordings
made by this orchestra lack the driving beat of Pugliese, but retain the
complexity of Pugliese's sound.
Anibal Troilo — RCA Victor 100 Años
Very well recorded music from the concert era that lacks the prominent
beat to support most styles of social dance. Shows strong modern
sensibilities.
Color Tango — various recordings
An outstanding orchestra that started with a Pugliese/Piazzolla concert
sound but has moved toward a Pugliese dance sound. In addition to
several CDs of concert music, Color Tango has released three CDs of music
intended for dance in the series Con Estilo de Bailar. All
three of these CDs have tracks that work well for social dancing.
Most are played in Pugliese style and some are Pugliese classics.
El Arranque — various recordings
This orchestra has a progressive sound. A number of the tracks
from its CD Tango will appeal to progressively minded dancers without
totally repelling the traditionalists.
Sexteto Sur — various recordings
Another outstanding orchestra combines a progressive concert sound
with dance rhythms.
Fernandez Fierro — various recordings
An orchestra that combines later Pugliese and Piazzolla traditions
with a decided emphasis on dissonance but a steady dance beat.
Orquesta Tipica Imperial — various recordings
An orchestra in the same vein as later Troilo and Pugliese but mostly
with a steady rhythm.
Rodolfo Mederos — various recordings
An orchestra in the same vein as Troilo, Pugliese and Piazzolla with
elements of jazz.
Orquesta Tipica el Afronte — various recordings
An orchestra in that is mostly in the same vein as Pugliese, but with
some other sounds as well.
Quinteto Francisco Canaro (Melopea Discos)
This quintet was led by Antonio D'Alessandro, who was a violinist in
Canaro's orchestra and Quinteto Pirincho. Quinteto Francisco Canaro
recorded three CDs worth of music for Melopea Discos. All are self-titled
with the second and third labeled as Vol. 2 and Vol. 3, respectively.
The first CD isn't labeled Vol. 1, but is listed as such at some vendors.
A compilation drawn from the three discs has been releaed as Lo Mejor del
Quinteto Francisco Canaro. As represented on these recordings, the
quintet played classics of tango in a relatively modern concert style with
progressive sensibilities. Some the tracks are suitable for social
dancing. Many dancers would find most tracks to be too complex and
a bit fast. I sometimes use the recording of La Cumparsita found
on the first CD. It has a fairly straight sound until the bassist
solos, at which point the track takes on a jazz feel.
Tango Bar (Chesky)
An audiophile recording, bearing no relationship to movies of the same
name, in which the music was arranged by Raul Juarena (of the now disbanded
New York Tango Trio). The arrangements combine elements of the Caló
sound with a more progressive sound. Some of the pieces are suitable
for dancing. With a little bit of work, a DJ could assemble a fairly
decent tanda from this CD that could be used from mid to late evening.
(not available through normal channels for tango recordings)
Piazzolla, Mosalini and Ziegler — various recordings
Recordings by these three artists are widely available and highly regarded
for listening, but these orchestras did not record with social dancing
in mind. Those who dance the liquid and nuevo styles of tango are beginning
to use these recordings for social dancing. Dancers of other social
styles may dismiss such dancing as largely theatrical. All of these
recordings reflect and the Piazzolla sensibility, and some of the Piazzolla
recordings are of shockingly low fidelity. Many of these recordings
would be good for exhibitons. Among the Piazzolla CDs, RCA Victor
100 Años is particularly interesting.
Nuevo Quinteto Real — various recordings
An orchestra with some great tango musicians, including Horacio Salgan.
It draws heavily on the Salgan sound and is firmly entrenched in the progressive
sound developed in the concert era.
Gidon Kremer — Hommage a Piazzolla
The music on this CD is dark and dramatic, drawing out classical elements
in Piazzolla's music. It is not really rhythmic enough for most styles
of social dancing. On the right night, the very compelling recording
of "Oblivion" could be used for late-night dancing.
Daniel Barenboim — Mi Buenos Aires Querido: Tangos Among Friends
The music on this CD absolutely wonderful and recorded with the best
fidelity that I have heard on any tango recording. It draws out the
classical elements of progressive tango, and none of the songs have a rhythm
that is really compelling for social dancing. One or two might be useable
for late-night dancing.
Quartango — Esprit
An outstanding orchestra with a progressive concert sound. The
recording of "Oblivion" is very nice for late-night dancing.
New York Tango Trio — Cabarute (Lyrichord 7428)
Some of the rhythm changes can be a bit tricky, and one or two numbers
get a bit manic toward the end. Works decently when used sparingly
for social dance. Seems to sound muddy on low-fidelity equipment.
(maybe discontinued)
Son Cosos De Al Lao — Tango
A small ensemble that plays classics and more contemporary pieces with
dramatic concert touches, including just a hint of Jimi Hendrix on occasion.
Trio Hugo Diaz — various recordings
A group comprising bandoneon, guitar, and bass has recorded some dance
music which has a dreamy feel that can be used for a fun change of pace.
On most recordings, the rhythm changes yields music that is not suitable
for social dancing. (not available through normal channels for tango
recordings)
Trio Pantango — Tango Argentino (ARC EUCD 1257)
This CD features solid playing on bandoneon, guitar, and bass. Some
of the music has a dreamy feel, which can be fun for a change of pace in
dancing. Sometimes the music just floats away. (not available through
normal channels for tango recordings)
Litto Nebia Quinteto — Tangos Argentinos de Enrique Cadicamo (Iris
980)
A very well recorded CD of somewhat progressive music played on guitar,
bandoneon, piano, bass and violin. The 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.
(apparently discontinued)
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Music from Tango Shows
Music from contemporary tango shows is designed to help professional dancers with considerable rehearsal time dazzle their audiences. The music varies from full orchestration to smaller ensembles, but it is typically marked by fast tempos, rhythm changes and other dramatic devices developed in the progressive sound of Pugliese, Piazzolla and Salgan. The best is similar to later Pugliese. None seems to have a golden-age sound.Sexteto Mayor — various CDs
The playing of Sexteto Mayor combines fast tempos with some progressive
sensibilities to create an exciting theatrical sound. Their CD Tangos
para Bailar is more firmly rooted in progressive sensibilities than
their other CDs.
Tango Pasion — Angel Soundtrack
Features the playing of Sexteto Mayor and combines fast tempos and
rhythm changes, and some progressive sensibilities to create an exciting
theatrical sound. (maybe discontinued)
Tango Argentino — Atlantic Soundtrack
Takes the approach of combining lush, full orchestration, fast tempos
and rhythm changes, and some progressive sensibilities to create an exciting
theatrical sound.
Forever Tango — RCA Victor Soundtrack
Takes the approach of combining lush, full orchestration, fast tempos
and rhythm changes, and some progressive sensibilities to create an exciting
theatrical sound.
Tango X 2 — Una Noche de Tango & Perfumes de Tango
The music on these two CDs draws more heavily on progressive sensibilities.
Some are played at fast tempos with difficult rhythm changes. The
recordings of Gallo Ciego on Perfumes de Tango and La Cumparsita on Una
Noche de Tango are quite good for social dancing.
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