Astor Piazzolla
by Stephen Brown
A brief guide to some post-golden-age CDs for the DJ playing music at milongas and practicas.

Golden-Age and Old-Guard Redux
Lush Transition-Era Orchestration
Progressive (Pugliese/Piazzolla/Salgan/Troilo) Sensibilities
Music from Tango Shows

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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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