Orchestra Handout2.pdf

Notes (2 nd version, updated 4/19/2008)

D’Arienzo

Singer(s)

Recommended Album(s)

1935-38

rhythmic, sweet, Biagi on piano

Echague

I V El Rey del Compas/70 Años series

1939

transition year, hard rhythm Polito on piano

Echague

i V

El Rey del Compas/70 Años series

1940-44

new orchestra, Salamanca on piano, Maure excellent

Maure

El Rey del Compas/70 Años series

45-49

few gems, struggling with “slow” trend of 40s

not recommended

1950-55

new orchestra, rhythm is back, super hot!

El Rey del Compas/70 Años series

1955 +

Salamanca leaves 1957, few gems, overblown

Di Sarli

1928-31

sextet – elegant, relaxingly rhythmic

Estrella.

i v

Coleccion 78

1939-41

wicked rhythm, virtuosic piano/arrangements

Rufino

I V Coleccion 78, ToTango

1942-44

slowing down, deeply emotional, singers rule, Rufino

dynamic, nostalgic, Podesta delicately robust

Rufino

Podesta

i V

Coleccion 78, ToTango

1945-48

Podesta 1947 only, Duran smoky, commanding,

singers still rule but signature inst. style emerges

Duran

Podesta

I V

Coleccion 78, ToTango

1951-53

poor recording quality, very slow, few gems

Music Hall

1954-58

masterful, spacious, culmination of his sound

RCA-Victor 100 Años (Phillips for 58)

Troilo

1941-42

Virtuoso arrangements, rhythmic to thoughtful

Fiorentino

I V Troilo en RCA Victor

1943-44

More emotional, nostalgic, slower, singers rule

Fiorentino

Marino

i v

Troilo en RCA Victor

1944-50s

Increasing emotion/drama, some gems (valses)

Marino, Ruiz

Troilo en RCA Victor, Arg. to the World

Pugliese

1943-51

Multi-dimensional, virtuosic arrangements and

musicians, rhythmic, very danceable

Channel

Moran

I v

Reliquias – Instrumentales Inolvidables I

- II

1952-59

Increasing drama, hair-raising solos, virtuosic

Instrum. Inolv. II & III, Arg. to World

1960+

Increasing drama, few dance gems, orchestral

From Argentina to the World

Tanturi

1940-42

Rhythmic, simpler, increasing emotion, singer rules

Castillo

i V

Solo Tango

1943-45

Castillo left in 43, sophisticated, emotional, Campos

has powerful, rich voice of 40’s

Castillo

Campos

ToTango

Calo

1941-44

Tight, rhythmic, romantic, the 40’s defined, Beron in

42 & 44 is the ultimate romantic voice of tango

Beron

Podesta

Reliquias–Al Compas del Corazon

Reliquias–Ex. con Podesta, Ortiz, Beron

D’Agostino

1940-45

Simple, dynamic rhythms, nostalgic, Vargas rules

Vargas

RCA-Victor 100 Años

Canaro

20s

Innovative, rhythmic, king of pre golden age tango

40 Grandes Exitos? ToTango?

1930s ~41

Varied - rhythmic, energetic, sometimes romantic

(Maida), milongas are amazing, valses good

Fama, Amor

Maida

I V Reliq. –Bailando Tangos, Valses, Milongas

Reliquias - Milongueando con Canaro

1942+

Still recording profusely, but quality inconsistent

Reliquias – various (be careful)

De Angelis

1940s

Great valses, some sweet tangos, light sound, not

very gutsy. Many mediocre tracks recorded

Dante

Martel

i V

Reliq. – Los Duos con Dante y Martel V2

1950s +

Orchestral, stringy, some gems

Reliquias – Instrumentales Inolvidables

Donato

1932-44

Creative, quirky, infectious rhythms, very fun

Lagos

I V

Coleccion 78

Lomuto

1922-30

Guardia Vieja sounds, sweet, typical of the times

Estrella.

i v

El Bandoneon EB-138

1931-45

VERY Romantic, many good singers, slower

Omar

I V

Coleccion 78

1945-50

De-Carian influences a la Troilo, more dramatic

Coleccion 78

Fresedo

1920s

major pioneer, influenced Di Sarli, rhythmic, sweet

Las Grandes Orquestas del Tango

1933 - 37

Romantic, upper class, melodic, harp, Ray’s voice…

Ray

i V

Las Grandes Orquestas del Tango

1939-42

Upper Class, melodic, w/Ruiz’s delicate voice

Ruiz

Solo Tango

1943+

New orchestra, tending towards overly lush

Serpa, etc.

not recommended

Laurenz

1937-42

Rhythmic, pulsing, visionary, virtuoso bandoneonista

Casas

I V Coleccion 78

1943-50s

Slowing down, romantic, classy, distinguished

Podesta

Reliquias – Podesta y Bermudez

Biagi

1938-39

Simple, catchy rhythms, melodies, fluid phrasing,

transitioning from D’Arienzo’s influence

Falgas

I V Reliquias- Sus Exitos con Falgas y Ibanez

Reliquias- Solos de Orquesta (all eras)

1940-43

Chunky rhythms, slower, tricky, sparse – Amor in 43

Ortiz

i v

Reliquias- Sus Exitos con Ortiz

1944-47

Slower, drawn out, more melodic

Amor

Reliquias- Sus Exitos con Amor

1948+

Transition back to raw rhythm, sparse, strong

ToTango

Rodriguez

1937-40s

Simple, rhythmic, increasingly slower, “happy”

Moreno

i V

Reliquias- Tangos con Moreno

Firpo

1930s-50s

Quartet – guardia vieja style, rhythmic, vintage

Reliquias- Tangos y Valsecitos V2

late 30s +

Orchestra – romantic, unique, traditional

I v

Reliquias- Tangazos de Antaño

De Caro

1924-28

Sextet (Victor) – pivotal arrangements, A1 line-up

RCA Victor 100 Años

1929-32

Sextet (Brunswick) – same sound, arrangements

1933-40s

Orchestra – wild, crazy rhythms, catchy, some gems

Reliquias- Bien Jaileife

1949-53

Sextet re-recording classics – not convincing

Reliquias- Tangos de Rompe y Raja

O.T. Victor

1925-1936

(Carabelli) Studio orchestra, ahead of their time

i v

RCA Victor 100 Años

1936-1943

(Scorticati) Sound changing with times

i V

Coleccion 78

1943-1944

(Maurano) Tango boom overwhelming need for OTV

i V

Coleccion 78

Demare

1938-1948

Reliquias – Sus Exitos con Beron

Reliquias – w/ Miranda, Beron, Quintana

*I = Instrumental V = Vocal lower case = worthwhile upper case = excellent upper case bold = essential

Classy rhythms with underlying drive typical of the

40’s, VERY tight orchestra, Quintana excellent

Beron

Quintana

For growing communities:

The DJ is responsible for educating the community about what good dance music is, by playing ONLY good dance music.

•

The DJ may have to find creative ways to keep the energy flowing in young communities…but don’t push it. When it’s time to go

home, go home. Trying to bring them back onto the floor may burn them out. After some time, they will gain interest &

confidence and become “hardier” tangueros and will stay longer and dance with more energy. Be sensitive, not maniacal.

•

Play familiar music – most newer dancers enjoy hearing familiar music. This is part of the “educational process”.

•

Play music to keep the majority of the people happy – you cannot satisfy everyone, and should NOT play music just to suit a

minority of the community, in general.

•

For established communities & festivals

•

Play for the dancers, not to show off your collection. Play a matrix of familiar music, and look for the opportunity to toss in some

spice from time to time, but don’t call too much attention to the “specials”. Sometimes they’re not necessary, especially in the

first couple dances of a major festival – this is a good time to play familiar music so people from different places can connect in

unfamiliar places within a matrix of familiar, comfortable music.

Identify the dancers who are either the most experienced, have the most influence, etc. and make an effort to keep them

dancing, in the hope that this will influence the others to keep dancing too. Caution is advised here – while identifying the major

players, keep your eye on the overall crowd as a whole – this is merely something to be considered and balanced….

•

Vary the music through the event to gradually build up to a climax, and if there is time (usually takes 4+ hours), a second climax is

possible. The variables are speed of the song, emotional content, recording quality, and rhythmic complexity. There are other

variables, but these are the big ones.

Special notes on sound equipment and volumes:

Use the highest quality sound equipment possible, and the fewest components possible. All that is needed is a source (CDs or

computer), perhaps a mixer, an amplifier (unless the speakers are all powered), and speakers. An equalizer is very handy in the hands

of an experienced technician; otherwise it often does more harm than good. Get the horns (tweeters) of the speakers at least 9’

above the floor level, and higher IS better. This keeps the sonically tiring high notes out of the dancers’ ears. As for volume, the goal

is to set the sound system up to be able to play the lowest volume possible while still filling the room with full sound, allowing room to

raise the volume, perhaps as the climax builds. Continual loud music causes sonic fatigue.

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