Lucio Demare: (played by the dj @ a recent New York City milonga) Malena Manana zarpo un barco Oigo Tu Voz Al Compas de un tango
Those are all really nice songs, although that version of Oigo tu voz sounds like the Tanturi version (even though the video says otherwise).
Indeed. You can compare the two versions here: http://poesiadegotan.wordpress.com/2009/05/21/oigo-tu-voz-1943/
I usually don't mix singers in a tanda, and so my preferred Demare/Miranda tanda drops Beron's Oigo Tu Voz in favour of No Te Apures Cara Blanca.
absolutely right. my bad. thanks for the correction guys. Here's the Demare version with Beron singing: and while looking for it I found this Demare/Beron tanda that also ends with "Oigo Tu Voz":
the song that made me sit up & take notice of Lucio Demare was "Moneda De Cobre" but I seldom hear it in the milonga. Any thoughts as to why? If you DJ what songs would you use to create a tanda including "Moneda De Cobre" Demare/Beron 1943?
No clue why it's not played more. It's a great song, IMO. I put in it with some other songs that I don't hear a lot. For me, I have no problem mixing the singers, and that's what I do with this song. 1) Estan Sonando Las Ocho 2) Moneda De Cobre Video Above 3) Solamente Ella We mostly do 3 song tandas around here, but if it's a 4 song tanda, I'd likely use Igual Que Un Bandoneon as the 2nd song.
I love Demare, and my tanda would be: Moneda De Cobre Como Se Hace Un Tango En Un Rincon Soy del Noventa All with Raúl Berón & from 1943.
Osvaldo Fresedo: (Played by the DJ @ a recent New York City milonga). "Niebla del Riachuelo" R.I.P. Andrea Misse "Cordobesita" "Isla De Capri" "Sollozos"
Early Fresedo is one of my favorite orchestras, especially with Roberto Rey. A later period, not so much. In this tanda, "Cordobesita" and "Isla De Capri" seem a little to similar to my ear.
Malena is so powerful! I haven't heard or danced a tanda where the other selections came close to matching it. Once I had a private lesson where I asked our teacher to play only Malena: Demare, Troila, Sexteto Mayor with Adriana Varela, and Pugliese. I like working/learning this way - dancing a range of "covers".
I'd happily pair them together, even though Isla de Capri isn't tango but a fox-trot (and none the worse for that), but I wouldn't pair them with the others, which are serious/proper tango, whereas the others are more whimsical. With more suitable pairings, you get two great tandas, though.
I hadn't heard the Pugliese version before (but I have the pastiche rendering by Color Tango (and I've gone right off them)), and as usual with me, that sets me off thinking what would make a good mid-70s Pugliese tanda. It's part of the fascination of tango music, that one discovery leads to a revision of the way you think about or listen to a particular orchestra in a particular period. Another version of Malena worth seeking out is that by Hugo Díaz, but I find that Demare's 2nd version, from 1951 with Héctor Alvarado fails to hit the spot for me.
Osvaldo Pugliese: (Played by the dj @ a recent New York City milonga) La Cachila Boedo Corrientes y Esmeralda Fuimos
Flores de alma (1947) Pobre flor (1946) Soñar y nada más (1944) all vals duets Alfredo de Angelis with duets by Julio Martel and Carlos Dante
I play exactly the same tanda, but I reverse the order of #1 & #3 reversed. An alternate tanda (same artistes) might be: Mi Cariñito No Vuelvas María A Magaldi but I've never played them in a Milonga.
I (personally) find four Pugliese (esp. instrumental) pieces in a row by far much tooo long: I once missed to grab the right woman and was sentenced to wait the entire Pugliese tanda at the side, started a fight with the organizer and finally was thrown out.. That is my Pugliese torture-trauma: waiting, not the sacking, of course. Four Laurenz´pieces take ten minutes, four Puglieses almost half an hour. So when I am djing now I use separate the different Pugliese styles: three pieces of Fantasía-Pugliese, and later that evening up to four pieces of Salón-Pugliese. I also would separate the Chanel pieces. Fuímos (of course one of my favorites) stems from a later recording session. Not only the technique is different, Fuímos also is absolute differently arranged. My short Pugliese-Chanel tanda: Rondando Tu Esquina (1945) El Sueño Del Pibe (1945) Corrientes Y Esmeralda (1944)
I think my favourite is Pobre flor, so i might opt for putting that last... Sonar y is good floor bait too so having it first makes sense.
What? I've grouped my preferred Pugliese instrumentals into 11 x 4-song tandas, and they total 133.5 minutes. The shortest tanda is 10.4 mins & the longest is 14 mins, with an average of 12.1 mins. What on earth are you playing?
