A tanda for...

dchester

Moderator
Staff member
At a recent milonga where I was the DJ, Oscar Casas took the time to come over and tell me that he really liked the music I was playing, and he also gave me a compliment on my dancing. I must admit, it made me feel good to get complimented by someone like him. Strangely enough, it was also around that time that I realized what a charming, insightful, and intelligent person that Oscar really is.

:D

In any case, here is a tanda I played that night, with songs by Pedro Laurenz.


Abandono



De Puro Guapo



Vieja Amiga

 

tangobro

Active Member
Color Tango

played by the dj at a recent New York City milonga

A Evaristo Carriego
R.I.P. Andrea Misse

Mala Junta

Chique



I appreciate that there are live orchestras currently performing tango classics, but 3 questions.

Why select a cover version to play at a milonga?

Are there any cover versions of a tango classic that you prefer to the original?

Why?
 

bordertangoman

Well-Known Member
I appreciate that there are live orchestras currently performing tango classics, but 3 questions.

Why select a cover version to play at a milonga?

Are there any cover versions of a tango classic that you prefer to the original?

Why?
Si Soy Asi; the ALex krebs Sextet; I like it, and love dancing to it.
Se dice de mí by Anja Stor is good as Tita Morello's version and there a funky version by Arrecife latino, if you want to please the salsa/alternative music crowd.
 
Color Tango

played by the dj at a recent New York City milonga

A Evaristo Carriego
R.I.P. Andrea Misse

Mala Junta

Chique



I appreciate that there are live orchestras currently performing tango classics, but 3 questions.

Why select a cover version to play at a milonga?

Are there any cover versions of a tango classic that you prefer to the original?

Why?
1) Well, there are many famous tango pieces that were recorded by more than one Golden Age ensemble. Other than the original, the others are "covers". So, to carry on the tradition is just fine with me. But in the specific case of Color Tango, I don't see the point in basically copying Pugliese arrangements verbatim. But I wouldn't mind hearing Color Tango live at a milonga. Live music is best, and we should not forget dancing to old, usually rather poor quality, recordings is not "normal", except to us. Imagine dancing to live Di Sarli, D'Arienzo, Biagi, et. al. compared to the limited dynamic range and expression in so many recordings we have. Yes, I am exaggerating - to make a point. I guess I've just heard one too many violin solos sound like a buzzing bee rather than the rich, vibrant, tremendously expressive instrument it is when heard live or in a modern recording. We are not dancing the way people danced in the 1920-50's because we do not hear what they heard. (More so, obviously, the older the recording, and ignoring dance style evolution during that period). IMHO of course; others will disagree, and that's fine.

2) If you mean post Golden Age, then yes, lots. Malena is one.

3) Well, I'll get to that eventually in the Malena analysis. Basically because the vocal interpretation by Adriana Varela and the playing by Sexteto Mayor are so outstanding. Her expressive range, and the crispness of her attack and phrasing are marvelous. And the accompaniment and solo bits by Sexteto Mayor are rhythmically so tight, and the phrasing so complimentary to Varela, I still get goose bumps listening to the recording. And I dance better because of that.
 

dchester

Moderator
Staff member
As you're probably aware, that's Pugliese playing piano. I am highlighting that because this song has probably the most beautiful use of piano I have ever heard.
I actually was not aware of that. Thanks for the info. This is one of several Pedro Laurenz tangos that move me in a way that not many other tangos do.
 
I actually was not aware of that. Thanks for the info. This is one of several Pedro Laurenz tangos that move me in a way that not many other tangos do.
Have you checked out Francini-Pontier? (formed their own orchestra after leaving Caló's). You're going to like their songs if you like Laurenz. A similar more sophisticated style, but still way more danceable than Osvaldo Pugliese or other 'difficult' Golden Age music.

www . youtube. com/watch?v=PVT76kmMRe8
 
It's a tragedy that the Francini-Pontier orcestra is neglected outside of BA (which is also true for Laurenz I think, like someone stated in this thread), because they brought great musicians and famous singers (Podesta, Rufino, Beron, Sosa) together exactly during probably the most succesful period of tango. I think both Francini and Pontier were some of the best individual musicians out there. I can't find most of their vocals I wanted to share with you on YouTube, so I've put a couple of them on MEGA.

mega .co . nz/#!c51WARDZ!TNTMyhHVJsE_tC8CxJIUDBUBhSY96tr8Rr_bKf7EB2o

I am just sharing five songs and not an entire album or whatever large file, so I hope that nobody is going to get mad over this.
 

opendoor

Well-Known Member
As you're probably aware, that's Pugliese playing piano.
No, but I find it clear that the deCaro clique sticks together.
I am highlighting that because this song has probably the most beautiful use of piano I have ever heard.
I´m interested in your explanation. Why do you find that piano arreglo so stunning? In Jazz back then it simply was everyday business to play inspiring. For me: I don´t like that piece. The only thing that reconciles me is that timid touch of polyphony from 1:19 up to 1:20.
 
No, but I find it clear that the deCaro clique sticks together.
I feel tempted to assume that was intended to be a friendly ironical remark, but anyway, I enjoy all kinds of traditional tango music. I have been busy with a D'Arienzo-Maure obsession lately. The great thing about tango is its diversity that in our personal perspectives, as time passes by, becomes only more profound and impressive.

I am referring to the signature dramatic, but at the same time also subdued playing by Osvaldo Pugliese. As far as the rest of the song and its lyrics are concerned: I am not that impressed either, there are many better songs.
 
1) Well, there are many famous tango pieces that were recorded by more than one Golden Age ensemble. Other than the original, the others are "covers". So, to carry on the tradition is just fine with me. But in the specific case of Color Tango, I don't see the point in basically copying Pugliese arrangements verbatim. But I wouldn't mind hearing Color Tango live at a milonga. Live music is best, and we should not forget dancing to old, usually rather poor quality, recordings is not "normal", except to us. Imagine dancing to live Di Sarli, D'Arienzo, Biagi, et. al. compared to the limited dynamic range and expression in so many recordings we have. Yes, I am exaggerating - to make a point. I guess I've just heard one too many violin solos sound like a buzzing bee rather than the rich, vibrant, tremendously expressive instrument it is when heard live or in a modern recording. We are not dancing the way people danced in the 1920-50's because we do not hear what they heard. (More so, obviously, the older the recording, and ignoring dance style evolution during that period). IMHO of course; others will disagree, and that's fine.
I do not think that most tango recordings that are left nowadays are usually of a poor quality. Day by day, I am surprised how modern most orchestras sound, even now. Yes, in a technical sense the sound quality may be not as great as it is today, but in comparison to most jazz recordings I am stunned by the treasures I keep encountering..... even the singers and the kinds of subjects they are addressing do not sound old-fashioned to me. Mind you, I am talking about the Golden Age, most of the old guard is a different story.

If someone invents a time machine the first thing I would do is to go back to the fourties, but more realistically, I am of the opinion that current-day orchestras and especially their singers cannot match the intimidating quality of the real deal. I love being present at live performances and seeing people play the instruments in a traditional way (ergo, no neo tango nonsense), but I guess I am more interested in the nostalgic feeling it evokes than the actual performance itself. Color Tango is the perfect example of 'nothing special', of course I couldn't do their job myself but I always end up comparing younger music to the older music. I fear I have been spoilt.
 

dchester

Moderator
Staff member
Have you checked out Francini-Pontier? (formed their own orchestra after leaving Caló's). You're going to like their songs if you like Laurenz. A similar more sophisticated style, but still way more danceable than Osvaldo Pugliese or other 'difficult' Golden Age music.

www . youtube. com/watch?v=PVT76kmMRe8
I have, but I haven't heard any of his stuff that moves me the way that some of Laurenz's stuff does. In some ways, it's sort of like a fusion of Laurenz and Pugliese, but not quite as good as the best of either of them. It's not that I hate him, but more I've not heard anything that I felt was special.

Just my two cents.
 

dchester

Moderator
Staff member
It's a tragedy that the Francini-Pontier orcestra is neglected outside of BA (which is also true for Laurenz I think, like someone stated in this thread), because they brought great musicians and famous singers (Podesta, Rufino, Beron, Sosa) together exactly during probably the most succesful period of tango. I think both Francini and Pontier were some of the best individual musicians out there. I can't find most of their vocals I wanted to share with you on YouTube, so I've put a couple of them on MEGA.

mega .co . nz/#!c51WARDZ!TNTMyhHVJsE_tC8CxJIUDBUBhSY96tr8Rr_bKf7EB2o

I am just sharing five songs and not an entire album or whatever large file, so I hope that nobody is going to get mad over this.
Thanks. There are a couple songs there that I didn't have, plus your copy of Dejame No Quiero Verte Mas sounds better than the one I have.
 
I do not think that most tango recordings that are left nowadays are usually of a poor quality. Day by day, I am surprised how modern most orchestras sound, even now. Yes, in a technical sense the sound quality may be not as great as it is today...
I was talking about the sound quality, not the musicianship. The sound quality ranges from acceptable to dreadful. The instrumental musicianship is usually very good, but to my ears the recording quality hides a great deal of the dynamic range and expressiveness inherent in the music. (violins as buzzing bees :)). The first time I heard a bandoneon played live I thought "so that's what it's supposed to sound like." Then I heard an ensemble with four of them. That sound is so far removed from the Golden Age orquesta recordings...even current day technology does not capture it fully; same applies to most acoustic instruments, bowed strings particularly. It is what it is. We have a wealth of great music that is so good it survives and is enjoyed today, despite the limited recording technology of it's time.

I am of the opinion that current-day orchestras and especially their singers cannot match the intimidating quality of the real deal. I love being present at live performances and seeing people play the instruments in a traditional way (ergo, no neo tango nonsense), but I guess I am more interested in the nostalgic feeling it evokes than the actual performance itself. Color Tango is the perfect example of 'nothing special'...
The level of musicianship today is absolutely amazing. Artistically, I don't see the point in Color Tango playing Pugliese arrangements. Most Pugliese recordings have decent sound (many don't), but still, out of curiosity, if I had a chance to hear Color Tango live I would. They are copy cats, but very good ones. (I'm not saying they are better than Pugliese, they are not). Regarding what I wrote about Malena, Sexteto Mayor has some of the best tango musicans alive, they are a treasure. And Varela is hard to top. Her crispness, hitting the beats and rhythms as they are written (and as played during the instrumental bits), using rubato but not so much that all sense of rhythmic clarity is lost, while being astoundingly expressive, is unmatched by Demare's singers (Miranda then Alvarado) and Troilo's (Fiorentino then Beron). I like all of them, some more than others, but none are as good as Varela - to my ears, and personal preferences. (Sorry to carry on so much about Malena and Varela all the time...:))
 

opendoor

Well-Known Member
..I find it clear that the deCaro clique sticks together...
I feel tempted to assume that was intended to be a friendly ironical remark..
Of course, but I mean I can see remarkable invariances in the orchestra successions: Isn´t the neglected piano most evident for that gang, peaking in kind of a brutalization in late Pugliese´s work?
...referring to the signature dramatic, but at the same time also subdued playing by Osvaldo Pugliese..
You go economical with explanations, compagñero, I´m not yet convinced (of my admittedly provocative bias.
Have you checked out Francini-Pontier? (formed their own orchestra after leaving Caló's).
Isn´t that a striking difference? The Fresedo clique actually knows how to integrate a piano, peaking in diSarli´s paradisiac carillon-like play.
 

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