TANDA PARA BAILAR (TO DANCE)

Miguel Caló and the singer Raúl Iriarte.

He was born on 28 October 1907 in Balvanera, Buenos Aires. Miguel Caló was a musician formally trained, he studied violin and bandoneon.
Even though his most transcendental success is in the forties, his work starts in the late twenties and is consolidated during the thirties.
Caló formed his first orchestra in 1929, which he then dissolved in order to join the orchestra of the pianist and poet, Cátulo Castillo, with whom he toured in Spain. Read more.

A warm tribute to our Marion, performed by Noelia Hurtado and Carlitos Espinoza.

And now the Tanda para bailar.

Marion
De seis a siete
Cuando tallan los recuerdos

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This post is made to help to the diffusion of Tango, the information source used is Todo Tango.

TANDA PARA BAILAR (TO DANCE)

Donato Racciatti and Nina Miranda.

Donato Racciatti contributed to perpetuate the danceable and popular tango, with tremendous success from a commercial point of view, and very required throughout America and Japan.
His orchestra expressed a classic tango, simple, very rhythmic, with little musical value, but tremendously popular. His style was similar to D’Arienzo and his records were very popular.

Amazing performance by Virginia Pandolfi and Fabian Peralta. Full of energy, connection and fun. Please watch and enjoy.

And now the Tanda para bailar.

Tu corazon, Nina Miranda
Vencida, Nina Miranda
No quiero ni acordarme, Nina Miranda

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This post is made to help to the diffusion of Tango.

Petróleo – Interview to a dancer

At the time of this interview, Petróleo was nearly 80 years old, born in 1912 he started to dance in 1928. He was a bank clerk for 36 years, and lived in the neighborhood of Villa Devoto. In 1988, he gave up dancing because of an ailment in his knees, since then he is living of dreams.

«I was called Petróleo because I used to drink too much wine. I was a drunkard. Now I have only fizzy drinks, but it’s worse, it rusts you»

«I always liked uncomplicated tango. I changed tango dancing. I invented the turn, the contrafrente, the change of postures, the boleos»

«Furthermore, I separated sex from dancing. Before, a man was after a leg not a female dancer, to squeeze not to dance. I was after dancing. Getting to know your tango partner through rehearsals is very important, in such a way one knows the handling (leading)»

«In the milongas, dancing with corte was forbidden, if we did, somebody would come near and tell us: “Go to the ticket office” and there we were recommended or dismissed. We were called compadritos»

«Everybody can learn to dance, but there is a lot of work to be done and also you have to feel the music»

Tango does not come all of a sudden. I was taught by a professional, Navarro, he gave me his steps, later I made up mine»

«Tango is a refrained emotion which later bursts. It can’t be said tango is danced this way or the other, you have to dance it as you feel it, it’s a personal creation»

«My dream always was to dance better than anyone. I invented many figures, I transformed tango, but I ought to have made more. I lacked inspiration to create true tango. Today I would do it differently. As each tango lasts three minutes, I would divide it into a prologue, a development and an epilogue»

«You have to live your dreams, that’s the truth».

Carlos Alberto Estévez, Petróleo.

Published in the magazine La Maga, on 6 May 1992

Today we remember, Alberto Podestá.

Alejandro Washington Alé Podestá was born on September 22, 1924 in San Juan.

He started singing at school and simultaneously on a radio show directed by one of his teachers. It was a children’s recreation, it was called “Rayito de sol”. Each student contributed some fashionable song and little Alejandro, who had already admired Carlos Gardel, learned quickly Zorzal’s lyrics and poured them into those auditions. For that reason they began to call him Gardelito.

This video is an interview with English subtitles made by Pepa Palazon, Tengo una pregunta para vos series.

“I owe a lot to tango, I owe my children, my family, my well-being. I never excelled, but there was never a lack of work, the love of you, the Argentine public. You have never made me feel less. Tango gave me life, it is adoration what I feel for my music, my country and for the people from my country”

Alberto Podesta

ALMA DE BOHEMIO
Bohemian’s soul (1928)
LYRICS by: Miguel Bucino
MUSIC by: Roberto Firpo
TRANSLATION by: Alberto Paz

Spanish

Peregrino y soñador,
cantar,
quiero mi fantasía
y la loca poesía
que hay en mi corazón!
Lleno de amor y de alegría,
volcaré mi pasion.

Siempre sentí
la dulce ilusión
de estar viviendo
mi pasión.

Si es que no vivo lo que sueño
Yo sueño todo lo que canto,
por eso mi encanto
es el amor.
Mi pobre alma de bohemio
quiero acariciar
y como una flor
perfumar.

Y en mis noches de dolor
a hablar
me voy con las estrellas,
y las cosas más bellas
despierto he de soñar.
Porque les confío a ellas
toda mi sed de amar.

Siempre sentí
la dulce ilusión
de estar viviendo
mi pasión.

Yo busco en los ojos celestes
y en renegridas cabelleras
pasiones sinceras,
dulce emoción.
Y en mi eterna vida errante
llena de ilusión,
yo quiero dar todo
mi corazón.


English

Traveler and dreamer,
to sing,
I want (to sing) my fantasy
and the mad poetry
that there is in my heart!
Filled with love and joy,
I’ll empty out my passion.

I always felt
the sweet illusion
to be living
my passion.

If I don’t live what I dream
I dream all that I sing,
that’s why my charm
is love.
My poor bohemian soul
I want to caress
and like a flower
permeate with perfume.

And in my nights of pain
to speak
I go (to speak) with the stars,
and the most beautiful things
awake, I’m going to dream
Because I trust in them
all my thirst for love.

I always felt
the sweet illusion
to be living
my passion.

I look for in the light blue eyes
and in black long hairs;
sincere passions,
sweet emotion.
And in my eternal wandering life
filled with illusion,
I want to give all
my heart.

2014 Alberto Podestá, Sans Souci orquestra- Nada

This post is made to help to the diffusion of Tango.

TANDA PARA BAILAR (TO DANCE)

Rodolfo Biagi, “manos brujas” (bewitched hands)

As a tango pianist, he played with several orchestras, including the orchestra of Juan D’Arienzo from 1935 to 1938, and his often partly credited with the development of D’Arienzo’s rhythmic style. He later formed his own orchestra, and the special rhythmic qualities of his music are easily recognisable. More about him.

And now the Tanda para bailar, enjoy!

Soñemos, singer Hugo Duval
Mi vida en tus manos, singer Hugo Duval
Amor mio, singer Hugo Duval

This post is made to help to the diffusion of Tango.

TODAY WE REMEMBER, JORGE MACIEL.

In August 1966 he made an interesting version of the tango “Recuerdo”, by maestro Pugliese and lyrics by Eduardo Moreno, considered one of his greatest achievements. Jorge Palacio Faruk says about it: «… an anthology work, a tango so difficult to sing, that it seemed to have been made for Maciel».

Read about Jorge Maciel.

Lyrics in Spanish

Ayer cantaron poetas
y lloraron las orquestas
en las suaves noches del ambiente del placer.
Donde la bohemia y la frágil juventud
aprisionadas a un encanto de mujer
se marchitaron en el bar del barrio sud,
muriendo de ilusión
muriendo su canción.

Mujer
de mi poema mejor.
¡Mujer!
Yo nunca tuve un amor.
¡Perdón!
Si eres mi gloria ideal
Perdón,
serás mi verso inicial.

Y la voz en el bar
para siempre se apagó
su motivo sin par
nunca más se oyó.

Embriagada Mimí,
que llegó de París,
siguiendo tus pasos
la gloria se fue
de aquellos muchachos
del viejo café.

Quedó su nombre grabado
por la mano del pasado
en la vieja mesa del café del barrio sud,
donde anoche mismo una sombra de ayer,
por el recuerdo de su frágil juventud
y por la culpa de un olvido de mujer
durmióse sin querer
en el Café Concert.

And another great tango sung by Jorge Maciel, Esta noche de luna, performed by ROXANA SUAREZ & SEBASTIAN ACHAVAL.

This post is made to help to the diffusion of Tango.

TANDA PARA BAILAR (TO DANCE)

Orquesta Anibal Troilo with the singer Francisco Fiorentino.

Francisco Fiorentino was born in the San Telmo neighborhood, Buenos Aires on September 23, 1905. He died on September 11 of 1955 in the province of Mendoza.
When he joined Aníbal “Pichuco” Troilo’s orchestra, no one imagined what he would become. Fiorentino’s years with the “Gordo” brought the singer to a well-deserved spotlight, since – together with Troilo – he notably surpassed his previous performances: he was the characteristic voice of the orchestra. From those first interventions as a chorus player, he began to sing, although not all the lyrics, much of it. Tango voice, well porteño phrasing and great emotion, characteristics that Fiorentino exhibited in those years when he achieved his definitive successes.
His artistic life with Troilo lasted six years, he made his debut on July 1, 1937 at the Marabú cabaret, until March 1944. More about him.

People dancing Toda mi vida from Anibal Troilo with Fiorentino at a milonga in BA

And now the Tanda para bailar, enjoy!

Toda mi vida
Maragata
Yo soy el Tango

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This post is made to help to the diffusion of Tango.

TODAY WE REMEMBER, Nelly Omar.

Nilda Elvira Vattuone (10 September 1911 – 20 December 2013), better known by her stage name Nelly Omar, was an Argentine actress and singer during the Golden Age of Argentine Cinema. She was successful as a tango singer, performing on numerous radio shows and performed canción criolla. Her film career began in 1940. She was blacklisted after the ouster of Juan Perón for having sung his anthem, Soy La Descamisada and did not work again until the 1970s. From her comeback in 1972, she remained an active performer until her death. Read more.

Nelly Omar celebrated the centenary of her life at Luna Park with sold-out seats. The artist offered to 6 thousand people the show “100 years of life and song”, accompanied by the guitars of Carlos Juárez.

Nelly Omar passed away on the morning of December 20, 2013 at the age of 102 at the CEMIC University Hospital in the city of Buenos Aires due to cardiorespiratory arrest while sleeping.

TANDA PARA BAILAR (TO DANCE)

Orquesta Enrique Rodriguez with the singer Armando Moreno

Criticized by innovators and praised by the dancers, his orchestra enjoyed a great popularity in the forties and fifties, in Argentina and the rest of Latin America.

In 1936 he put together his own orchestra that he called: «La orquesta de todos los ritmos». Polkas, waltzes, tangos, foxtrots, pasodobles and rancheras are played for an audience that danced and sang the tunes with enthusiasm and joy. More about him.

La Colegiala

And now the Tanda para bailar, enjoy!

Danza maligna, singer Armando Moreno
La gayola, singer Armando Moreno
Llorar por una mujer, singer Armando Moreno

Do you want to listen more? here’s an Enrique Rodriguez mix playlist.

This post is made to help to the diffusion of Tango.

Tanda para bailar (to dance)

Orquesta Carlos Di Sarli with the singer Jorge Durán

His first stage with Di Sarli lasted two years and it is Durán’s most brilliant.

He had a bohemian personality, he was much fond of women and it was impossible to calculate the number of cigarettes he smoked daily. More about him.

And now the Tanda para bailar, enjoy!

Un tango y nada más
Vieja luna
Que no sepan las estrellas

Do you want to listen more? here’s a Carlos Di Sarli playlist with singers Jorge Durán and Roberto Rufino.

This post is made to help to the diffusion of Tango.