Tango 250: Francisco Lomuto

About Francisco Lomuto

Francisco Lomuto

Lomuto was born in Buenos Aires in 1893 and died there in 1950. He was a pianist and played in the orchestra of Francisco Canaro before forming his own orchestra in 1925. He recorded with Odeón (1926-31) and with Victor (1931-46 & 1949-50).

Lomuto worked with many singers over a long career, but the most notable were Charlo (mainly 20s, but little played now), Fernando Díaz (1931-43) and Jorge Omar (1935-42).

The suggested Tango 250 collection features tango from the late 30s, milonga from the early 40s and a recording of La cumparsita from 1936.

Lomuto (Omar) 1936-37

Lomuto was at his best in the late 1930s. The music is presented in straightforward arrangements that are both rhythmic and tender, at times. Marking the rhythm is shared between the violins and bandoneons, underpinned by a somewhat heavy pulse from the piano and bass. We also hear a clarinet (a short solo in Mano a mano from 2:27, for example) and Nostalgias opens with a busy violin theme with a descending counter-melody on clarinet. Jorge Omar provides a simple presentation of the lyrics with a clear baritone voice.

  • Mano a mano (3-Oct-1936)
  • Las cuarenta (30-Jul-1937)
  • Que nadie se entere (3-Dec-1936)
  • Nostalgias (28-Oct-1936)

Lomuto (Instrumental) 1936

Lomuto’s orchestra was at its peak in the mid-30s. This is a wonderful arrangement: opening with pizzicato strings and followed by virtuoso playing from the bandoneons. A fitting end to any milonga.

  • La cumparsita (3-Oct-36)

Lomuto (Vocal) 1941-45 (Milonga)

The first song is a duet with Fernando Díaz & Jorge Omar, the second with Fernando Díaz and the last with Alberto Rivera. Lomuto continued to record throughout the 40s, but he was increasingly left behind by the innovations of a later generation of orchestra leaders, and his significance starts to wane.

  • Azabache (20-Nov-42)
  • Parque Patricios (27-Jun-41)
  • Aquí me pongo a cantar (8-Aug-45)

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