About Lucio Demare
Demare was born in Buenos Aires in 1906 and died there in 1974. A pianist, he formed his orchestra in 1938. He recorded for Odeón between 1938 and 1945, and intermittently with other labels between 1950 and 1959.
He recorded with three notable singers: Juan Carlos Miranda (1938-42), Raúl Berón (1943-44) and Horacio Quintana (1944-45).
The suggested Tango 250 collection features vocal tandas with Miranda, Berón and Quintana.
Demare (Miranda) 1942
Miranda was Demare’s first and perhaps best singer. The orchestra sound is both rhythmic and lyrical and is usually dominated by the violins. The tanda ends with Demare’s own composition and best-known work, Malena. He recorded it twice more (including a fine solo piano version in 1957), but the first is the best.
- Al compás de un tango (13-Mar-42)
- Sorbos amargos (10-Nov-1942)
- Pa’ mí es igual (9-Dec-1942)
- Malena (23-Jan-42)
Demare (Quintana) 1944
After Berón’s one-year tenure at the microphone, Quintana joined the orchestra. Compared with earlier recordings, the mood is darker, the pace has slowed a little and the string textures seem thicker. The third song, Oriente, makes much use of the pentatonic scale to create its oriental feel.
- Solamente ella (24-Jun-44)
- El aguacero (14-Nov-44)
- Oriente (11-Oct-44)
- Torrente (11-Oct-44)
Demare (Berón) 1943 (Vals)
Berón joined the orchestra in 1943 after spending a year with Caló. In just over a year he recorded 27 sides, mostly tango, but also these 3 valses and 4 milongas. The light lyrical/romantic voice of Berón was perhaps not the ideal match for the Demare sound, and after a year he returned to Caló.
- Al pasar (3-Sep-43)
- Un vals (Se fue) (13-Jul-43)
- No nos veremos más (11-Feb-43)
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