In 1927 a gifted young pianist formed a tango sextet which began recording for Victor in November 1928. He was Carlos Di Sarli. He had been performing from the age of 13 and had already played with several groups including for Osvaldo Fresedo.
After recording just 2 sides in 1928, 22 more followed in 1929 and another 24 in 1930-31. However, many tango musicians relied on cinema work to accompany silent films. Following the introduction of talkies in the early 30s, Di Sarli lost his recording contract and was not heard of again (on disc) until the very end of 1939, by which time the era of the sextets was over.
The early 30s were a period of change: the old guard was giving way to the new. Only a few established groups successfully navigated through the changeover, but Canaro, Lomuto and Fresedo moved with the times, while others waned, their places taken by a younger generation.
Di Sarli (Instrumental) 1929-30
Many ingredients of the Di Sarli orchestra of the late 30s/early 40s are already present: the melody is carried mostly by the violins, and strong rhythmic support comes from the other instruments. Only Di Sarli’s own distinctive style of piano playing (so important to the sound of the later orchestra) is still undeveloped. But this is still music-making of high quality and great for dancing.
- Pobre yo (9-Oct-1929)
- Belén (9-Oct-1929)
- No te aguanto más (31-Dec-1929)
- No cantes victoria (3-Jun-1930)
Lomuto (Instrumental) 1930
These four instrumentals all have straightforward arrangements and are good for dancing. It comes as a surprise to some that so many of the songs we know well from later arrangements had been composed years before and were recorded again and again. Cuando llora la milonga is a good example: written in 1927 by Juan de Dios Filiberto, it was recorded, that year, by Canaro, Fresedo, Maglio & others. Canaro recorded it twice more in 1930 and again in 1939. Lomuto recorded it twice too, in 1930 and 1941. Perhaps the best-known version, by Biagi, dates from 1946, and there are other recordings by Tanturi (1950), D’Arienzo (1963) and Pugliese (1973).
- Cuando llora la milonga (17-Oct-1930)
- Piñataro (5-Apr-1930)
- Sin clemencia (16-Sep-1930)
- Corazón de oro (16-Jul-1930)
Orquesta Típica Victor (Famá) 1929-31
Between 1929 & 1931, the young estribillista Ernesto Famá (born 1908) recorded 17 sides with OTV. He recorded about 300 songs, in total, but only in about 20 does he sing the full lyric – he was very much the refrain singer. He is best known for his recordings with Canaro, with whom he had two working periods: the early 30s and the late 30s, but during the 20s and early 30s the singers were not the stars, and they recorded their modest vocal contributions with most of the leading orchestras of the day. The lineup of singers recording with OTV in 1930 reads like a who’s who of tango singers of the time.
- Carrillón de la Merced (9-Jun-1931)
- Milonga por qué llorás (10-Sep-1930)
- Música de calesita (5-May-1930)
- Payuca (11-Dec-1929)
Click here for ‘Tango in 1929’.
Click here for ‘Tango in 1931’.