While he returned to the studio occasionally, the beginning of 1932 saw the end of Charlo’s regular recordings with Canaro. Theirs had been an amazingly productive partnership, but times were changing. Canaro (who regularly adapted his performing style to changes in fashion) was changing too. For several years, he adopted a more emphatically rhythmic style of performance, well-illustrated by the following two tandas.
Canaro (Instrumental) 1932
These songs are wonderful for dancing. They have a regular and steady pulse: ideal for a ‘walking-based’ dance, but on closer listening, we hear that the arrangements are actually quite varied and rhythmically interesting. The sound quality is perfectly acceptable and the standard of performance is very high.
- Fenómeno (17-Feb-1932)
- Pura milonga (9-Dec-1932)
- Inspiración (11-Apr-1932)
- Bar exposición (4-Aug-1932)
Canaro (Irusta) 1932
Ernesto Famá took up his position as Canaro’s main singer in the middle of 1932, but for the preceding three months Canaro had worked with tenor, Agustín Irusta, who brought a very different timbre of voice to his role: elegant and tender. Ever-flexible, Canaro softened his ‘new’ rhythmic style a little, and perhaps this brief partnership was a first glimpse of the further changes that were to come in the mid-thirties, with the arrival, first, of Carlos Galán and then of Roberto Maida.
- Ventanita florida (21-Apr-1932)
- San Telmo (23-Jun-1932)
- Silbando (21-Apr-1932)
- Esclavas blancas (4-May-1932)
Carabelli (Gómez) 1932
One of the oddities of tango in recordings is that as well as managing Victor’s house orchestra, Orquesta Típica Victor, for several years, Adolpho Carabelli also ran a recording orchestra in his own name, using exactly the same pool of players (and it, too, recorded with Victor). The repertoire of the two ‘brands’ was slightly different, with the recordings in Carabelli’s own name often being the more adventurous. Alma, is a good example: a strong and dramatic arrangement. Singer, Alberto Gómez, makes an unusually early appearance because the star of this show is not the estribillista, but the virtuoso bandoneón soloist, who totally dominates the arrangement. Gómez returns, though, right at the end; and that is unusual, too.
Virtuoso bandoneón playing is also very prominent in Carabelli’s version of Inspiración. The singer’s contribution is also unusual: as much spoken as sung. The violins take over to draw the arrangement to a very low-key conclusion. Compared with the straightforward Canaro arrangement, this is strikingly original: both lyrical and dramatic in turns – and very forward-looking.
- Alma (9-Sep-1932)
- Loco (9-Sep-1932)
- El trece (27-Sep-1932)
- Inspiración (13-Jun-1932)
Click here for ‘Tango in 1931’.
Click here for ‘Tango in 1933’.