More than a decade has passed since D’Arienzo’s popular success in 1935 did so much to revive or reinvigorate tango for dancing. There are signs that by 1945 the peak of popularity may have passed, but individually, the best orchestras are busy and new orchestras are still appearing regularly. In truth, the greater part of the recorded repertoire we still value today has already appeared. By the end of the 40s many first-rate tango musicians were struggling to find work and yet there was plenty of fine music still to come.
Caló (Iriarte) 1945-46 (Vals)
Caló’s orchestra was full of great musicians, many of whom were to leave to form orchestras of their own. Bandoneonist, Domingo Federico (see below), was the first to go in 1943 and he began to record in 1944. Bigger changes came in 1945, when the orchestra broke up, with pianist, Osmar Maderna, leaving first and taking singer, Raúl Iriarte, with him. That partnership didn’t work out and Iriarte was soon back with Caló, but not before the departures of violinist, Enrique Francini, and bandoneonist, Armando Pontier.
These valses belong to the months following the break up. Caló was able to reform his orchestra with new players, but the new orchestra was no match for the old. Ironically, nearly all of them came back together in the early 60s, but the dance era was over by then, and their late recordings are of little interest to dancers.
- No te olvides de mí corazón… (5-Jul-1945)
- El mismo dolor (19-Dec-1945)
- Flor de lino (3-Dec-1946)
El mismo dolor isn’t available on Spotify, but you can hear it here:
D’Agostino (Vargas) 1945
The successful duo of D’Agostino and Vargas continued to produce a steady stream of recordings of remarkable consistency and quality. A very high proportion of their output is still played, regularly, today.
- Shusheta (El aristócrata) (5-Apr-1945)
- Rondando tu esquina (2-Nov-1945)
- Hotel Victoria (21-May-1945)
- Ave de paso (2-Nov-1945)
Di Sarli (Durán) 1945
Jorge Durán joined Di Sarli (in place of Alberto Podestá) in January 1945, staying for just over two years. His voice had a rather darker tone, well-suited to this repertoire.
- Solamente ella (8-Mar-1945)
- Tu íntimo secreto (30-Oct-1945)
- Que no sepan las estrellas (3-Jan-1945)
- Tus labios me dirán (8-Mar-1945)
Federico (Vidal) 1944-45
Domingo Federico is badly represented on Spotify and most of the transfers are rather poor; however, the orchestra was very fine and after its debut in 1944 it recorded regularly throughout the remainder of the decade, and less regularly for many years after that. Yuyo verde was composed by Federico and it was to be recorded the following year by Biagi, Pugliese & Troilo (and you can compare the Pugliese recording below). Singer, Carlos Vidal, was almost unknown but Yuyo verde was a hit that helped to secure the early popularity of the new orchestra. Not heard much, today, the orchestra is rather underrated.
- Yuyo verde (12-Sep-1944)
- Tu melodía (27-Dec-1944)
- Para qué te quiero tanto (19-Jul-1945)
- Senda florida (22-Feb-1945)
Pugliese (Morán) 1945
Alberto Morán sang alongside Roberto Chanel from the beginning of 1945, until Chanel’s departure at the end of 1947. A high proportion of the orchestra’s recordings in this period were vocal, being more-or-less evenly split between the two singers, each bringing distinctly different qualities to their repertoire.
- Yuyo verde (25-Jan-1945)
- Maleza (28-May-1945)
- Mentira (24-Sep-1945)
- El abrojito (24-Jul-1945)
Tanturi (Campos) 1944-45
In many ways, the mid-40s belonged to the leading singers. One after another, they decided that they were too important to be employed by even the best orchestras, and biting the hand that had fed them, left to seek fame as solo artists. Many were commercially successful, but hindsight has been less kind to the recordings they left behind, and we hear little of them now. Campos, however, stuck with Tanturi, and they continued to produce a steady stream of recordings that maintained a proper balance between the orchestra and the singer. Their recordings are straightforward, with fine playing, and notable for clear textures and simple but attractive rhythms. Campos is revealed as a singer of great subtlety and expression, and entirely without affectation.
- Prisionero (14-Nov-1944)
- La abandoné y no sabía (27-Apr-1944)
- Ivón (5-Sep-1945)
- Esta noche al pasar (22-Jan-1945)
Troilo (Ruíz) 1945
Fiorentino left Troilo’s orchestra in early 1944, leaving Marino as the orchestra’s only singer. Fiorentino was a hard act to follow and Troilo took six months to appoint his successor, Floreal Ruíz. As usual, Troilo’s judgement was sound: Marino and Ruíz complemented each other very well, but Ruíz is little heard by dancers today. Even at the time, he was viewed mainly as Fiorentino’s replacement, rather than as a fine singer in his own right; but now, it is to our shame that we neglect this music. The high energy of the 1941 hits has been replaced by subtlety and refinement which makes for wonderful dancing.
- Amor y tango (9-Oct-1945)
- La embriaguez del tango (27-Mar-1945)
- La noche que te fuiste (5-Jun-1945)
- Equipaje (27-Mar-1945)
Click here for ‘Tango in 1944’.
Click here for ‘Tango in 1946’.