Here’s another picture of rhythm warlord Juan D’Arienzo together with his early 1940s champion Hector Mauré (right) and the lesser-known yet quite productive Alberto Reynal (left). The singers are shown looking each other in the eyes: what are their faces trying to tell us? Usually singers are portrayed all smiling and brotherly, but the reality was sometimes different. Legend has it Roberto Maida quit Canaro’s orchestra in 1939 out of pure jealousy when the latter suddenly admitted both Ernesto Famá and Francisco Amor to his team. Who knows?
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The photographer captured a moment in time, and we’ll never know what was going on between Reynal and Maure. I’d like to imagine a rivalry. D’Arienzo doesn’t seemed concerned. The “rhythm warlord” was the one who selected the singer for his tunes.
By the way, that’s the best photo I’ve seen of Michael. I like your simple tribute to him. You must carry on the work.
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Yes. D’Arienzo, at least in this stage of his career, thought of singers as another instrument, to complement the sound of his orchestra. We dancers benefit from that philosophy. Later in the 40s, as far as I am concerned, singers became too dominant.
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