D’Arienzo with Mauré and JC Lamas

In the early 1940s, after being abandoned by his entire orchestra, Juan D’Arienzo had to start all over and define a new ‘sound’ with a completely different group of musicians. Comparing recordings from 1940 and earlier, one cannot help but notice that D’Arienzo is now leading a different orchestra, of course still a very rhythmical one, but the musical style is not quite the same, it’s actually something new, fresh.

However, I do think D’Arienzo struggled to replace Alberto Echagüe, his most prominent singer. The first singers of this 40s era were Alberto Reynal and Carlos Casares, who, I suspect, were trying to impersonate Echagüe’s voice, adapting a very similar ”macho”, ”tough guy” style. It’s hard to say whether they did that on purpose to get hired, or that perhaps D’Arienzo himself wanted them to do so. In any case, in 1944, the maestro was quick to reaccept Echagüe into his orchestra, despite the earlier betrayal, and, metaphorically speaking, they lived happily ever after.

As a strange exception in this pattern, Hector Mauré (on the left, photo below), his most recognizable singer of the early 40s, had both an entirely different, high voice and a much sweeter singing style. However, this should be put in the context of the simultaneous presence of singers like Reynal and Casares, who seem less important to tango dancers today, but figured in a nice output of recordings too. After the departure of Reynal, in 1942 and 1943 the macho spirit continues with the equally deep and strong voice of Juan Carlos Lamas, who again reminds me strongly of Echagüe’s tough, ”cool” sound in classic 1930s tracks like Nada más and La bruja. Doesn’t this prove my point of D’Arienzo’s ”ex issues”? (joking tone)

Yet, there is something quite special about JC Lamas. Sure, I just highlighted a solid continuity with his rough-sounding predecessors in D’Arienzo’s rhythm gangster club. But as far as I am concerned, Lamas has more emotional depth than whatever other singer D’Arienzo ever came up with (although Jorge Valdez is, for me, a close second). There’s something sensitive and heartfelt in his voice I have always admired, and his recordings are also somehow different than your usual D’Arienzo track. Lamas eventually quit the orchestra because he wanted to travel around and became an actor later. He was neither famous nor prolific as a tango singer, but at least we can remember him with a number of recordings and with this photo below, showing him (on the right) with his two famous colleagues.

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Canaro with orchestra and Roberto Maida

Here is a photo of Francisco Canaro with his orchestra and iconic singer Roberto Maida. This combination is responsible for arguably some of the best tango dance songs out there, right from the heart of the Golden Age of tango, although some stubborn folks may tell you otherwise.

Readers are welcome to help identify musicians on this picture. The smiling man with a dark suit near the microphone is Roberto Maida, and the un-Argentinely tall, next person to the right is Minotto di Cicco, a bandoneonist who once led his own orchestra (song example) but later joined Canaro. The maestro Francisco himself is the second person from the left of the microphone, with a bow tie.

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D’Agostino the Dancer!

According to legend, Ángel D’Agostino was an actual tango dancer and prided himself on making tango music for dancers. This picture shows him at least in a tango pose and with a woman in his arms, while singer Ángel Vargas serves as his enthusiastic audience.

Previous “dancer” posts: D’Arienzo, Donato, Lomuto & Canaro, Garcia.

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Tanturi, a medical doctor?!

Alberto Castillo is famous for having been both a wildly popular singer and a gynaecologist, perhaps not the best combination for any serious medical practice, and indeed, he had to quit his job in the hospital because, typically, girls started flooding the place.

But who knew that his boss, Ricardo Tanturi, who was leading a major tango orchestra, was also working as a dentist? (this is what other sources say…) I am surprised he found the time to continue with this work, and perhaps he eventually quit, but in any case, there are several signs he did have an official background as a doctor.

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Di Sarli and poet Homero Manzi

This picture shows Carlos Di Sarli, who was not only leading an orchestra but also composing music, collaborating with the lyricist Homero Manzi, one of the leading figures of tango poetry and co-author of many important dance tracks in the milongas nowadays. This scene below is representative for the way tangos were born: usually, it was a product of teamwork by a musician and a poet, although the musicians weren’t always necessarily important orchestra directors like Di Sarli.

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Pugliese with orchestra, Chanel and Gauthier

1943 was an important year for Osvaldo Pugliese: after several years, he finally started recording (meaning we miss out on a lot of interesting material) and he hired Roberto Chanel, perhaps his most emblematic singer, who soon scored a big hit with the tango Farol. This picture shows Pugliese standing next to his prolific new partner (white suit, to the right) and Augusto Gauthier (other white suit), a singer who had been working with Pugliese for years but soon quit, leaving no recordings.

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Canaro with Francisco Amor and Ernesto Famá

Here is a picture of Francisco Canaro with his two singers in 1939 and 1940, the already famous Ernesto Famá (right) and Francisco Amor (left). The hiring of this duo led to a jealous departure of Roberto Maida and lasted as a succesful partnership with Canaro for two years, until the two singers left and founded their own orchestra together (more info will follow).

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