http://odeo.com/channels/2225-Tango-Argentino no <p>Tango music blog and podcast</p> Tango music blog and podcast Tango music blog and podcast en-us 40 Thu, 19 May 2005 10:38:00 -0700 Thu, 19 May 2005 10:38:00 -0700 http://odeo.com/episodes/33020-Golgota-Rodolfo-Biagi His show on Radio Belgrano meant for him achieving the nickname “Manos Brujas” (Spellbinding Hands), which was the title of a foxtrot by José María Aguilar that he played at the beginning of each show with his orchestra. His first singer was Teófilo Ibáñez, successful interpreter of the tangos “Gólgota”, “La novena” and the milonga “Campo afuera”. Later came Andrés Falgás who was a boom with “Queja indiana”, “Griseta”, “La chacarera” and “Cicatrices”. Subsequently, the singer Jorge Ortiz, probably the most successful in the orchestra, joined them, he later joined Miguel Caló, but soon he came back to Biagi with whom he felt more at ease. His biggest hits were “Yuyo verde”, “Indiferencia”, “Pájaro ciego”, “Misa de once” and “Soledad la de Barracas”. from: todotango.com via buenosairestango.com His show on Radio Belgrano meant for him achieving the nickname “Manos Brujas” (Spellbinding Hands), which was the title of a foxtrot by José María Aguilar that he played at the beginning of each show with his orchestra. His first singer was Teófilo Ibáñez, successful interpreter of the tangos “Gólgota”, “La novena” and the milonga “Campo afuera”. Later came Andrés Falgás who was a boom with “Queja indiana”, “Griseta”, “La chacarera” and “Cicatrices”. Subsequently, the singer Jorge Ortiz, probably the most successful in the orchestra, joined them, he later joined Miguel Caló, but soon he came back to Biagi with whom he felt more at ease. His biggest hits were “Yuyo verde”, “Indiferencia”, “Pájaro ciego”, “Misa de once” and “Soledad la de Barracas”. from: todotango.com via buenosairestango.com His show on Radio Belgrano meant for him achieving the nickname “Manos Brujas” (Spellbinding Hands), which was the title of a foxtrot by José María Aguilar that he played at the beginning of each show with his orchestra. His first singer was Teófilo Ibáñez, successful interpreter of the tangos “Gólgota”, “La novena” and the milonga “Campo afuera”. Later came Andrés Falgás who was a boom with “Queja indiana”, “Griseta”, “La chacarera” and “Cicatrices”. Subsequently, the singer Jorge Ortiz, probably the most successful in the orchestra, joined them, he later joined Miguel Caló, but soon he came back to Biagi with whom he felt more at ease. His biggest hits were “Yuyo verde”, “Indiferencia”, “Pájaro ciego”, “Misa de once” and “Soledad la de Barracas”. from: todotango.com via buenosairestango.com tag:odeo.com,2005-05-19,33020 Thu, 19 May 2005 10:38:00 -0700 no Tango Argentino Show, India, CIA, cat http://odeo.com/episodes/33035-En-esta-tarde-gris-Troilo-Goyeneche In 1952 Roberto Goyeneche is convoked to sing in Horacio Salgán’s orchestra where he sang with Angel “Paya” Díaz. Among his records with Salgán were “Alma de loca” (“Soul of crazy woman”) and “Un cielo para los dos” (“A sky for the both of us”), which he sang with Díaz. Later on he is convoked by Troilo’s orchestra, and he forms a vocal duet with Angel Cárdenas. At first Troilo did not like the idea of Goyeneche singing in his orchestra because he thought the singer looked “like a cowboy” (“tenía pinta de cowboy”) but, in the end, they became good friends. It was Troilo himself who encouraged Goyeneche to pursue a soloist career, which the singer started in 1963. He was one of th best singers of that time. from elportaldeltango.com via tangomiami.com In 1952 Roberto Goyeneche is convoked to sing in Horacio Salgán’s orchestra where he sang with Angel “Paya” Díaz. Among his records with Salgán were “Alma de loca” (“Soul of crazy woman”) and “Un cielo para los dos” (“A sky for the both of us”), which he sang with Díaz. Later on he is convoked by Troilo’s orchestra, and he forms a vocal duet with Angel Cárdenas. At first Troilo did not like the idea of Goyeneche singing in his orchestra because he thought the singer looked “like a cowboy” (“tenía pinta de cowboy”) but, in the end, they became good friends. It was Troilo himself who encouraged Goyeneche to pursue a soloist career, which the singer started in 1963. He was one of th best singers of that time. from elportaldeltango.com via tangomiami.com In 1952 Roberto Goyeneche is convoked to sing in Horacio Salgán’s orchestra where he sang with Angel “Paya” Díaz. Among his records with Salgán were “Alma de loca” (“Soul of crazy woman”) and “Un cielo para los dos” (“A sky for the both of us”), which he sang with Díaz. Later on he is convoked by Troilo’s orchestra, and he forms a vocal duet with Angel Cárdenas. At first Troilo did not like the idea of Goyeneche singing in his orchestra because he thought the singer looked “like a cowboy” (“tenía pinta de cowboy”) but, in the end, they became good friends. It was Troilo himself who encouraged Goyeneche to pursue a soloist career, which the singer started in 1963. He was one of th best singers of that time. from elportaldeltango.com via tangomiami.com tag:odeo.com,2005-04-19,33035 Tue, 19 Apr 2005 03:16:00 -0700 no Tango Argentino art, singing, Robert, woman http://odeo.com/episodes/33059-Caminito-Francisco-Lomuto Francisco Lomuto’s (...) orchestra, even if does not truly belong to the first rank, was an important and popular dance orchestra in its day and left some wonderful recordings. You can get an idea of his popularity from the number of recordings that he left: over 950 titles between 1922 and his death in 1950. That’s more than double what D’Arienzo managed in the same period. (from milonga.co.uk) (via buenosairestango.com) Francisco Lomuto’s (...) orchestra, even if does not truly belong to the first rank, was an important and popular dance orchestra in its day and left some wonderful recordings. You can get an idea of his popularity from the number of recordings that he left: over 950 titles between 1922 and his death in 1950. That’s more than double what D’Arienzo managed in the same period. (from milonga.co.uk) (via buenosairestango.com) Francisco Lomuto’s (...) orchestra, even if does not truly belong to the first rank, was an important and popular dance orchestra in its day and left some wonderful recordings. You can get an idea of his popularity from the number of recordings that he left: over 950 titles between 1922 and his death in 1950. That’s more than double what D’Arienzo managed in the same period. (from milonga.co.uk) (via buenosairestango.com) tag:odeo.com,2005-02-08,33059 Tue, 08 Feb 2005 01:25:02 -0800 no Tango Argentino left, rio http://odeo.com/episodes/33076-Que-quer%C3%A9s-con-ese-loro-La-Chicana-Tango El grupo “La Chicana” fue fundado a fines de 1995 por Dolores Solá, Acho Estol y Juan Valverde con la intención de interpretar música de tango destacando su espíritu transgresor. El grupo mostró desde sus comienzos una especial predilección por los ritmos canyengues y el melodrama irónico de los comienzos del tango ; elementos tan perdidos en posteriores estilos comúnmente aceptados como más serios. from lachicanatango.com El grupo “La Chicana” fue fundado a fines de 1995 por Dolores Solá, Acho Estol y Juan Valverde con la intención de interpretar música de tango destacando su espíritu transgresor. El grupo mostró desde sus comienzos una especial predilección por los ritmos canyengues y el melodrama irónico de los comienzos del tango ; elementos tan perdidos en posteriores estilos comúnmente aceptados como más serios. from lachicanatango.com El grupo “La Chicana” fue fundado a fines de 1995 por Dolores Solá, Acho Estol y Juan Valverde con la intención de interpretar música de tango destacando su espíritu transgresor. El grupo mostró desde sus comienzos una especial predilección por los ritmos canyengues y el melodrama irónico de los comienzos del tango ; elementos tan perdidos en posteriores estilos comúnmente aceptados como más serios. from lachicanatango.com tag:odeo.com,2005-02-03,33076 Thu, 03 Feb 2005 03:25:15 -0800 no Tango Argentino CIA, fun, rio http://odeo.com/episodes/33092-Ventarr%C3%B3n-Orquesta-T%C3%ADpica-Imperial The “Orquesta Típica”, arisen during the Época de Oro del Tango, is one of the most developed forms within popular music. The Orquesta Típica Imperial retakes that particular kind of structure (three bandoneons, three violins, viola, double bass, piano and singer) and, entirely committed to the tango sound, continues with the evolution of the genre. (from orquestaimperial.com.ar) The “Orquesta Típica”, arisen during the Época de Oro del Tango, is one of the most developed forms within popular music. The Orquesta Típica Imperial retakes that particular kind of structure (three bandoneons, three violins, viola, double bass, piano and singer) and, entirely committed to the tango sound, continues with the evolution of the genre. (from orquestaimperial.com.ar) The “Orquesta Típica”, arisen during the Época de Oro del Tango, is one of the most developed forms within popular music. The Orquesta Típica Imperial retakes that particular kind of structure (three bandoneons, three violins, viola, double bass, piano and singer) and, entirely committed to the tango sound, continues with the evolution of the genre. (from orquestaimperial.com.ar) tag:odeo.com,2005-01-22,33092 Sat, 22 Jan 2005 04:29:19 -0800 no Tango Argentino music, Piano, bass, art, AIM, band http://odeo.com/episodes/33111-Cesar-Stroscio Cesar Stroscio was one of the original founders of the fabulous “Quarteto Cedron” formed in Buenos Aires more than 30 years by now. Since then, his bandoneon has not ceased to respire profound melodies from his native Argentina. (from: Cesar Stroscio) (via argentijnsetangoargentino) Cesar Stroscio was one of the original founders of the fabulous “Quarteto Cedron” formed in Buenos Aires more than 30 years by now. Since then, his bandoneon has not ceased to respire profound melodies from his native Argentina. (from: Cesar Stroscio) (via argentijnsetangoargentino) Cesar Stroscio was one of the original founders of the fabulous “Quarteto Cedron” formed in Buenos Aires more than 30 years by now. Since then, his bandoneon has not ceased to respire profound melodies from his native Argentina. (from: Cesar Stroscio) (via argentijnsetangoargentino) tag:odeo.com,2005-01-18,33111 Tue, 18 Jan 2005 00:39:59 -0800 no Tango Argentino melodies, art, Argentina, band http://odeo.com/episodes/33133-Osvald-Pugliese-Recuerdo Pugliese influenced a change in the sound and feel of Tango in each of five decades beginning with his first hit, “Recuerdo” (1921- written previously when he was barely a teenager). His “La Yumba” in 1943 was like a revelation from on-high. You can hear his influence in almost every arranger’s work since the start of the 20’s. (from totango.net) (via tangomiami.com) Pugliese influenced a change in the sound and feel of Tango in each of five decades beginning with his first hit, “Recuerdo” (1921- written previously when he was barely a teenager). His “La Yumba” in 1943 was like a revelation from on-high. You can hear his influence in almost every arranger’s work since the start of the 20’s. (from totango.net) (via tangomiami.com) Pugliese influenced a change in the sound and feel of Tango in each of five decades beginning with his first hit, “Recuerdo” (1921- written previously when he was barely a teenager). His “La Yumba” in 1943 was like a revelation from on-high. You can hear his influence in almost every arranger’s work since the start of the 20’s. (from totango.net) (via tangomiami.com) tag:odeo.com,2005-01-17,33133 Mon, 17 Jan 2005 00:45:07 -0800 no Tango Argentino art, Teen