Horacio Adolfo Salgán (b. June 15, 1916, in Buenos Aires) is an Afro-Argentine pianist, composer, orchestra leader, and arranger who specializes in tango music. Salgán began studying piano at age six. At age 18 he joined the cast of Radio Belgrano as a soloist and back-up musician. At 20 he was discovered by orchestra leader Roberto Firpo, who hired Salgán for his orchestra. In late 1942 he made his first recording, and in 1944 put together his own orchestra, which lasted until 1947. Salgán then devoted himself to composing and teaching and in 1950 returned with a new orchestra. 1960 saw the formation of the Quinteto Real, with Salgán on piano, Enrique Francini on violin and Pedro Láurenz on bandoneón. The goal of the group was to create instrumental tangos designed for listening rather than dancing. In 1998 he appeared as himself in the Oscar-nominated Best Foreign Language Film Tango, no me dejes nunca as part of El Nuevo Quinteto Real, an incarnation of the original group. Some of Salgán's most well-known compositions include "Del 1 al 5 (Días de pago)" (1944), "A Don Agustín Bardi" (1947), "Entre Tango y Tango" (1953), "Grillito", "Lo Llamo Silbando", "Cortada de San Ignacio", and "A Fuego Lento".
01- Recuerdo 02- Siga el Corso 03- Clavada 04- Yo Te Bendigo 05- Mala Junta 06- Vieja Recova 07- Gallo Ciego 08- Momento 09- Tierra Querida 10- Pobre Colombina 11- Don Goyo 12- Carta 13- Marne 14- Yo Soy el Mismo 15- Lo Llamo Silbando 16- Como Abrazado a un Rencor 17- Ojos Negros 18- Sueño Querido 19- Boedo 20- Motivo de Vals
Aníbal Carmelo Troilo (July 11, 1914 - May 18, 1975 in Buenos Aires) was an Argentine tango musician. Troilo was a bandoneon player, composer, and bandleader in Argentina. His orquesta típica was among the most popular with social dancers during the golden age of tango (1940-1955), but he changed to a concert-type sound by the late 1950s. Troilo's orchestra is best known for its instrumentals and also recorded with many vocalists, such as Francisco Fiorentino, Alberto Marino, Floreal Ruiz, Roberto Goyeneche, Raul Beron, and Edmundo Rivero. The rhythmic instrumentals and the recordings with vocalist Francisco Fiorentino from 1940-41 are the favorite recordings for social dancing in contemporary tango salons (milongas). As a composer, he wrote tangos like "Te aconsejo", "En esta tarde gris" and "La última curda".
01- Naranjo en Flor 02- Palomita Blanca 03- Yuyo Verde 04- Equipaje 05- Juan Tango 06- Cimarrón de Ausencia 07- Lorarás, Llorarás 08- Amor y Tango 09- Mis Amigos de Ayer 10- Tarde Gris 11- Camino del Tucumán 12- Qué Me Van a Hablar de Amor 13- Sólo se Quiere Una Vez 14- Mientras Gime el Bandoneón 15- Confesión 16- Flor de Lino 17- Y Dicen que No Te Quiero 18- Romance de Barrio 19- Y la Perdí 20- Corazón de Papel
Aníbal Carmelo Troilo (July 11, 1914 - May 18, 1975 in Buenos Aires) was an Argentine tango musician, bandoneon player, composer, and bandleader in Argentina. His orquesta típica was among the most popular with social dancers during the golden age of tango (1940-1955), but he changed to a concert sound by the late 1950s. He was one of those few artists who made us wonder what mystery, what magic produced such a rapport with people. As a bandoneon player, he was neither a stylist like Pedro Maffia, nor a virtuoso like Carlos Marcucci, nor a multiple creator like Pedro Laurenz, nor a phrasing player like Ciriaco Ortiz. But he had something of them all and he was, precisely, a master of personality and feeling in his expression. As an orchestra leader, he dug an undoubtedly tango style, balanced, without histrionisms and of undeniable taste. He knew how to choose the best players according to his musical ideas, he selected good singers, who beside him achieved their best, to such an extent that when they left the orchestra, only partially and for a short time could they reach a similar level. He also knew how to choose a repertory without having to accept the conditions suggested by the recording companies. Finally, he was an inspired composer, creator of pieces made to last forever, as also his renditions of somebody else's works which became masterpieces of all times. As composer, Troilo contributed an extensive number of major works. Some of his most outstanding titles are: "Toda mi vida", "Barrio de tango", "Pa' que bailen los muchachos", "Garúa", "María", "Sur", "Romance de barrio", "Che, bandoneón", "Discepolín", "Responso", "Patio mío", "Una canción", "La cantina", "Desencuentro" and "La última curda". If we add two bandoneon duets with Astor Piazzolla in 1970 when they recorded Cobián's "El motivo" and Carlos Gardel's "Volver", truly tango rarities for collectors, we then have a total of 485 recordings released even though it is presumed that there are several takes still in the can which were never released. He was a mythical character of Buenos Aires, who, as a poet said: "On May 18, 1975, his bandoneon fell off his hands"...
01- Quejas de Bandoneón 02- Comme Il Faut 03- Danzarín 04- Los Mareados 05- Responso 06- Verano Porteño 07- Pa' que Bailen los Muchachos 08- Lo que Vendrá 09- La Cumparsita 10- Naipe Marcado 11- Melancólico 12- Mi Refugio 13- Inspiración 14- Fechoría 15- A Mis Viejos 16- La Racha 17- La Bordona 18- Tierrita 19- El Baqueano 20- La Trilla
01- Tango y copas 02- Cuando Tallan Los Recuerdos 03- Farolito de Papel 04- Uno 05- Tal Vez Será Su Voz 06- Cantando Se Van Las Penas 07- El Barrio del Tambor 08- La Luz de un Fósforo 09- Después 10- Tres Amigos 11- Siga el Corso 12- Cristal 13- Naipe 14- Rosa de Tango 15- Me Están Sobrando las Penas 16- Nada Más que un Corazón 17- Con Permiso 18- Torrente 19- Café de los Angelitos 20- Ya Estamos Iguales 21- Soñar y Nada Más (a dúo con F. Fiorentino)
Julio María Sosa Venturini (February 2, 1926 – November 26, 1964), usually referred to simply as Julio Sosa or El Varón del Tango, was an Uruguayan tango singer. Sosa was born in Las Piedras, a Canelones Department suburb of Montevideo, Uruguay. He moved to Buenos Aires, Argentina, in 1949, where became famous with Enrique Francini and Armando Pontier's Orquesta típica. Working with numerous other orchestras, he was reunited with Pontier in 1955, with whom he recorded several best-selling albums on the RCA Victor and Columbia labels and became one of the most important tango singers in the genre's history. He married Nora Ulfed in 1958 and had a daughter. His marriage ended in separation, however, and he settled into a relationship with Susana Merighi. Nicknamed El Varón del Tango ("the man's man of tango"), Sosa also published a book of poetry, "Dos horas antes del alba" ("Two Hours Before the Dawn"), in 1960. Following his switch to Columbia Records in 1961, the Pontier orchestra incorporated a new bandoneonist, Leopoldo Federico, and the association helped make the group the most successful in its genre, at the time. Sosa's fame acquainted him with sports cars, as well. He suffered numerous accidents during the early 1960s, mostly as a result of excess velocity. He was behind the wheel of a DKW coupé when, in the early hours of November 25, 1964, he crashed into a roadside hazard light on Buenos Aires' Figueroa Alcorta Avenue, killing him instantly at age 38.
01- Destellos 02- Volvió Una Noche 03- Margot 04- Soledad 05- Ivette 06- Viejo Rincón 07- Confesión 08- Cuando Era Mía Mi Vieja 09- Sus Ojos Se Cerraron 10- Mañana Iré Temprano 11- Tarde 12- Tu Pálido Final 13- Que Me Quiten Lo Bailao' 14- Tiempos Viejos 15- Un Tropezón 16- Tengo Miedo 17- Siga el Corso 18- Barrio Pobre 19- Guapo y Varón 20- Cambalache 21- María 22- En Esta Tarde Gris 23- El Firulete 24- Dicen Que Dicen 25- Tu Pálido Final (versión 2) 26- La Cumparsita 27- Nada 28- Otario Que Andás Penando 29- Mano a Mano 30- El Último Café 31- Rencor 32- Madame Ivonne 33- Uno 34- Milonga del 900 35- Che Papusa, Oí 36- Qué Falta Que Me Hacés 37- Qué Me Importa Tu Pasado 38- Nunca Tuvo Novio 39- Qué Me Van a Hablar de Amor 40- Levanta la Frente
01- El Paladín 02- Una Vez 03- Ojos Maulas 04- Fuimos 05- La Cachila 06- Hoy Al Recordarla 07- Pasional 08- Dandy 09- El Abrojito 10- Pelele 11- Puente Alsina 12- Sin Palabras 13- Derecho Viejo 14- Vieja Recova 15- Flor De Tango 16- Ventanita De Arrabal 17- NN 18- Barra Querida 19- Jueves 20- La Yumba
Osvaldo Pedro Pugliese (Buenos Aires, December 2, 1905 - July 25, 1995) was an Argentine tango musician. He developed dramatic arrangements that retained strong elements of the walking beat of salon tango but also heralded the development of concert-style tango music. Some of his music is used for theatrical dance performances. In Buenos Aires, Pugliese is often played later in the evening when the dancers want to dance more slowly, impressionistically and intimately. Pugliese is a great choice for slower tango dance music, but the arrangements can be a bit more rhythmically challenging than those played by other orchestras. 'Recuerdo' (1944) and 'La yumba' (1946) are two of Pugliese's most popular tangos. Pugliese was outspoken in his political opinions. His communist sympathies, though never violent, at times earned him the hostility of those in power. Populist President Juan Perón is said to have had labor union heavies once intimidate Pugliese by locking him in a sinking boat, rescuing him at the last minute; though the alleged 1949 incident has never been proven (Pugliese, likewise, seldom spoke of it publicly), the day Pres. Perón awarded the great pianist the Order of May (Argentina's highest civilian award), he embraced Pugliese, saying: "Thank you, maestro, for forgiving."
01- Muchachos Comienza La Ronda 02- El Arranque 03- Farol 04- La Abandoné y No Sabía 05- Tierra Querida 06- Consejo De Oro 07- Tortazos 08- Adiós Bardi 09- Nada Más Que Un Corazón 10- El Sueño Del Pibe 11- Amurado 12- Corrientes y Esmeralda 13- Mala Pinta 14- Silbar De Boyero 15- Cafetín 16- Recuerdo 17- Galleguita 18- Yo Te Bendigo 19- Príncipe 20- El Monito
01- Canchero 02- Patadura 03- Pan Comido 04- Ventanita de Arrabal 05- Machete 06- Porque Soy Reo 07- Tu Vieja Ventana 08- Soy Una Fiera 09- En La Tranquera 10- Cuando Llora La Milonga 11- Silbando 12- ¿Te Fuiste?... Ja, Ja 13- Aquel Muchacho Triste 14- Sonia 15- Seguí Mi Consejo 16- Barrio Reo 17- Murmullos 18- Me Enamoré Una Vez 19- ¡Hágame el Favor! 20- Aquellas Cartas 21- Sueño Querido 22- Haragán 23- Viejo Smoking 24- Araca París 25- Dicen que Dicen 26- Viejo Rincón 27- La Pena del Payador 28- Taconeando 29- Una Lágrima 30- Amigazo 31- Vieja Recova 32- Uno y Uno
01- Barrio de Tango 02- Con Toda la Voz que Tengo 03- Malena 04- Papá Baltasar 05- Pa' Que Bailen Los Muchachos 06- Fueye 07- Colorao, Colorao 08- Suerte Loca 09- Los Mareados 10- Pedacito de Cielo 11- Buenos Aires 12- Gricel 13- Percal 14- Garúa 15- Temblando
Carlos Gardel (Charles Romuald Gardes, 11 December 1890 Toulouse, France - 24 June 1935 Medellín, Colombia) is perhaps the most prominent figure in the history of tango. Although his birthplace is disputed between Uruguay and France, he lived and grown up in Argentina since the age of two and acquired Argentine citizenship in 1923. When asked about his nationality, Gardel would answer, “I was born in Buenos Aires, Argentina, at the age of two years and a half...” It is thought that Gardel used to give evasive answers in order to hide the circumstances of his birth to a single mother, Berthe Gardes, since apparently he was son of an illegitimate father who belonged to a healthy French family from Toulouse. Gardel grew up in the Abasto neighbourhood of Buenos Aires, located near the Central Market of Fruit and Vegetables, an enormous art-deco styled building which today is a shopping mall. Gardel created the tango-canción in 1917 with his rendition of Pascual Contursi and Samuel Castriotta’s "Mi Noche Triste". The recording sold 10,000 copies (In 1917!!!)and was a hit all throughout Latin America. Gardel went on tour through Argentina, Uruguay, Chile, Brazil, Puerto Rico, Venezuela, Colombia, and also made several appearances in Paris, Nice, Barcelona, Madrid and New York. He sold 70,000 records in the first three months of his 1928 visit to Paris. As his popularity grew, he made a number of films for Paramount, first in France and then in the U.S. While sentimental films such as El día que me quieras or Cuesta abajo lack lasting dramatic value, they were outstanding showcases of his tremendous singing talents and moviestar looks. He died in an airplane crash at the height of his career, becoming an archetypal tragic hero mourned throughout Latin America. The unerring musicality of Gardel’s baritone voice and the dramatic phrasing of his lyrics made miniature masterpieces of his hundreds of three-minute tango recordings. For many, Gardel embodies the soul of the tango style that originated in the barrios of Buenos Aires at the end of the 19th century. He is commonly referred to as “Carlitos” (Charly), “The King of Tango”, “El Mago” (The Magician) and, ironically “El Mudo” (The Mute).
01- La Canción de Buenos Aires 02- Chorra 03- Compadrón 04- Che Papusa, oí 05- Tarde Gris 06- Che Bartolo 07- Callejera 08- Muñeca Brava 09- Leguisamo Solo 10- Almagro 11- Cruz de Palo 12- Dos en Uno 13- Mala Entraña 14- Farabute 15- Fondín de Pedro Mendoza 16- Ausencia 17- Victoria 18- Barrio Viejo 19- Amurado 20- Al Mundo le Falta un Tornillo 21- La Novia Ausente 22- El que Atrasó el Reloj 23- Madame Ivonne 24- Anclao en París 25- Lloró como una Mujer 26- Alma en Pena 27- Tengo Miedo 28- Desdén 29- Milonga Sentimental 30- Colorao, Colorao 31- Por Qué Me Das Dique 32- Enfundá la Mandolina
Alberto Castillo (December 7, 1914 – July 23, 2002) was a prominent Argentine tango singer and actor. He was born Alberto Salvador De Lucca in the Buenos Aires barrio of Mataderos as the son of Italian immigrants Salvador De Lucca and Lucia Di Paola, made his professional debut in the 1930s and began a successful recording career in 1941. Soon afterwards he had a hit with his interpretation of the tune “Recuerdo”. With his keen sense of rhythm and his tendency to go hoarse, Castillo made a name for himself as the main interpreter of the black-oriented genres of candombe and milonga. One of his most successful recordings was "Cien Barrios Porteńos" (The hundred barrios of Buenos Aires), to the point that presenters would announce him as "the singer of the 100 barrios". Beginning in 1946, Castillo appeared in a number of Argentine films. Castillo was also a physician by training. This fact famously convinced his fiancee's parents to let her marry Alberto (being "just a tango singer" would not have been enough), and was dramaticised in the Argentine movie "Luna de Avellaneda", when Castillo volunteers to deliver a baby at a carnival fair right after finishing his set. Among his later releases was a cover of his candombe hit “Siga el Baile”, recorded with Argentine band Los Auténticos Decadentes in the late 90's.
01- Recuerdo Malevo 02- Madame Ivonne 03- La Copa del Olvido 04- Esta Noche Me Emborracho 05- Cómo Se Pianta la Vida 06- Muñeca Brava 07- Cuatro Compases 08- Así se Baila el Tango 09- Moneda de Cobre 10- Con los Amigos 11- Nubes de Humo 12- La Cumparsita 13- El Choclo 14- Mentira 15- La Pulpera de Santa Lucía 16- Silbando 17- Los Cien Barrios Porteños 18- Adiós Pampa Mía 19- Un Tropezón 20- La Última Copa 21- Mi Noche Triste 22- Las Violetas 23- Petitero 24- ¿Dónde Estás Corazón? 25- Garufa 26- Ninguna 27- Barrio Pobre 28- Por Cuatro Días Locos 29- Siga el Baile
Aníbal Troilo (July 11, 1914 - May 18, 1975) was an Argentinetango musician. Anibal Troilo is widely thought of by tango listeners as the defining bandoneon player of his generation. His orquesta tipica was among the most preferred by social dancers during the golden age of tango (1940-1955), but he shifted to a concert sound by the late 1950s. Troilo's orchestra is best known for its instrumentals but it also recorded with many vocalists, such as Francisco Fiorentino, Alberto Marino, Floreal Ruiz, Roberto Goyeneche, Raul Beron, and Edmundo Rivero. As a composer, he wrote songs like "Te Aconsejo", "En Esta Tarde Gris" or "La Última Curda". The rhythmic instrumentals and the recordings with vocalist Francisco Fiorentino from 1940-41 are the favorite recordings for social dancing in contemporary tango salons (milongas), and featured here...
01- Milongueando en el '40 02- Toda Mi Vida 03- Cachirulo 04- Te Aconsejo Que Me Olvides 05- Tabernero 06- Pájaro Ciego 07- El Bulín de la Calle Ayacucho 08- Yo Soy el Tango 09- Guapeando 10- Una Carta 11- En Esta Tarde Gris 12- Cordón de Oro 13- Total... ¿Pa' Qué Sirvo? 14- El Cuarteador 15- Maragata 16- Cautivo 17- Tinta Roja 18- No le Digas Que la Quiero
