The fifth Sunday of the month features special editions, and this month features music from Tango Capital’s party for its second birthday, with the first half of the DJ sets of Milonga Capital, played in Canberra at the National Museum of Australia on 22 September. That’s this Sunday on Tango Capital, 7:00pm to 8:00pm:

• broadcasting on 2xxfm 98.3 in Canberra
• live streaming and on demand from http://www.2xxfm.org.au

Image Credit: Geoffrey Dunn’s view of the pista de baile at Milonga Capital.

Photos can be viewed at the this Dropbox link. You can contact Geoffrey Dunn directly for high-quality and unwatermarked versions: geoffrey@geoffreydunn.com.au

PLAYLIST:

Tanda 1: Enrique Rodríguez (1943), with Armando Moreno singing Marinero, Por Eso Canto Yo, Qué Lento Corre El Tren, and Qué Lo Sepa El Mundo Entero.

Tanda 2: Lucio Demare (1942), with Juan Carlos Miranda singing Malena, Mañana Zarpa Un Barco, Pa’ Mí Es Igual, and Sorbos Amargos.

Tanda 3: Francisco Canaro (1938), with Roberto Maida singing Al Son Del Acordeón, Corazón De Oro, Aura Que No Ve La Vieja, and El Triunfo De Tus Ojos.

Tanda 4: Alfredo De Angelis, with Oscar Larocca singing Almagro in 1951, and Prohibido, Visión, and Volvamos A Empezar in 1953.

Tango Capital returns to play the fourth Sunday of the month broadcasting a milongita playlist to dancers at Tango @ The Tradies, in Dickson. That’s this Sunday on Tango Capital, 7:00pm to 8:00pm:

• broadcasting on 2xxfm 98.3 in Canberra
• on demand from http://www.2xxfm.org.au

Image: tango at The Tradies, 2 Badham St, Dickson ACT 2602

PLAYLIST:

Tanda 1: Carlos Di Sarli (1931), with Ernesto Famá singing La Baguala, Sobre El Pucho, and then the instrumental Una Noche De Garufa.

Tanda 2: Rodolfo Biagi (1938), with Teófilo Ibañez singing Viejo Portón, Lejos De Ti, Loca De Amor.

Tanda 3: Francisco Canaro (1938), with Roberto Maida singing: Ave De Paso, Callecita De Mi Novia, El Adiós.

Tanda 4: Juan D’Arienzo (1938), with Alberto Echagüe singing Milonga Del Corazón, Milonga Querida, Estampa De Varon.

Tanda 5: Ánibal Troilo (1942), with Francisco Fiorentino singing Buenos Aires, El Encopao, Lejos De Buenos Aires.

Tanda 6: Narcotango (2010), Ví Luz Y Subí, Otra Luna.

Tanda 7: Ricardo Tanturi (1945), with Enrique Campos singing Anselmo Laguna, Cuatro Recuerdos, Ivón.

 

 

This week closes the interview with Canberran DJ Tricia Lewis talking further about her international experience of DJing tango, accompanied by a selection of music chose by Tricia. That’s this Sunday on Tango Capital, 7:00pm to 8:00pm:

• broadcasting on 2xxfm 98.3 in Canberra
• on demand from http://www.2xxfm.org.au

Image Credit: Tricia Lewis dancing in The Netherlands, by Jacob Braaksma; 2017 –  https://www.facebook.com/jacob.braaksma.9?tn-str=*F

PLAYLIST:

• Argañaraz; recorded by Ricardo Tanturi on 18 November 1940; a tango with music composed by Roberto Firpo in 1913 and lyrics by Enrique Cadícamo. There is a street named Pasaje Gral F Argañaraz in Buenos Aires, suggesting that the song is named for one of the heros of the wars of independence; a less likely reference is to Francisco de Argañaraz y Murguía, who in 1593 founded the first Spanish settlement in Jujuy province, a province that was the site of important battles during those wars as the Spanish fought from Peru. Alternatively the song may be named for the locality around the street in Buenos Aires, perhaps with a bar in which some people met. The historical context is supported by the clear reference in the lyrics to the Afro-Argentine Bernardo Monteagudo, an important figure in the shaping of Argentina’s independence, but overall the lyrics are a wistful reflection on a long-gone social environment in Buenos Aires (the second verse clearly describes the urban dance of tango canyengue) and so do not help resolve the origin of the title as they were written around 1930 under a different title—Aquellos Farras, meaning ‘Those Things’.
• Didí; recorded by Rodolfo Biagi on 21 October 1941; a tango with music composed by Roberto Firpo, first recorded in 1915.
• Pa’ Qué Seguir, meaning ‘To Follow’; recorded by Miguel Caló on 19 January 1943; a tango with music composed by Francisco Fiorentino, first recorded in 1942, lyrics by Pedro Lloret, and sung by Jorge Ortiz.
• La Milonga De Mis Perros, meaning ‘The Milonga Of My Dogs’; recorded by Francisco Canaro on 22 April 1942; a milonga with music composed by Francisco Canaro, lyrics by Ivo Pelay, and sung by Carlos Roldán.
• La Mulateada, meaning ‘The Mulatto Woman’; recorded by Carlos Di Sarli on 20 November 1941; a milonga with music composed by Julio Eduardo Del Puerto, lyrics by Carlos Pesce, and sung by Roberto Rufino.
• El Puntazo, meaning ‘The Wound’; recorded by Juan D’Arienzo on 13 August 1952; a tango with music composed by Alejandro Junnissi.
• Viviani; recorded by Carlos Di Sarli on 19 December 1956; a tango with music composed by Roberto Firpo, first recorded in 1920.
• El Rey Del Compás, meaning ‘The King Of The Beat’; recorded by Juan D’Arienzo on 12 September 1941; a tango with music and lyrics composed by Príncipe Cubano, first recorded in 1939.
• Pobre Flor, meaning ‘Poor Flower’; recorded by Alfredo De Angelis on 7 January 1946; a vals with music composed by Luis Mottolese, first recorded in 1932, lyrics by Victor Spindola, and sung by Carlos Dante and Julio Martel.
• La Shunca; recorded by Edgardo Donato on 21 January 1941; a vals with music composed by Lorenzo Barcelata, lyrics by Ernesto Cortázar, and sung by Horacio Lagos, Lita Morales, and Romeo Gavioli.
• 24 De Agosto, meaning ’24th Of August’; recorded by Pedro Laurenz on 16 April 1943; a tango with music composed by Pedro Laurenz, lyrics by Homero Manzi, and sung by Alberto Podestá. The date of 24 August in the name is not significant; it is simply a date, in the context of the song the date that his wife left him because of his violence.
• A Roberto Peppe, meaning ‘To Roberto Peppe’; recorded by Osvaldo Pugliese on 20 March 1956; a tango with music composed by Estban Enique Gilardi. The name is a reference to Pugliese’s bandoneonista, from 1951 until his death on 29 November 1955.

 

 

Last edition introduced the life of Francisco Canaro,  and this edition will take a longitudinal look at his music.  That’s this Sunday on Tango Capital, 7:00pm to 8:00pm:

• broadcasting on 2xxfm 98.3 in Canberra
• on demand from http://www.2xxfm.org.au

Image credit: “OTS-Canaro” by Archivo General de la Nación. Licensed under Public Domain via Commons – https://commons.wikimedia.org/wiki/File:OTS-Canaro.jpg#/media/File:OTS-Canaro.jpg

PLAYLIST:

• La Última Copa, meaning ‘The Last Cup’; recorded by Francisco Canaro on 23 March 1927; a tango with music composed by Francisco Canaro in 1925, lyrics by Juan Andrés Caruso, and sung by Agustín Irusta.
• Nobleza De Arrabal, meaning ‘Nobility Of The Slums’; recorded by Francisco Canaro on 29 April 1927; a tango with music composed by Francisco Canaro in 1919 and lyrics by Homero Manzi and Juan Andrés Caruso.
• La Tablada, meaning ‘The Stock Yards’; recorded by Francisco Canaro on 23 December 1929; a tango with music composed by Francisco Canaro, first recorded in 1927.
• Noches De Amor, meaning ‘Nights Of Love’; recorded by Francisco Canaro on 27 July 1927; a vals with music composed by Francisco Canaro.
• Soñar Y Nada Más, meaning ‘To Hear And Nothing More’; recorded by Francisco Canaro on 5 May 1943; a vals with music composed by Francisco Canaro, lyrics by Ivo Pelay, and sung by Eduardo Adrián and Carlos Roldán.
• Yo No Sé Que Me Han Hecho Tus Ojos, meaning ‘I Know Not What Your Eyes Made Me Do’; recorded by Francisco Canaro on 11 March 1953; a vals with music and lyrics composed by Francisco Canaro, first recorded in 1930, and sung by Alberto Arenas and Mario Alonso.
• Dejame, No Quiero Verte Más, meaning ‘Leave Me, I Do Not Want To See You Any More’; recorded by Francisco Canaro on 28 May 1947; a tango with music and lyrics composed by Francisco Canaro, Mariano Mores, and Ivo Pelay in 1936, and sung by Nelly Omar.
• Te Quiero, meaning ‘I Desire You’; recorded by Francisco Canaro on 14 July 1932; a tango with music and lyrics composed by Francisco Canaro in 1932, and sung by Ada Falcón.
• Mano Brava, meaning ‘Strong Hand’; recorded by Quinteto Pirincho on 22 November 1940; a tango with music composed by Francisco Canaro and Juan Canaro, first recorded in 1918.
• El Pollito, meaning ‘The Chick’; recorded by Quinteto Pirincho on 31 July 1947; a tango with music composed by Francisco Canaro, first recorded in 1927.
• El Chamuyo, meaning ‘The Conversation’; recorded by Quinteto Pirincho on 1 August 1950; a tango with music composed by Francisco Canaro, first recorded in 1918.
• Milonga Criolla, meaning ‘Local Milonga’; recorded by Francisco Canaro on 6 October 1936; a milonga with music composed by Francisco Canaro, first recorded in 1927, and sung by Roberto Maida.
• La Milonga De Buenos Aires, meaning ‘The Milonga Of Buenos Aires’; recorded by Francisco Canaro on 9 October 1939; a milonga with music composed by Francisco Canaro, lyrics by Ivo Pelay, and sung by Ernesto Famá.
• Milongón, meaning ‘Milongón’; recorded by Francisco Canaro on 20 June 1938; a milongón with music composed by Francisco Canaro and lyrics by Homero Manzi . The name is a reference to Canaro’s invented new dance rhythm that unfortunately did not take off with the dancing public.
• El Opio, meaning ‘Opium’; recorded by Francisco Canaro on 23 October 1931; a tango with music composed by Francisco Canaro, first recorded in 1931.
• Café Para Dos, meaning ‘Coffee For Two’; recorded by Francisco Canaro on 25 September 1956; a tango with music and lyrics composed by Francisco Canaro, and sung by Guillermo Rici.
• Adiós, Pampa Mía, meaning ‘Good-bye, My Pampa’; recorded by Francisco Canaro on 29 November 1951; a tango with music and lyrics composed by Francisco Canaro, Mariano Mores, and Ivo Pelay in 1945. The name is a reference to the fertile Argentine plains that were the source of much agricultural wealth and which had been mythologised as a bastion of Argentine values and virtues.

 

 

 

Why was this organisation so important to tango? Find out this Sunday, and then relax to Canaro. That’s this Sunday on Tango Capital, 7:00pm to 8:00pm:

• broadcasting on 2xxfm 98.3 in Canberra
• on demand from http://www.2xxfm.org.au

Image credit: https://www.sadaic.org.ar

PLAYLIST:

• Emancipación, meaning ‘Emanciation’; recorded by Osvaldo Pugliese on 2 September 1955; a tango with music composed by Alfredo Bevilacqua, first recorded in 1912 and lyrics by Antonio Polito.
• Tango Del Querer, meaning ‘Tango Of Love’; recorded by Adolfo Carabelli on 5 February 1932; a tango with music composed by Andrés Domenech, lyrics by Ricardo E Lleras, and sung by Alberto Vila and Albero Gómez.
• Lonjazos, meaning ‘Riding Crop’; recorded by Rodolfo Biagi on 7 December 1943; a rezo gaucho with music composed by Andrés Domenech in 1932, lyrics by Jesús Fernández Blanco, and sung by Carlos Acuña.
• Va A Cantar Un Ruiseñor, meaning ‘A Nightingale Goes To Sing’; recorded by Carlos Di Sarli on 12 November 1942; with music composed by Andrés Domenech, first recorded in 1942, lyrics by Carlos Pesce, and sung by Alberto Podestá.
• La Culpa La Tuve Yo, meaning ‘The Guilt I Had’; recorded by Domingo Federico on 10 April 1944; a tango with music composed by Andrés Domenech, first recorded in 1943, lyrics by Adolfo Rafael Avilés, and sung by Ignacio Díaz.
• Pinta Brava, from lunfardo, meaning ‘Tough Show-off’; recorded by Francisco Canaro on 12 May 1933; a tango with music composed by Francisco Canaro. The name is a reference to an ostentatiously presented woman.
• Matasano, meaning ‘Quack’; recorded by Roberto Firpo on 4 July 1937; a tango with music composed by Francisco Canaro in 1914. The name is a reference to the medical students for whom the piece was written.
• Milonga Sentimental, meaning ‘Sentimental Milonga’; recorded by Francisco Canaro on 9 February 1933; a milonga with music composed by Sebastián Piana in 1932, lyrics by Homero Manzi, and sung by Ángel Ramos and Ernesto Famá.
• Milonga del 900, meaning ‘Milonga of the 900’; recorded by Francisco Canaro on 8 May 1933; a milonga with music composed by Sebastián Piana in 1930, lyrics by Homero Manzi, and sung by Ernesto Famá.
• Yo Me Llamo Juan Te Quiero, meaning ‘My Name Is Juan; I Love You’; recorded by Francisco Canaro on 22 May 1934; a milonga with music composed by Antonio Molina, lyrics by Fernando Silva Valdés, and sung by Ernesto Famá.
• Madreselva, meaning ‘Honeysuckle’; recorded by Francisco Canaro on 26 November 1951; a tango with music composed by Francisco Canaro in 1930, lyrics by Luis César Amadori, and sung by Mario Alonso.