Dear Fellow Tango Aficionados,
DJ Antti Suniala (Finland/Germany) has been kind enough to feature one of my tandas on his blog, Tanda of the Week.
Garúa (1943)
Sosiego en la noche (1943)
Cada vez que me recuerdes (1943)
Farol (1943)
To listen to the songs and read my comments on this tanda, please visit Antti’s site here.
Temblando, singer Francisco Fiorentino (1944)
Palomita blanca, singers Floreal Ruiz y Alberto Marino (1944)
Flor de lino, singer Floreal Ruiz (1947)
Romance de barrio, singer Floreal Ruiz (1947)
I most often play tandas of three valses, especially if the milonga is shorter. But sometimes, especially at festivals, I feel like the crowd really craves four. And for that special four-vals tanda, who better to play than el gordo Pichuco? All three of his great singers of the 1940s—Francisco Fiorentino, Alberto Marino, and Floreal Ruiz—make an appearance in this tanda.
Pájaro ciego (1941)
Toda mi vida (1941)
No le digas que la quiero (1941)
Tinta roja (1941)
Troilo and Fiorentino are each titans of tango on their own, and together they form one of the most prolific and beloved orchestra-singer pairings of the 1940s. I’ve already posted another tanda of their tangos, but at the moment I love these just a little bit more.
The first song, “Pájaro ciego,” is a beautiful duet with singer Amadeo Mandarino.
En esta tarde gris (1941)
El bulín de la calle Ayacucho (1941)
Maragata (1941)
Te aconsejo que me olvides (1941)
El Gordo Picucho, Aníbal Troilo, is one of the giants of tango. In later years, his orchestra would accompany great singers like Edmundo Rivero and Roberto “El polaco” Goyeneche. He also collaborated with lyricist Homero Manzi on several classic tangos.
From 1938 to 1944, Astor Piazzolla played bandoneón for Troilo, and also created the innovative and unusual arrangements for which the orchestra is known.
Among dancers, his most beloved recordings are his 1940s collaborations with singer Francisco Fiorentino. Their songs cover a range of styles, from romantic to rhythmic. This tanda starts at romantic and speeds up near the end, culminating with the powerful “Te aconsejo que me olvides.”
