The untypical French típica of Brodman-Alfaro

Of all the bands playing tango in Paris in the 1920s, the most intriguing is that of Brodman-Alfaro. Formed in June 1928, the orchestra was co-led by two local men, Pablo Brodman (violin) and Jean-Max Levesque, a classically trained musician who, after hearing the Argentine pianists Luis Cosenza and Enrique Delfino playing tango in a restaurant in Montmartre, switched from cello to piano in order to perform tango, changing his name to the more Spanish sounding Jean Alfaro.

The formation of the group had to wait until they could find a pair of good bandoneon players, a commodity always in short supply in France. The men they found were the Colombo brothers, Joseph (Guiseppe) and Hector (Ettore), born in Piedmont. The brothers had learnt the accordion as children and switched to bandoneon in Paris, where they played for a while with the Bianco-Bachicha orchestra (perhaps until it departed for Spain in early 1928). They are really skilled players, able to play the bandoneon variations that Pedro Laurenz is performing in Julio De Caro’s recordings (such as the one on Mala junta).

The band experienced immediate success and in many ways was the most advanced of its day. On the one hand, they respected both the clear beats of Canaro (who had been all the range in Paris in 1925-1926), but they also liked Fresedo (who arrived in Paris at the end of 1928) and in particular the harmonized melodies of the De Caro brothers (who came to Europe only in 1931). In an interview given in 1930, whilst admiring Fresedo’s lighter and livelier beat, the men noted that he had not been as successful in Paris as had been expected, commenting “We believe that it interested musicians more than dance lovers”. Of Julio De Caro (whom they had not yet heard in person at the time of the interview) they wrote: “De Caro had the merit of having escaped from the primary formulas of tango; he understood that, without altering its character, it could be enriched with beautiful harmonies. He knew how to surround himself with brilliant instrumentalists; his orchestration is original and varied”. [1]

The band recorded on Pathé, Columbia (in early 1929 and again in 1932) and on Disque “Gramophone”. There is no published discography.

The repertoire of the band displays these preferences, with danceable versions of Francisco De Caro’s Flores negras and Cobián’s Pico de oro. Some of their versions lack power, but there is a very interesting comment in their interview about the difficulties of recording the rhythmic melody as played with the heel of the violin bow: “These effects, very common in dance halls, are rarely heard on records; they must be avoided, their use being too brutal for the sensitivity of the microphone. However, a good tango violinist must know how to do them brilliantly. It is a somewhat special technique that no school teaches; so a certain amount of training is required to be able to make them biting, strong, in time and… without breaking too many strings”. The implication is that they played differently for dancers than they did on the records.

I leave you with one of my favourite interpretations by the band, Agustín Bardi’s Lorenzo, recorded on 25th June 1929:

References

[1] Tango Sasha: Brodman-Alfaro, 24-01-2018
[2] Jean Alfaro on Bibletango

Tristesse

Many people have noted the connection between the tango La melodia del corazón, well known in the 1940 recording of Edgardo Donato, and Chopin’s piano étude Op. 10, No. 3.
When the same thing happened to me, many years ago, I asked my dad (who never danced tango) about it because I could remember him humming this tune when I was a small child. He told me that the lyrics began “How deep is the night”, and so I knew immediately that the connection between Chopin’s melody and popular music was not confined to tango. But which came first – the tango version, or another?
The most well known version in English, bizarrely, is one by the comedian Ken Dodd. The melody is said to have been used in the 1938 Bette Davis Movie “Jezebel”, and there is also a version with German lyrics recorded the same year by the Viennese Singing Sisters for the film “Memories of Chopin”

Jens-Ingo traced the tango versions to a 1939 arrangement made in Paris by Mario Melfi with the title “Reviens mon amour”, which was a big hit for Bruno Clair, but take a look at the sheet music: as a sub-title, it gives another name – Tristesse – Sadness. That’s also the title used by Tino Rossi, singing in French, in his 1939 recording:

Chopin considered this his most beautiful melody. He published it in Paris in 1833, having left Warsaw for Vienna in 1830. Less than a month later, his native Poland was thrown into war by the November uprising, an armed rebellion against the Russian Empire which ruled part of the nation (which was partitioned between Russia, Prussia and Austria, and did not exist as a separate country). It is easy to hear in the melody Chopin’s heartbreak at the fate of his country; one of his pupils reported that during a class, while he was demonstrating this piece, Chopin broke down in tears crying, “Oh my homeland!”

Sivul Wilenski – tango’s photographer

The majority of the pictures of the great tango musicians of the past were taken by just a handful of photographers. Today I want to introduce you to the most prolific: Sivul Wilenski, who is now forgotten by all save for a small group of enthusiasts. Born in Poland in 1897, Wilenski came to Buenos Aires in 1920 as a member of Iván Totsoff’s theatre company. Here he became interested in photography and started getting work after some years at the newspaper La Razón, taking photographs of society beauties for the “Notas Societas” pages. When La Razón opened an office in Paris he was sent there to open an exhibition of his photographs, staying for three years whilst he apprenticed himself to Parisian studios, developing himself as a photographer. His son Osias says that Sivul was much influenced by French poetic cinema – think of the films of Jean Renoir such as La Grande Illusion (1937) and The Rules of the Game (1939).

Wilenski returned to Buenos Aires in 1930, opening his first studio at Florida 118, but then returned to Paris in 1931 to photograph the massive Exposition Coloniale Internationale. In 1932 Wilenski moved his studio to Santa Fé 997. He now took photographs of people from the world of entertainment and culture: not just tango, but also theatre, cinema and dance. Many of his pictures were published by the magazine Sintonía. Wilenski nearly always retouched his photographs before printing (no photoshop in those days!) and when he did so he signed them. The rounded initial ‘W’ is very characteristic, making it easy to identify his work in the majority of cases.

After Wilenski died in 1952 his family donated his negatives to the Museo del Cine in the barrio of La Boca. In 2023 the museum arranged an exhibition of his work which again passed largely unnoticed by the tango community. The pictures are not as dramatic as those of Annemarie Heinrich, who started out as his pupil, but show people in natural poses. I hope this little article will raise appreciation for his work – look out for his signature on the photos on sheet music covers.

References:
Facio, Sara: La fotografía en la Argentina Desde 1840 hasta nuestros días. Buenos Aires, La Azotea Editorial Fotográfica, 1995.

Tango and Coffee: Is ‘El tigre Millán’ this year’s ‘Tormenta’ ?

Francisco Canaro: some love him, some hate him, but if you know me then you’ll know that my position is more nuanced. I adore his work with Charlo, and his valses, especially the early ones; and I also have a great affection for his work with Roberto Maida in the late 1930s. But when Maida quits at the end of 1938, the quality of Canaro’s work falls off a cliff. Nothing demonstrates this better than Canaro’s interpretation of Tormenta, Discépolo’s cry of existential dread. Canaro reduces the dark night of the soul to a soap opera in a performance that I can only describe as relentlessly superficial. I’ve long considered it the worst tango, ever; listening to it, for me, is a torment.

Tormenta (image generated by Bing AI)

Despite these obvious shortcomings, Canaro’s Tormenta has been a popular tango over the years: Canaro’s insistent, almost martial rhythm can get the dancers going. I remember complaining about Tormenta to a tango colleague twenty years ago. He commented: It’s like a cup of coffee… paused, and added: a bad cup of coffee. I have to say, he was bang on. Canaro’s Tormenta is a cup of bad instant coffee. It’s that big old jar of Nescafé that stares you in the face every time you open the kitchen cupboard, years after you’ve switched to something better. But for those moments in which you need a coffee so badly that even a bad one will do, it does the job.

Two decades later the scene seems to have tired of Tormenta; maybe we’ve finally finished that twenty year old maxi-jar of Nescafé. But the idea of a “go-to” tango that can make the dead dance has not gone away.

The mantle has been resting on D’Arienzo’s shoulders for a little while now – don’t forget that his music was once described as capable of waking the dead. In Argentina they used to play D’Arienzo’s La Bruja in this moment, but that’s not fast enough for us – especially once we started playing it at the proper (slower) speed. For a few years it was Mandria that we heard several times at almost every weekend event. Mandria is also like coffee, but it’s a good Italian coffee, a nice double espresso. Some of you may have noticed a not insignificant coincidence: both these interpretations were recorded in 1939, tango’s most intense year. Argentina was partying hard whilst in Europe the fuse ran down on the powder keg of war and then exploded.

So it was interesting for me to hear one D’Arienzo tango played three times in a weekend recently: El tigre Millán. Recorded one year after Mandria, this is not as hard and intense but it is even faster: 68 bpm compared to 67 bpm. That’s fast. D’Arienzo’s 1940 band is more sophisticated than his 1939 one, so this is a bit of a change in the community’s taste.

What next? Di Sarli’s Catamarca has been tried, but it’s just a bit too complex. Troilo perhaps? Sadly we have no recordings from 1939 and 1940. Milongueando en el 40 and the other classic 1941 sides don’t have the same intensity. They are more like a good cappucino: stimulating, yes, but meant to be savoured, rather than thrown back in a single gulp before the milonga. Perhaps some Biagi? Son cosas del bandoneón is well known but has never achieved the gold status of Tormenta, Mandria or El tigre Millán, whilst Pura clase is just too joyful. Gólgota? Too slow… reader I don’t know!

Tango By Year


When the pandemic struck, my friend and colleague Dag Stenvoll (Bergen, NO) had an idea: how about doing a free online Zoom show for the tango community? To slice the cake differently, his idea was to choose a particular year. He would choose the year and the tracks to play, and I would talk about them. The twist: I wouldn’t know which numbers he was going to play – only the year. I agreed, and Tango By Year was born. Over the next 18 months we did 38 shows – over 130 hours of programming, covering 1927-1955 – the core years of tango – with a few bonus programmes. All the episodes are freely available for listening on the TBY Soundcloud (optional donation).

1st March 1926: Electrical recording arrives in Argentina

Victor 79632-A - Rosita Quiroga - La Musa Mistonga

It’s an electrical recording – but can you tell?

In March 1926 the Victor company were the first to bring electrical recording to Argentina. Although their rivals Odeon were not able to follow suit until November this did not give Victor a competitive advantage: both parties had an interest in not advertising the new technology because – if it was really so much better than acoustic recording – who would buy the stocks of old acoustic discs? Victor and Odeon came to a gentleman’s agreement, and no announcements were made. Accordingly, Victor made no changes to their numbering system, continuing with the same matrix numbers, and there was no way of telling if the disc had been recorded acoustically or electrically. Once Odeon went electric in November, Victor’s discs would bear the monogram VE: Victor Electrical.

The first electrical recording was matrix BAVE (Buenos Aires Victor Electrical) 753 and this was given to Rosita Quiroga. It sold over 14,000 copies. By way of contrast, Agustín Magaldi would sell between 5,000 and 16,000 copies, Carabelli’s Jazz Band 7000 copies, and De Caro 1,500. Quiroga’s third disc, Mocosita c/w Horas tristes, sold 26,000 copies.

date matrix artist title genre disc
1st March BAVE 753-2 Rosita Quiroga La musa mistonga tango 79632-B
1st March BAVE 754-2 Rosita Quiroga Beba tango 79632-A
BAVE 755-1 Ramón Franco Todo por la raza monólogo 79633
BAVE 756-1 Salutación del Mayor Zanni al Comandante Franco monólogo 79633
BAVE 757-2 Carabelli Jazz Band Ingenuamente fox trot 79634-A
BAVE 758-1 Carabelli Jazz Band Gitana de ojos moros paso doble 79635-A
BAVE 759-2 Carabelli Jazz Band Comandante Franco paso doble 79634-B
7th April BAVE 760-1 Rosita Quiroga Como luces de bengala tango 79638-B
7th April BAVE 761-1 Rosita Quiroga Son grupos tango 79638-A
BAVE 762-2 Rosita Quiroga / Juan Velich El amor a golpes escena cómica 79639-A
BAVE 763-2 Compañía Victor de Comedias Pum… Garibaldi escena cómica 79639-B
8th April BAVE 764-2 Rosita Quiroga Mocosita tango 79641-A
8th April BAVE 765-2 Rosita Quiroga Horas tristes tango 79641-B
BAVE 766-3 Carabelli Jazz Band Voronoff fox trot 79635-B
BAVE 767-1 Trío Los Nativos El crucifijo tango 79640-B
BAVE 768-1 Trío Los Nativos La china Hilaria ranchera 79640-A
12th April BAVE 769-2 Julio De Caro Mary tango 79636-A
12th April BAVE 769-2 Julio De Caro Feliz viaje tango 79636-B
12th April BAVE 771-2 Julio De Caro Mis desvelos Tango 79637-A
12th April BAVE 772-1 Julio De Caro Quince abriles vals 79637-B
14th April BAVE 773-1 Agustín Magaldi ¿Dónde estás? shimmy 79642-B
14th April BAVE 774-2 Agustín Magaldi Hilos de plata tango 79643-A
BAVE 775-2 dúo Magaldi-Noda Lirio azul vals 79642-A
BAVE 776-1 dúo Magaldi-Noda Sauces del Chorrillo tango 79643-B

And who is this Comandante Franco guy? If you think he sounds like a military type, you would be right: this is General Franco’s younger brother Ramón Franco. He made history in January 1926 by flying a Dornier flying-boat named Plus Ultra (!) from Spain to Buenos Aires, a distance of just over 10,000km. The flying time was nearly 60 hours.

Juan Maglio – “La guardia vieja” (1927-1932)

If you’re not sure about Maglio then try this album, compiled by Carlos Puente and released by Euro Records in their “Colección 78RPM” (EU-17052), and now present on all the digital platforms. Vardaro plays on all the 1927 tracks (tracks 1 to 5), but that’s not to say that those are the best tracks on this compilation – not at all!
A prototypical figure of the old guard (guardia vieja), Maglio made changes to his band to respond to the changes being wrought by the new guard of De Caro et al. In 1929 he assembled a new bandoneon lineup with Federico Scorticatti, Gabriel Clausi and Ernesto Di Cicco (Minotto’s brother) – all top players, and in En un rincón del café they unleash a variación which is simply stunning.
From November 1929 Vardaro was occupied by the Vardaro-Pugliese sextet but he is present on some of the 1930-1931 recordings such as the creamy Abrojos – and just listen to his tone in the long intro to the vals Princesa. From 1932 onwards he is again present in all the recordings, with a superb solo in Mi queja.
Finally, for the most complete arrangement of the album listen to Alma triste. As well as Vardaro’s beautiful violin we get a final variación on the bandoneons which is clearly in multiple voices (the different men play different notes). This is the era of which Troilo commented that Maglio could not understand the music that his own band was making – not only did he no longer play in these lineups, he sometimes didn’t even attend.
Thanks to Osvaldo Vardaro for confirming in which years Elvino Vardaro is present in the band.

Roberto Firpo (1927-1929)

A delicious album of late 1920s Firpo from RGS with an astonishing resemblance to CTA-741. Reasonable transfers of fairly clean discs make this easy to enjoy. Teófilo Ibáñez is the vocalist on four tracks including an unusual vocal version of Marejada (a track more familiar to us from the 1941 version of Carlos Di Sarli) although Organito del suburbio is more satisfying.
Firpo’s special qualities – his romantic sense of melody, the deep wailing melancholy of the violins – come to the fore in the instrumentals, with 9 de julio | Nueve de julio, A la luz del candil, Cotorrita de la suerte, La cumparsita, Entre tangos y champagne and Oí malevo all being stand-out tracks. That’s a lot of stand-out tracks – an excellent album, especially if you’re not familiar with the artist in this period.
Geek note: The title of Entre tangos y champagne is given incorrectly, with “tango” in the singular.
Published on both Spotify and Youtube:

Youtube:

Odeon’s OT series

Tango artists such as Alfredo Eusebio Gobbi and his wife Flora (the parents of Alfredo Gobbi) travelled to Paris to record in 1909, when the possibilities to make recordings in Argentina were very limited, but the export of tango music from Buenos Aires to Europe seems to have begun only in the 1920s. Recordings of Canaro’s típica began to be released in Paris in (we think) 1925, presumably to capitalise on his arrival in the City of Light. Odeon France released, for example, Francesita (matrix 1721, DNO 6958-A) c/w (coupled with) Griseta (mx: 2365/1, DNO 4026-A) on the disc 49.110 / 49.111 (the two sides had different numbers in those days).

Odéon 49 110 Francesita (6958-A) c/w 49 111 Griseta (4036-A). Images courtesy ‘gone fishing with friends’.

In 1926, Parlophone (a sister company of Odeon) released three discs in their premium ‘R’ (‘Royalty’) series. The first two featured Roberto Firpo, whilst the third was shared by Canaro and Maglio. These were acoustic recordings. The advertisement below appeared in the “Ladies’ Mirror” magazine in New Zealand in June 1926:

Ladies Mirror (New Zealand) June 1926, p48. Photo © National Libary of New Zealand



R3202 contained Humberto Canaro’s Alfredo, recorded in Bs As in 1924 and released there on DNO 4009-B.

The £ sign on the label represents the letter ‘L’ and thus the name of the parent company, Lindstrom – not so strange when one considers that the pound sign itself comes from the latin ‘L’ for libra pondo, the basic unit of weight in the Roman Empire, which in turn was derived from the Latin word libra, meaning scales.


With the success of Canaro’s trip to Europe (1925-26) Odeon embarked on a series they called ‘Odeon Tango’ – OT for short – in 1927. This series was the tango version of their Odeon Dance recordings (‘OD’); the fact that OT also stands for ‘Orquesta Típica’ is just a happy coincidence: not all the releases are tangos. These discs were printed in London, in the Netherlands, and even in Switzerland, and issued on the Parlophone and Odeon labels. All the discs present electrical recordings. Parlophone included either the matrix number or the Argentine disc number on the records, sometimes both. As far as we can tell, 191 records were issued and many remained in the catalogue for many years.

OT 117 (Dutch pressing) La cumparsita – photo courtesy Serjan Pruis. The Argentine disc number (4262) appears on the label, whilst the matrix number is scratched into the wax in the run-off area.


At the same time, Odeon made their own issues on the continent (France, Spain, Germany and Italy) with their own couplings. In France for example 238 084 presented Zaraza c/w Margaritas, neither of which appears in the OT series. Particularly interesting on this disc is evidence of an Odeon Europe internal reference number with the prefix ‘Bao’, where Ba means Buenos Aires, and O means a 10″ disc. Zaraza is Bao 1209, and Margaritas is Bao 1198. These numbers never appeared on OT series discs but we know that e.g. Alma del bandoneón (OT 133) was Bao 1678.

Finally, not all the Odeon Tango recordings were tangos. (OT 141) presented a pair of pasodobles by Roberto Firpo. At least one of these was released by Columbia in Japan.

Cat# Artist Title Matrix Cross reference Date Composer
OT 101 Francisco Canaro Angustia 293-1 4251-A 10/1/1927 Horacio Pettorossi
OT 101 Francisco Canaro Milonga con variación 747 4303-A 13/5/1927 Francisco Canaro
OT 102 Francisco Canaro Canaro en Paris 799 4299-B 23/5/1927 Juan Caldarella – Alejandro Scarpino
OT 102 Francisco Canaro Río de oro 1107-1 4353-A 16/8/1927 Lucio Demare
OT 103 Francisco Canaro Arrabalero 712 4301-A 5/5/1927 Osvaldo Fresedo
OT 103 Francisco Canaro Rezongos 713 4301-B 5/5/1927 José María Rizzutti
OT 104 Francisco Canaro Barrio reo 519 4285-A 23/3/1927 Roberto Fugazot – Alfredo Navarrine
OT 104 Francisco Canaro Araca, corazón 489 4268-A 17/3/1927 Enrique Delfino
OT 105 Francisco Canaro Caído del cielo 1269 4352-A 3/9/1927 Pedro Polito – Antonio Polito
OT 105 Francisco Canaro Queja Indiana 1303 4352-B 13/9/1927 Juan Rodriguez – Juan Miguel Velich
OT 106 Francisco Canaro Noche de Reyes 1289 4355-A 07/09/1927 Pedro Maffia – Jorge Curri
OT 106 Francisco Canaro Un tropezón 674 4289-A 27/4/1927 Raúl Joaquin de los Hoyos
OT 107 Francisco Canaro Federación 469-1 4266-A 12/3/1927 Francisco Canaro & Luis Riccardi – Juan Andrés Caruso
OT 107 Francisco Canaro Tiempos viejos 833 4311-A 30/5/1927 Francisco Canaro
OT 108 Francisco Canaro Marcelo 538 4275-A 30/3/1927 Edgardo Donato – Carlos Warren
OT 108 Francisco Canaro Sangre azul 1153-1 [*] 4351-A 20/9/1927 [*] Fioravanti Di Cicco
OT 109 Francisco Canaro Saturnia 1284 4344-A 7/9/1927 Juan de Dios Filiberto
OT 109 Francisco Canaro Copetin, vos sos mi hermano 1271 4373-B 3/9/1927 Andrés Domenech – Diego Flores
OT 110 Francisco Canaro En Silencio 1286 4354-B 7/9/1927 Raúl Courau
OT 110 Francisco Canaro Se acabaron los otarios 468/? 4267-A 11/3/1927 Francisco Canaro – Juan Caruso
OT 111 Francisco Canaro Puentecito del Plata * 844/1 [*] 4319-A 15/6/1927 [*] Francisco Canaro – Pascual Contursi
OT 111 Francisco Canaro Retirao 971 4326-A 23/6/1927 Carlos Posadas
OT 112 Francisco Canaro Bells of Hawaii 4843 4610-A
(Bao 1263)
11/8/1929 William Heagney
OT 112 Francisco Canaro Nelly 3135 4463-A
(Bao 1113)
10-09-1928 Héctor Bates – Luis Bates
OT 113 Francisco Canaro Don Juan 4431-1 4569 8/1/1929 Ernesto Ponzio
OT 113 Francisco Canaro La morocha 4403 4569-B 24/7/1929 Enrique Saborido – Angel Villoldo
OT 114 Francisco Canaro Chanta cuatro 2620 4436-B 12/5/1928 Enrique Domingo Cadícamo
OT 114 Francisco Canaro Yira, yira 6007 [*] 4674-A 9/4/1930 Enrique Santos Discépolo
OT 115 Francisco Canaro La brisa 4255-1 4552-B 19/6/1929 Francisco Canaro & Juan Canaro – Juan Caruso
OT 115 Francisco Canaro Llevatelo todo 2221 4436-A 12/5//1928 Rodolfo Pascual Sciammarella
OT 116 Francisco Canaro Adiós muchachos 1967 4400-B 3/1/1928 Julio Sanders
OT 116 Francisco Canaro Prisionero 4570/1 [*] Odeon 4578-A 11/9/1929 Anselmo Aieta – Francisco García Jiménez
OT 117 Francisco Canaro La cumparsita 379/2 4262-B 17/4/1929 Gerardo Matos Rodríguez
OT 117 Francisco Canaro Esta noche me emborracho 2350 4420-A 4/3/1928 Enrique Santos Discépolo
OT 118 Francisco Canaro Pensalo bien 4740 4590-A 23/10/1929 Alberto Calvera – Enrique Lopez
OT 118 Francisco Canaro Rancho embrujao 4797 [*] 4594-A 2/11/1929 Raúl Courau
OT 119 Francisco Lomuto Como los nardos en flor 5424 7844-B 15/04/1930 Mario & Teófilo Léspes
OT 119 Francisco Lomuto En la tranquera 5220 7842 3/10/1930 Francisco Lomuto – Pancho Laguna
OT 120 Francisco Canaro Comadre 4337-2 [*] 4560-A 14/8/1929 Juan de Dios Filiberto – Celedonio Esteban Flores
OT 120 Francisco Canaro Te amo y seras mia 5441 4639-A 21/4/1930 Alfredo Marengo – José Zatzkin
OT 121 Francisco Canaro I Don´t Know Why I Love You (Yo no se porque te quiero) 7693 4892-A 4/5/1934 Francisco Canaro – Ivo Pelay
OT 121 Francisco Canaro My Little Black-Haired Baby (Negrita de mi alma) 7684 4895-A 28/4/1934 César De Pardo/José Francisco García
OT 122 Francisco Canaro Milonga 7610 4883-B 11/12/1933 José María Rizzuti – Santiago Giordano
OT 122 Francisco Canaro Puerto Nuevo 7611 4882-B 11/12/1929 Teófilo Lespés – Carlos Pesce
OT 123 Francisco Canaro No quiero verlo mas 7624 4885-B 29/01/1934 Rodolfo Sciammarella
OT 123 Francisco Canaro Que haces, Que haces ? 7592 4878-B 13/11/1929 José di Clemente – Jesús Fernandéz Blanco
OT 124 Francisco Canaro Si soy así 7494/1 [*] 4864-A 17/8/1933 Francisco Lomuto – Antonio Botta
OT 124 Francisco Canaro Sufro 7514 4880-B 10/9/1933 Luis Canaro – Jesús Fernandéz Blanco
OT 125 Francisco Canaro Amigaso 993 4327-A 7/7/1927 Juan de Dios Filiberto
OT 125 Francisco Canaro Clavelito 453 4267-B 10/3/1927 Juan Canaro
OT 126 Francisco Canaro Tango Of The "Mula" (El tango de la mula) 7692 4894-A 4/5/1934 Francisco Canaro – Ivo Pelay
OT 126 Francisco Canaro A Garden of Illusion (Un jardín de ilusión) 7695 4893-A 4/5/1934 Francisco Canaro – Ivo Pelay
OT 127 Francisco Canaro Churrasca 7734 4899-A 7/6/1934 Francisco Lomuto – Pancho Laguna
OT 127 Francisco Canaro Mi Buenos Aires querido 7822 4909-A 19/9/1930 Carlos Gardel – Alfredo La Pera
OT 128 Francisco Canaro Mi musa campera 7879 4911-B 31/10//1930 Irusta – Fugazot – Demare
OT 128 Francisco Canaro Madrecita de Pompeya 7864 4916-A 20/10/1930 José Martinéz – Francisco Laino
OT 129 Francisco Canaro Aparcero 7738 4901-A 12/6/1934 Anselmo Aieta – Antonio Radicci
OT 129 Francisco Canaro Cuesta abajo 7821 4908-A 19/9/1934 Carlos Gardel – Alfredo La Pera
OT 130 Roberto Firpo El adiós del boyero 7964 3084-B 11/12/1934 Jaime Vila – José Perrusine Fernández
OT 130 Roberto Firpo Buscando millonaria 8006 3075-A 17/12/1934 José Riestra
OT 131 Francisco Canaro Charamusca 7930 4923-A 21/11/1934 Francisco Canaro
OT 131 Francisco Canaro Soy cantor 7935 4926-A 23/11/1934 Francisco Pracánico – Alfonso Ferrari Amores
OT 132 Francisco Canaro Poncho de dolor 7937 4927-A 23/11/1934 Rafael Rossi – Francisco Gorindo
OT 132 Francisco Canaro Sibidos de un vago 7948 4924-A 30/11/1934 Héctor Gerard Cruz – Arsenio Mármol
OT 133 Francisco Canaro No hay que hacerse mala sangre 8028-1 [*] 4931-A 20/3/1935 Francisco Canaro – Ivo Pelay
OT 133 Francisco Canaro Alma del bandoneón 8029 4933-A (Bao 1678) 20/3/1935 Enrique Santos Discépolo – Luis César Amadori
OT 134 Roberto Firpo La bordadora 8032 3080-A 22/3/1935 Roberto Firpo – Venancio Clauso
OT 134 Roberto Firpo La tortuguita 8034 3080 22/3/1935 Roberto Firpo – Fernandez
OT 135 Francisco Canaro El pescante 7735 4900-A 7/6/1934 Sebastián Piana – Homero Manzi
OT 135 Francisco Canaro La canción de la ribera 7788 4907-B 1/8/1934 Miguel Bonano – Alfredo Bigeschi
OT 136 Francisco Canaro Tangón (Nueva Danza) 8289/? 4954-A 21/8/1934 Francisco Canaro – Ivo Pelay
OT 136 Francisco Canaro La copla porteña 8292 4955-B 21/8/1934 Francisco Canaro – Ivo Pelay
OT 137 Francisco Canaro Aunque no lo crean 8285 4953-A 16/8/1934 Francisco Canaro
OT 137 Francisco Canaro Casas viejas 8286 4952-A 16/8/1934 Francisco Canaro – Ivo Pelay
OT 138 Juan de Dios Filiberto y su Orquesta Porteña Re-Fa-Si 8380 6452
(Bao 1679)
1935 Enrique Delfino
OT 138 Juan de Dios Filiberto y su Orquesta Porteña Responso malevo 8225 6452 10/07/1935 Juan Polito
OT 139 Juan de Dios Filiberto y su Orquesta Porteña Clavel del aire 8228 Juan de Dios Filiberto
OT 139 Juan de Dios Filiberto y su Orquesta Porteña Estampa 8382 Ramón Gutiérrez del Barrio
OT 140 Roberto Firpo La carcajada 8354 3097 04/10/1935 Roberto Firpo
OT 140 Roberto Firpo Bella española 8356 3097 04/10/1935
OT 141 Roberto Firpo Por mi morena (pasodoble) 8244 3086 24/07/1935 Herrera
OT 141 Roberto Firpo Curro en el oro (pasodoble) 8258 3089 31/07/1935 Herrera
OT 142 Roberto Firpo La cucaracha 7858 3067-A 10/10/1934 Juan y D’Lorah
OT 142 Roberto Firpo A media Luz 7859 3067-B 19-10-1934 Donato – Lenzi
OT 143 Francisco Canaro Canaro 8209 4980-B 18/06/1935 José Martínez
OT 143 Francisco Canaro Horizontes 8398 4966-A 22/10/1935 Charlo – Homero Manzi
OT 144 Francisco Canaro El internado 8419 4964-B 8/11/1935 Francisco Canaro
OT 144 Francisco Canaro Juntando amores 8447 4971-A 3/12/1935 María Isolina Godard
OT 145 Francisco Canaro Donde ? 8449 4968-A 3/12/1935 Irusta – Fugazot – Demare
OT 145 Francisco Canaro Yo también soñé 8475/? 4975-A Francisco Canaro – Luis César Amadori
OT 146 Francisco Canaro Canillita 8512 4979-B 31/3/1936 Francisco Canaro
OT 146 Francisco Canaro Las doce menos cinco 8530 4982-B 3/4/1936 Agustín Bardi – Luis Bates
OT 147 Juan de Dios Filiberto y su Orquesta Porteña Botines viejos 7293 5300-A (OD 102) 1932 Juan de Dios Filiberto – Alberto Vaccarezza
OT 147 Juan de Dios Filiberto y su Orquesta Porteña El pañuelito 7923 5300-A (OD 102) 1934 Juan de Dios Filiberto
OT 148 Francisco Canaro El caburé 8538 4983-B 13/4/1936 Arturo de Bassi
OT 148 Francisco Canaro Envidia 8720 4999-A 26/8/1936 Francisco Canaro – José Gonzalez Castillo – Luis Amadori
OT 149 Francisco Canaro Qué le importa al mundo 8722 5002-A 26/8/1936 Francisco Canaro – José González Castillo – Antonio Botta – Luis Amadori
OT 149 Francisco Canaro Como te quiero 8732 5000-A 1/9/1936 Francisco Canaro – J. Castillo – A. Botta – L. Amadori
OT 150 Francisco Canaro El porteño 8733 4998-A 1/9/1936 Francisco Canaro – J. Castillo – A. Botta – L. Amadori
OT 150 Francisco Canaro Como las flores 8573 4984-B 12/5/1936 Mario Canaro – Luis Amadori
OT 151 Roberto Firpo Loco lindo 8645 3112-A 18/7/1936 Carlos Di Sarli – Conrado Nalé Roxlo
OT 151 Roberto Firpo Arrepentido 8750 3114-B 18/9/1936 Rodolfo Sciammarella
OT 152 Francisco Canaro El que a hierro mata 8341 4956-A 30/9/1935 Francisco Canaro – Ivo Pelay
OT 152 Francisco Canaro Siempre unidos 8783 5005-B 6/10/1936 Alberto Soifer – Manuel Romero
OT 153 Francisco Canaro Todo es cuestion de suerte 8813 5011-A 25/10/1936 Enrique Delfino – Tabanillo
OT 153 Francisco Canaro Que nadie se entere 8910 5020-A 23/2/1937 Alberto Goméz
OT 154 Francisco Canaro Novia 8985 5023-B 26/4/1936 Francisco Rofrano – Francisco Gorrindo
OT 154 Francisco Canaro Desconfiale 8967 5024-B 19/4/1937 Francisco Canaro – Ivo Pelay
OT 155 Francisco Canaro Desencanto 8908 5017-A 23/2/1937 Enrique Santos Discépolo – Luis Amadori
OT 155 Francisco Canaro Milagro 8900 5019 19/2/1937 Luis Rubistein
OT 156 Francisco Canaro Resentimiento 8942 5026-A 10/4/1937 Francisco Canaro
OT 156 Francisco Canaro El buey solo 8335 4957-B 27/9/1935 Agustin Bardi
OT 157 Francisco Canaro Se lo llevaron 9114 5035-A 20/7/1933 Agustin Bardi
OT 157 Francisco Canaro La puñalada 9106 5038-A 12/07/1937 Pintín Castellanos
OT 158 Roberto Firpo El llorón 8863 3500-A 19/12/1936 Juan Maglio
OT 158 Roberto Firpo La trilla 8865 3501 19/12/1936 Eduardo Arolas
OT 159 Francisco Canaro Cariño gaucho 8822 5014 18/11/1936 Francisco Canaro – Lucio Demaré – Claudio Martinez Payvo
OT 159 Francisco Canaro Milonguita 8828 5013-B 20/11/1936 Enrique Pedro Delfino – Samuel Linnig
OT 160 Francisco Canaro Pura milonga 9138 5041-A 10/8/1937 José Pécora
OT 160 Francisco Canaro Mal de ausencia 8943 5025-B 10/4/1937 Francisco Canaro – Ivo Pelay
OT 161 Francisco Canaro Condena 9204 5056-A 8/11/1937 Enrique Santos Discépolo – Francisco Pracánico
OT 161 Francisco Canaro Viejos tiempos 9169 5050-A 28/09/1937 Carlos Gardel – Alfredo le Pera
OT 162 Don Pancho y su Quinteto Argentino Los tiempos cambian 9214 4102-B 15/11/1937 Pascual Biafore
OT 162 Don Pancho y su Quinteto Argentino El choclo 9216 4103-A 15/11/1937 Angel Villoldo
OT 163 Francisco Canaro Recuerdos de París 9218 5055-B 16/11/1937 Mario Canaro – Carmelo Santiago
OT 163 Francisco Canaro Rincón florido 9206 5057-B 8/11/1938 Zaira Canicoba – Óscar Lomuto
OT 164 Roberto Firpo El apronte 8935 3503-B 27/03/1937 Roberto Firpo
OT 164 Roberto Firpo Homero 8801 3115-B 1/12/1936 Roberto Firpo
OT 165 Francisco Canaro Paciencia 9316 5059-A 3/3/1938 Juan D’Arienzo – Francisco Gorrindo
OT 165 Francisco Canaro El adiós 9317 5059-B 3/3/1938 Maruja Pacheco Huergo – Virgilio San Clemente
OT 166 Francisco Canaro Cuando el corazón 9318 5060-A 3/3/1938 Francisco Canaro – Carmelo Santiago
OT 166 Francisco Canaro La melodia de nuestro adiós 9319 5060-B 3/3/1938 Fioravanti di Cicco
OT 167 Francisco Canaro Indiferencia 9373 5066-A 21/4/1938 Rodolfo Biagi – Juan Carlos Thorry
OT 167 Francisco Canaro Pampa 9348 5064-A 24/3/1938 Francisco Prácanico
OT 168 Francisco Canaro Lorenzo 9346 5063-A 24/3/1938 Agustin Bardi
OT 168 Francisco Canaro Retintín 9347 5063-B 24/3/1938 Eduardo Arolas
OT 169 Francisco Canaro Adiós muchachos 9461 5065 6/20/6/1938 Julio César Sanders – César Vedani
OT 169 Francisco Canaro Pura parada 9460 5073-B 20/6/1938 Juan Francisco Noli
OT 170 Francisco Canaro La maleva 9511 5075-A 14/7/1938 Antonio Buglione
OT 170 Francisco Canaro Vieja amiga 9647 5080-A 7/10/1938 Pedro Blanco Laurenz
OT 171 Francisco Canaro Frio 9534-? 5076-A 26/7/1938 Joaquín Mora – José María Contursi
OT 171 Francisco Canaro Nada más 9596 5078-A 22/8/1938 Juan D’Arienzo – Luis Rubistein
OT 172 Francisco Canaro Ciertos amores 9650-? 5089-B 7/10/1938 Rafael Canaro
OT 172 Francisco Canaro Desprecio 9649 5083 7/10/1938 Ricardo Tanturi – Francisco García Jiménez
OT 173 Francisco Canaro Olvidame 9718 5085-B 18/11/1938 Miguel Bucino
OT 173 Francisco Canaro Callecita de mi novia 9717 5090 18/11/1938 Francisco Lomuto – Antonio Botta
OT 174 Francisco Canaro Sangre de suburbio 9719 5092-A 18/11/1938 Héctor Palacios – Iván Diéz
OT 174 Francisco Canaro Quebranto 9720 5086-B 18/11/1938 Ateo Dapiaggi – Francisco Antonio Lío
OT 175 Francisco Canaro Yo sere como tú quieras 9726 5087-A 25/11/1938 Héctor Lomuto
OT 175 Francisco Canaro Suplicio 9747 5091-A 3/12/1938 Carlos Viván – Francisco Bohigas
OT 176 Francisco Canaro Mano a mano 9756 5088-A 13/12/1938 Carlos Gardel – José Razzano – Celedonio Flores
OT 176 Francisco Canaro Por vos yo me rompo todo 9814 5093-A 27-02-1939 Francisco Canaro
OT 177 Francisco Canaro Mala suerte 9815 5094-A 27/02/1939 Francisco Lomuto – Francisco Gorrindo
OT 177 Francisco Canaro Donde andará 9816 5094-B 27/02/1939 Juan Canaro – Carlos Pesce
OT 178 Francisco Canaro Tormenta 9838 5096-A 28/03/1939 Enrique Santos Discépolo
OT 178 Francisco Canaro Vanidad 9840 5097 28/03/1939 Gerardo Matos Rodríguez
OT 179 Francisco Canaro Lo pasao pasa 9851 5099-B 29/03/1939 Miguel Bucino
OT 179 Francisco Canaro Qué importa! 9841 5102-B 28/03/1939 Ricardo Tanturi – Juan Carlos Thorry
OT 180 Francisco Canaro Quiero verte una vez más 9890 5098-B 13/04/1939 Mario Canaro
OT 180 Francisco Canaro Mas allá 9918 5104-A 04/05/1939 Joaquín Mora – José María Contursi
OT 181 Francisco Canaro Te quiero todavía 9919 5100-A 04/05/1939 José Ranieri – Mario Gomila
OT 181 Francisco Canaro Atardecer 9921 5105-A 04/05/1939 Luis & Germán Teisseire
OT 182 Francisco Canaro Al subir al bajar 9943 5106-B 19/05/1939 Alberto Suaréz Villanueva – Enrique Cadícamo
OT 182 Francisco Canaro Y no puede ser 9852 5108-A 30/05/1939 Aníbal Troilo – José María Contursi
OT 183 Francisco Canaro Mosterio ! 10073 5111-A 11/09/1939 Alberto Gambino – Alí Salem de Baraja
OT 183 Francisco Canaro Que es lo que tiene la Bahiana 10071 5114-B 10/09/1939 Dorival Caymmi
OT 184 Francisco Canaro Abandonada 10070 5110-A 11/09/1939 Francisco Canaro – Manuel Romero
OT 184 Francisco Canaro Amor, salud y dinero (Salud dinero y amor) [2] 10074 5111-A 11/09/1939 Rodolfo Sciammarella
OT 185 Francisco Canaro Noches de Buenos Aires 8083 4937-A 23/04/1935 Alberto Soifer – Manuel Romero
OT 185 Francisco Canaro Ojos negros que fascinan 8090 4939 25/04/1935 Manuel Salína – Florián Rey
OT 186 Francisco Canaro Llanto 10484 5135-B 20/05/1940 Pedro Maffia – Homero Manzi
OT 186 Francisco Canaro Milonga clasica 10416 5135-A 18/04/1940 Luis Riccardi
OT 187 Francisco Canaro Pájaro ciego 10493 5139-A 22/05/1940 Antonio Bonavena – Lito Bayardo
OT 187 Francisco Canaro Bandoneon de mis amores 10486 5138-A 20/05/1940 Federico Agustín Scorticati
OT 188 Orquesta Argentina Ricurita de mi alma 8859 1936 Julio Rosenberg – Alex
OT 188 Orquesta Argentina Alma de Bohemio 8860 1936 Roberto Firpo
OT 189 Francisco Canaro Sinfonía de arrabal 10181 5126-A 23/11/1939 Maruja Pacheco Huergo
OT 189 Francisco Canaro A quién le puede importar 10307 5127-A 26/1/1940 Mariano Mores – Enrique Cadícamo
OT 190 Francisco Canaro Un amor 10770 5141-A 14/10/1940 Mario Maurano – Alfredo Malerba – Luis Rubistein
OT 190 Francisco Canaro En un beso… la vida…! 10716/3 5141-B [*] 30/09/1940 Carlos Di Sarli – Héctor Marcó
OT 191 Francisco Canaro Martirio 10456 5133-A 9/5/1940 Enrique Santos Discépolo
OT 191 Francisco Canaro Melodía oriental 10477 5136-A 16/5/1940 Robert Zerrillo – Juan Carlos Howard – Enrique Cadícamo

[*] Regarding OT 176 Por vos… yo me rompo todo, the ‘dry’ matrix Take 1 was sent to England, whilst Take 2 (9814/1) was printed in Bs As on DNO 1.5093-A
[2] On OT-184, Salud, dinero y amor is the correct title, but the order of these three felicities was changed to accord better with European sensibilities.
[*] Regarding OT 190: alternate takes were sent to Europe for printing. For En un beso… la vida…! the ‘dry’ matrix 10716 was printed in Argentina, whilst take 4 (matrix 10716/3) was sent.
For Un amor, the ‘dry’ matrix 10770 was printed in Argentina, whilst take 3 (matrix 10716/2) was sent.

Back in the day, many record companies used to publish catalogues. Here is the Canaro listing from the Parlophone-Odeon catalogue of 1937-1938. You’ll observe that at this time the highest number released is OT-155.

This page was inspired by the page of Tyrone Settlemier and Robert Lachowitz. As that page seems to no longer be maintained I have produced a corrected table here. Thanks to Serjan Pruis for additional information. Matrix and disc numbers were checked against Christoph Lanner’s discography.

It’s easy to make mistakes in a big table like this. Seen any mistakes or omissions? Let us know.

Agua Florida: Florida Water

Many of you will have listened to the beautiful D’Agostino – Vargas tango Agua Florida, but what does that curious title mean? Florida is the adjective of flor, flower, so means ‘floral’ or ‘flowered’, but it has also given its name to things, such as the state of Florida in the US. Here it refers to an eau-de-cologne made from grain alcohol to which orange blossom was added, along with a mixture of spices. Agua de Florida was created in New York by the perfumer Robert Murray in 1808. The name took on additional significance when George Du Maurier (1834-1896) designed a label for Murray, who had been joined in 1935 by David Lannam. Du Maurier took his inspiration from a myth about the Spanish explorer Juan Ponce de León who was said to have discovered Florida in 1512 while searching for the Fountain of Youth (!). Murray & Lannam’s ‘Agua de Florida’ quickly became used not just as a cologne, but also as a household remedy; today it remains especially popular in Peru, where it has become part of the essential equipment of the nation’s shamans.
Around the turn of the Century – in tango’s very early days – Agua de Florida became popular in Argentina, where it was known as Agua florida (dropping the ‘de’).
In this tango, lyricist Fernando Silva Valdés (writing in 1928) wrote about how the smell of this perfume immediately transported one back to that time. D’Agostino-Vargas is the perfect artist to take us on this sentimental, nostalgic journey.

Agua Florida, vos eras criolla.

Te usaban las pobres violetas del fango
de peinados lisos, como agua’e laguna,
cuando se bailaba alegrando el tango
con un taconeo y una media luna.
Perfume del tiempo taura que pasó,
pues todo en la vida ha de ser así,
cuando las percantas mentían que no
mientras las enaguas decían que sí. [1]

Chinas
sencillas y querendonas,
que al son de las acordeonas
bailaban un milongón.
Chinas
que oliendo a Agua Florida
se metían en la vida
a punta de corazón.

Florida Water, you were Creole.

The poor “violets of the mud” used you
with hair as smooth as water from the lagoon,
when a happy tango was danced
with a click of the heels and a media luna [2].
Perfume of those lively days that have passed,
because everything in life has to be like that,
when the girls, lying, said no,
while their fluttering petticoats said yes.

Girls,
simple and loving,
used to dance a milongón
to the sound of the accordions.
Girls,
with the smell of Agua Florida
they launched themselves into their lives
with their hearts.

[1] – Vargas changes the lunfardo batían to decían
[2] – Media luna (crescent): a figure making a crescent shape upon the dance floor.

You can read more about Florida Water in a superb article by Sonia Bartol on her blog.