2910 Persistent Canaro - an observation
Date: Wed, 20 Oct 2004 17:01:42 +0000
From: Oleh Kovalchuke <oleh_k@HOTMAIL.COM>
Subject: Persistent Canaro - an observation
After distributing my music into three folders (Tangos, Valses, Milongas) on
my laptop I have noticed that in all cases when you look at orchestra
representation it is always Canaro plus someone. This is in spite of my
belief that his tango sound is rather monotonous and my relentless efforts
to weed out all "blah" songs (Canaro has a lot of those on his
compilations). Keep in mind that I do not keep same songs by different
orchestras - usually one version is much better than "sound-alikes". And so
in tangos it is Troilo and Canaro, in valses it is Canaro and De Angelis, in
milongas it is Canaro and D'Arienzo. At least he didn't make it to
Alternative folder.
Cheers, Oleh K.
https://TangoSpring.com
Date: Wed, 20 Oct 2004 23:53:41 -0400
From: jackie ling wong <jackie.wong@VERIZON.NET>
Subject: Re: Persistent Canaro - an observation
i love canaro too, but no calo?
jackie
www.tangopulse.net
----- Original Message -----
Sent: Wednesday, October 20, 2004 1:01 PM
Subject: [TANGO-L] Persistent Canaro - an observation
> After distributing my music into three folders (Tangos, Valses, Milongas)
> on
> my laptop I have noticed that in all cases when you look at orchestra
> representation it is always Canaro plus someone. This is in spite of my
> belief that his tango sound is rather monotonous and my relentless efforts
> to weed out all "blah" songs (Canaro has a lot of those on his
> compilations). Keep in mind that I do not keep same songs by different
> orchestras - usually one version is much better than "sound-alikes". And
> so
> in tangos it is Troilo and Canaro, in valses it is Canaro and De Angelis,
> in
> milongas it is Canaro and D'Arienzo. At least he didn't make it to
> Alternative folder.
>
> Cheers, Oleh K.
> https://TangoSpring.com
>
>
Date: Thu, 21 Oct 2004 04:22:15 +0000
From: Oleh Kovalchuke <oleh_k@HOTMAIL.COM>
Subject: Re: Persistent Canaro - an observation
Calo happens to be my favorite orchestra (the hummable orchestra of golden
era). However somehow he has less songs in my playlist than Troilo or
Canaro. Those songs by Calo I do have are without doubt among the very best:
Al Compas Del Corazon!, Lejos De Buenos Aires!, Jamas Retornarnaras!,
Corazon No Le Hagas Caso! How can one beat those?
Cheers, Oleh K.
https://TangoSpring.com
>From: jackie ling wong <jackie.wong@VERIZON.NET>
>Reply-To: jackie ling wong <jackie.wong@VERIZON.NET>
>To: TANGO-L@MITVMA.MIT.EDU
>Subject: Re: [TANGO-L] Persistent Canaro - an observation
>Date: Wed, 20 Oct 2004 23:53:41 -0400
>
>i love canaro too, but no calo?
>jackie
>www.tangopulse.net
>
>----- Original Message -----
>From: "Oleh Kovalchuke" <oleh_k@HOTMAIL.COM>
>To: <TANGO-L@MITVMA.MIT.EDU>
>Sent: Wednesday, October 20, 2004 1:01 PM
>Subject: [TANGO-L] Persistent Canaro - an observation
>
>
>>After distributing my music into three folders (Tangos, Valses, Milongas)
>>on
>>my laptop I have noticed that in all cases when you look at orchestra
>>representation it is always Canaro plus someone. This is in spite of my
>>belief that his tango sound is rather monotonous and my relentless efforts
>>to weed out all "blah" songs (Canaro has a lot of those on his
>>compilations). Keep in mind that I do not keep same songs by different
>>orchestras - usually one version is much better than "sound-alikes". And
>>so
>>in tangos it is Troilo and Canaro, in valses it is Canaro and De Angelis,
>>in
>>milongas it is Canaro and D'Arienzo. At least he didn't make it to
>>Alternative folder.
>>
>>Cheers, Oleh K.
>>https://TangoSpring.com
>>
>>
Date: Wed, 20 Oct 2004 22:52:07 -0600
From: Tom Stermitz <stermitz@TANGO.ORG>
Subject: Re: Persistent Canaro - an observation
Calo has a slightlyl different sound depending on whether he is working
with the singer Podesta or Beron.
You list several great Calo/Beron songs. Look into your CDs of
Calo/Podesta, and you will find another half dozen "excellents", and a
dozen "greats".
I place both Calo & Canaro into the category of tango orchestras that I
call "lyrical", due to the flowing, lyrical nature. Calo is gutsy,
confident, masculine; Canaro is a little lighter.
True, Canaro went through several phases, including a more rhythmic
sound from the 1930s, compared with his more lyrical 1940s material.
Calo also is a bit richer rhythmically, using more 3-3-2 syncopations.
Other orchestras that are similar to that earier Canaro include Lomuto
and Carabelli.
Maybe Laurenz and Demare also fit into the lyrical category...
I agree with whomever thought that De Angeles was thin. It just lacks
the ballsy-drive of Calo. Some beautiful compositions, but I always
find myself drawn to the more visceral tango styles.
This "lyrical" category is in contrast to the staccatto/rhythmic
category of D'Arienzo, Rodriguez or Biagi. In an earlier posting you
downgraded Biagi, (did you describe him as thin?) Biagi is special
because he uses gaps in the rhythm as syncopations, something I've
heard called "elevator shafts". There you are, dancing along, and
suddently the ground drops out. In a noisy room with a poor sound
system, Biagi can get lost.
Tanturi bridges the rhythm of D'Arienzo into the syncopation/lyricism
of the 1940s. I find Tanturi/Campos a little more lyrical compared with
Tanturi/Castillo.
Another category is spacious/walking, like Di Sarli and some Fresedo.
Another category is syncopated, like a lot of the Troilo from the early
40s, and his work with Fiorentino. Calo crosses over into this
category.
D'Agostino is also in his own category. Sort of like Tanturi, but more
spacious?
Finally, you have the really dramatic Pugliese, which deserves a two
categories of his own, the 1940s - 50s material vs the super-dramatic
60s-70s.
These categories are how I think when choosing tandas. They allow me to
make sharp contrasts from one tanda to the next. If you played all
D'Arienzo/Biagi/Rodriguez, the ric-tic-tic would be all of the same
cloth. Contrasting Calo to D'Arienzo, and each orchestra enhances the
other one.
This is why I like non-tango tangos from time to time. It creates a
sharp contrast to the 1940s music. Play some habanero/world music so
people can get romantic, then that D'Arienzo becomes really fresh
again.
On Oct 20, 2004, at 10:22 PM, Oleh Kovalchuke wrote:
> Calo happens to be my favorite orchestra (the hummable orchestra of
> golden
> era). However somehow he has less songs in my playlist than Troilo or
> Canaro. Those songs by Calo I do have are without doubt among the very
> best:
> Al Compas Del Corazon!, Lejos De Buenos Aires!, Jamas Retornarnaras!,
> Corazon No Le Hagas Caso! How can one beat those?
>
> Cheers, Oleh K.
> https://TangoSpring.com
>
Tom Stermitz
https://www.tango.org
Date: Fri, 22 Oct 2004 19:29:16 -0600
From: Dave Schmitz <dschmitz@MAGELLAN.TEQ.STORTEK.COM>
Subject: Re: Persistent Canaro - an observation
Tom wrote:
> Calo has a slightlyl different sound depending on whether he is working
> with the singer Podesta or Beron.
>
> You list several great Calo/Beron songs. Look into your CDs of
> Calo/Podesta, and you will find another half dozen "excellents", and a
> dozen "greats".
You must be including songs from 1954 and later, to get
a count that high.
Alas, there are only four Calo/Podesta tangos and two valses
from 1941-43, and then nothing more until 1954.
I like the sounds of those early pieces, but I do notice the
difference when playing the pieces from 1954, as both
the orchestra and Podesta's voice had changed.
The liner notes for my copy of El Bandoneon EB-34 are incorrect in
listing all the Calo/Podesta pieces as 1941.
Here are the correct dates . . .
Track 1: 1941 - Yo soy el tango
Track 2: 1941 - Bajo un cielo de estrellas (vals)
Track 3: 1963 - Que falta que me haces
Track 4: 1954 - La cantina
Track 5: 1942 - Pedacito de cielo (vals)
Track 6: 1943 - Percal
Track 7: 1954 - Como le digo a la vieja
Track 8: 1954 - El bazar de los juguetes
The other early pieces are
1941 - Dos fracasos
1943 - Si tu quisieras
both found on a Reliquias CD, among others.
Dave
