144  Troilo on El Bandoneon; Di Sarli instrumentals; copyright

Date: Tue, 14 Aug 2001 12:51:06 -0700
From: Mark Celaya <mark@CLASSICTANGO.COM>
Subject: Troilo on El Bandoneon; Di Sarli instrumentals; copyright

Greetings List,

Mike Lavocah & Stephen Brown have brought up an interesting subject
regarding the production of CD`s on various labels. However, I would like to
clarify some misconceptions that were stated or implied as well as shed some
light on the production process/quality of vintage CD`s.

Mike Lavocah wrote:
> EBCD1, El Inmortal Pichuco. This disc is

> actually pirated by El Bandonesn directly from the transfers on BMG's Obra
> Completa en RCA vol.1, omitting the valses and milongas. The proof of this
> lies on one of the tracks (I think it's Tabernero) which has a dropout in
> it: the El Bandonesn disc has the dropout in exactly the same place. You
> can
> hear that El Bandonesn apply a bit of filtering just for the duration of
> the
> dropout. Did BMG lend their 78s to El Bandonesn?! I don't think so!!

EL Bandoneon is a collection/series of only vintage tango music from
Argentina most of which was recorded originally in Buenos Aires during the
years 1910-1950. This label is the product of Blue Moon Productions who
specialize in vintage music; they produce similar vintage collections with
Cuban, Jazz, R&B, Big Band, Movie Soundtracks, African, French, & Spanish
music. They do not "pirate" CD`s.

Blue Moon Productions operates totally within the laws of the 2 countries
that they work from: Spain & Switzerland. They also abide by international
laws regarding copyrights, royalties, distribution, etc. They are licenced
as well as members of the "Resevoir For The Arts" which is the agency that
clears the production of vintage music (50 years & older). A nominal fee is
paid to this agency by all who produce vintage music legitimately. No
royalties or music rights apply to music 50 years old or more but become
public domain. This law is strongly being challenged now since the original
recordings by mega-superstars such as Elvis & the Beatles are approaching
the golden 50 number. Other laws do still apply to which Blue Moon strictly
adheres. Those pirate-ing do not.

Blue Moon began the El Bandoneon series 12 years ago with "El Immortal
Pichuco" (EB-1) as its 1st release. RCA`s Obra Completa (Troilo) was
produced in 1998, so they (B/M) could not have copied that particular CD in
question (Volume 1). The exact same "dropout" that occurs in the recording
of "Tabernero" on RCA`s O/C-vol. 1 (1998) & EB-1 (1989) also exists on SOLO
TANGO`s "Troilo/Fiorentino - volume 1" (2000) & TANGO ARGENTINO`s "Yo Soy
El Tango - volume 2" (1997).

Blue Moon relies heavily on private record collections for their source of
music, not because they have to or are unable to access the original
masters, but rather for very important reasons. The largest & best
(quality-wise) record collections now exist in Japan, not with the original
record companies. Also some master recordings exist there with the
production company JVC; but only the better quality ones. "Hugo Diaz en
Buenos Aires'' (2-CD set) is an excellent example, impeccable quality.

But many times, a good to mint condition record is preferable to master
recordings for producing the CD`s today & also in many cases much more
expensive than acquiring the master. The original masters were first
recorded on metal cylinders, soon replaced by wax cylinders. The first
sessions were done in 1-5 "takes'' (beginning to end), so the musicians
tried to be as near perfect as possible. The artists would choose the "take"
that they liked the best for production. The record company naturally kept
the rest & would eventually release or sell some of them to other production
companies
at a later date. If only one take was done, then that would be
the one produced. Many times "mistakes" were left in. In other words, the
recording with certain mistakes was chosen as the master. The Rolling Stones
were notorious for this in the 60`s as well as the Momas & Papas & Bob
Dylan. The versions with these "mistakes" however, are what the
collectors/purists demand to be released/distributed to them.

These first recording sessions were also done on one channel into a large
"horn'' by all the musicians & singers, thus losing much of the substance of
their music. The records were then produced on flat wax discs for public
distribution. But these wax records & master cylinders would wear out very
quickly producing "scratchy old tangos".

Eventually, the wax records were replaced by vinyl, & the masters were
recorded on tape (reel to reel & remain as such today). These vinyl records
(especially mint condition) are the most sought after source for vintage
music today, especially by collectors/purists - a jazz lover is an excellent
example. The reason that they prefer the vinyl is because it is the only
source available to them that contains the exact version of the original
recording session. They also claim that the true "soulfulness/feeling" of
the musical piece exists only on the vinyl. When a CD is remastered, much
can be changed. What one hears, another doesn`t, what one prefers/likes
another doesn`t, so that remastering a CD becomes an individual art. The
prodution companies today prefer the vinyls in many cases for a different
reason; mainly, either the original master has worn down/deteriorated or is
buried/lost somewhere in their archives.

Virtually all vintage tango music was originally recorded with one of 2
companies: ODEON, (today - EMI), or RCA (today - BMG). Some were also done
with COLUMBIA (today-SONY). These 3 companies STILL possess virtually all
the original master recordings of tango music recorded in Buenos Aires
during the "Golden Age". There are literally thousands of such tango
recordings buried in their archives which have never been remastered on CD.
More than one source has informed me that Pedro Laurenz alone has hundreds
of recordings never released on CD. The sad thing is that they may remain
buried indefinitely in the archives because of the present conditions of
today`s music market. Recent plans (I`ve seen the track listings) have been
temporarily scratched to produce some gems such as Biagi-Instrumentals, Juan
de Dios Filiberto, Osvaldo Manzi among others. The music production
companies are not "depriving the music public'' of these classics, but
rather it is the other way around. The music public is denying the
production of all this unreleased phenominal music because they are "taking
matters into their own hands".

The tango music market is one of the smallest. However, other factors are
contributing to the delay in widening (tremendously) tango music lovers
possibilities. The well-known economic crisis in Argentina is one. But
another growing situation is one that I would like to address: the
unauthorized copying of CD`s ("burning"/computerized, etc.). This is one of
the major contributors to the music business dilema today. One very
well-known worldwide retail outlet is on the verge of bankruptcy due in part
to this.

Here in Los Angeles about 8 years ago, El Bandoneon became the main source
for introducing us tango lovers (then very small) to the classic tangos of
yesteryear, for which I`ll always be grateful. We discovered the great tango
artists for the first time, not only the orchestra leaders such as Pugliese,
Di Sarli, D`Arienzo, but also the great singers: Alberto Castillo, Hugo Del
Carill, Angel Vargas; & the Lady singers (I`m very glad): Ada Falcon,
Mercedes Simone, Nelly Omar. Of course the names are too numerous to
mention. We discovered the true pleasure of dancing to "real" tango music.
My first 2 years in tango were spent trying to dance to either someone`s
scratchy old tape, the Tango Project (I still like them), or 40 versions of
"Jealousy" & in some back room or garage. I also purchased lots of
commercial garbage.

With El Bandoneon`s "new" collection, I decided to present milongas with
this great music. In producing their CD`s however, EB presented all the
musical creations of the artist on the same CD, many of which were not
desireable for dancing, especially to Americans. But this I feel was a good
thing on EB`s part as it presented the true tango in all its forms of which
the dancing is only a small part. Much like most of Sinatra`s music is not
for ballroom dancing but contains the true essence of what one should
experience when dancing. To counter this situation I purchased a dual CD/DJ
system & became something that I had never plan to become - a tango DJ. I
also added a "sonic maximizer" to my system which greatly enhanced the sound
quality of these old recordings. The result was very rewarding as the
popularity of tango dancing exploded here in L.A. To this day, I still use
the same system & never program my events; I never know what I am going to
play until the milonga begins.

Since that time of course, many tango DJ`s have sprung up all over the
world, & because of the variety in styles as well as tastes in tango music,
the DJ`s have developed individual styles, which I think is a fantastic
thing & great for tango. However, many over-zealous DJ`s have decided to
"burn" their "greatest hits" on CD & either sell them ("pirate-ing") or
give them away to many dancers in their community thinking that they are
doing them a favor. Nothing could be further from the truth. In producing
these CD`s for "dancers only" they are depriving them of the complete
picture - the true essence of tango. In the long run, they hurt both
themselves as well as the people to whom they give or sell these CD`s. They
contribute to the non-production of un-released tango music that has never
been heard or danced to in the present tango world. They limit the
listener/dancer to only what the DJ thinks are the best tangos. "Taking
matters into their own hands" is disasterous for the tango public!

The best dance classes/instruction that I ever had were music appreciation
(learning the structure of music) & listening to all music (not only tango)
over & over & over, again & again disecting the elements that I learned as
well as feeling them in the music. I learn from watching dancers relate to
the music on the dance floor, or even the one`s that do not; & if there is a
musical connection between the 2 partners. I could care less if they dance
on their toes or their heels, foot pointed in or out, close or open embrace,
etc. etc. I learned much about my own dancing listening as well as watching
Gardel sing. I also learned from tangos that I did not care for.

One company in Buenos Aires - Distribuidora Belgrano Norte (DBN) has a
contract with both EMI & BMG & therefore has access to all original tango
master recordings. They have produced 2 fine series that most are familiar
with:
"Reliquias" (EMI) & "Tango Argentino" (BMG). Once again it is the music
public that is preventing future releases by them, of the incentive to go
digging deep into those archives & bring out those classic recordings that
we are starving for. It takes hundreds of hours & costs thousands of
dollars to produce tango CD`s. What incentive is there if only a handful of
people buy them & copy them for the rest of the tango lovers? It`s fine to
make a CD for one`self of one`s favorites from ones own collection for
listening pleasure; but contributing to the black market hurts us all. Well,
enough said.

Being an eternal optimist & dreamer, I`m believing that ALL that was
originally recorded on those early originals is still there on those master
"cans" & "candles" & that some engineering genius will eventually bring it
all out in its
original presentation & clarity, separating all the various
channels/instruments/singer etc. & then we will really be in for an awesome
treat, much like DVD`s & widescreen TV`s. With my new system that I have
acquired & built with surround sound, I am re-discovering old movie classics
again for the first time. I hope to eventually do the same with the tango
music that I love
so much.

Best regards always,
Mark Celaya
https://www.classictango.com

PS ~ Harlequin Records will release a new CD next month by Miguel Calo
containing
26 tracks - all instrumentals (1942-1950). More info will be given soon.

Date: Tue, 14 Aug 2001 16:25:01 -0500
From: Stephen Brown <Stephen.P.Brown@DAL.FRB.ORG>
Subject: Re: Troilo on El Bandoneon; Di Sarli instrumentals; copyright

Mark Celaya wrote:

>Here in Los Angeles about 8 years ago, El Bandoneon became the main source
>for introducing us tango lovers (then very small) to the classic tangos of
>yesteryear, for which I`ll always be grateful. We discovered the great

tango

>artists for the first time, not only the orchestra leaders such as

Pugliese,

>Di Sarli, D`Arienzo, ...

When Susan and I began dancing tango many years ago, our first teacher,
Nora Dinzelbacher, who is from Argentina recommended that we find music by
D'Arienzo, DiSarli, Pugliese and Troilo. We couldn't find anything at our
local music stores. I special-ordered a CD of the Juan D'Arienzo Orquesta
only to find it was not really an orchestra led by D'Arienzo.

We tried dancing to anything we could find--compilations with only a few
songs that are good for dancing, etc. I think the lack of music hurt the
development of tango dancing, and that pirate recordings may have helped
sustain the growth of tango dancing.

Even into the mid-1990s finding tango recordings suitable for social
dancing was extremely challenging. Looking at the 100 top tango recordings
on the Tango Montreal website <https://www.tango.montreal.qc.ca/> will give
you some idea of how much things have changed since 1997 when the survey to
develop the top 100 was last conducted.

The emergence of the El Bandoneon recordings, then the Reliquias and Tango
Argentino recordings and of online music distributors like Mark Celaya's
Classic Tango, Mike Lavocah's milonga.co.uk and Zival's has made a huge
difference in the availability of tango recordings. Now that many
recordings are commercially available, I am inclined to agree with Mark
that unauthorized copies are making it less likely for us to see some great
music from the vaults because it reduces the profitability of producing it.
Unauthorized copies may have a greater effect on new issues in a small
niche market like vintage tango recordings than in more mass market
recordings.

With best regards,
Steve (de Tejas)