CARLOS ROLDÁN (Carlos Belarmino Porcal) is born in Uruguay. A singer that had style. Thanks to his voice he traveled to Montevideo, Buenos Aires and other countries in South America. He recorded only one theme with Osvaldo Fresedo: the milonga NEGRA MARIA. He gained his fame while with Francisco Canaro between 1941 and 1945. The tango we chose, his qualities clearly show.
♫ SOY UN PORTEÑO. Francisco Canaro and Carlos Roldán (1942)
FRANCISCO PRACÁNICO dies. Pianist, conductor and composer. He was a self-taught musician who had significant results. He is mostly remembered as an author. He composed the music of a very porteño tango like the one we are listening to here. With lyrics of the same, Celedonio Flores composed a masterwork of “lunfardo” and Osvaldo Pugliese recorded its best version to dance.
♫ CORRIENTES Y ESMERALDA. Osvaldo Pugliese and Roberto Chanel (1944)
Aníbal Troilo and Francisco Fiorentino on this date record a memorable tango: BUENOS AIRES. Very little can be added on the duo that interprets it. On the other hand, about its lyricist, Manuel Romero, we can say something: he is one of the authors who wrote the most variety of songs of different type for tango: 150 lyrics, 180 comedies (sainete), and fifty-three movie scripts.
♫ BUENOS AIRES. Aníbal Troilo and Francisco Fiorentino (1942)
RAFAEL ROSSI is born. Bandoneonist, conductor and composer. He studied music in the conservatory of Julio De Caro’s father. Since 1920 and over 15 years integrated the musicians of Francisco Canaro. He was not a prolific composer, but he is responsible for two memorable tangos: JUEVES and the one we are listening to now in an excellent version.
♫ CUANDO TALLAN LOS RECUERDOS. Miguel Caló and Rafael Iriarte (1943)
Date on which Miguel Caló and Raúl Iriarte recorded a beautiful tango: MARIÓN. The music and the lyrics are by Luis Rubinstein. The topic is very “tanguero” as it talks about a great love in Paris. The duo (orchestra and singer) that interprets this version, enriched the decade of the 40’s, but had little success.
♫ MARIÓN. Miguel Caló and Raúl Iriarte (1943)
Date on which Juan D’Arienzo and Alberto Echagüe record ME GUSTA BAILAR MILONGA. His composer, the Uruguayan pianist Pintín Castellanos, has under his belt about two hundred recordings. As an author he stood out for having brought the candombe rhythm into milonga. His most famous work is LA PUÑALADA. D’Arienzo recorded thirteen milongas composed by him.
♫ ME GUSTA BAILAR MILONGA. Juan D’Arienzo and Alberto Echagüe (1944)
HORACIO PETTOROSSI dies. Guitarist and composer. Since his childhood he devoted himself to studying the instrument. Occasionally he joined the trio of guitars that accompany Carlos Gardel. He could not participate into the convocation that was made to him by the singer from Colombia and so he saved himself from the plane accident in Medellín where Gardel died. He is the author of the tango we are listening to now.
♫ GALLEGUITA. Osvaldo Pugliese and Roberto Chanel (1945)
HÉCTOR STAMPONI is born. Pianist and composer. He was above all a learned musician. His main activity was as arranger-orchestrator and musical director of various solo singers. The songs he composed and recorded are about fifty. He was known as the Strauss Porteño. The vals that follows gives credit to such nickname.
♫ PEDACITO DE CIELO. Miguel Caló and Alberto Podestá (1942)
ENRIQUE SANTOS DISCÉPOLO dies. A great self-taught artist. He had a life with little rest. He wrote the lyrics for tangos that became universal for their insight and pessimism towards the human condition. Perhaps CAMBALANCHE is the most representative of his philosophy. Moreover he composed with humor the theme we are listening to here.
♫ CHORRA. Alfredo De Angelis and Julio Martel (1946)
On this date Juan D’Arienzo and Alberto Echagüe record the tango TRAGO AMARGO. It was the last piece of the first and superb phase of this great duo. Together they recorded twenty-seven themes in two years. Afterwards, until 1975, two more periods followed. In total, they recorded about 140 records, unfortunately towards the end the commercial aspect prevailed over the artistic one.
♫ TRAGO AMARGO. Juan D’Arienzo and Alberto Echagüe (1939)