Royce’s Tango Thoughts

Since I arrive in Buenos Aires, I have been taking notes of tandas in the milongas that I go to. People around me are always very curious about what I write on my little notebook. Many thought that I wrote down my dance partners’ name. The truth is that I can always remember with whom and to which orchestra I dance, given that the dances are very connected, emotional and musical, and the person leaves a deep impression in my mind. But there’s no way I can remember the run down of tandas in a milonga, and that’s why I have been trying to write it down.

I haven’t started to study my notes, and sometimes I doubt if I can really find out something interesting from them (except the number of tandas I danced in an evening). Anyhow, at least the action of note taking keeps me pay attention to the music throughout the night. And that’s why I can notice DJ Carlos Rey plus another 2 DJs like to play few tandas very often (once every milonga or once to twice a week), and these tandas are not heard that much or that often outside Buenos Aires*.

* It is just a brief impression based on my personal experience. 

Ricardo Tanturi – Instrumental

Tanturi is a “must” in a milonga, no matter it’s him with Alberto Castillo or with Enrique Campos. Sometimes in one night the DJ plays both – a tanda with Castillo and a tanda with Campos. These two singers’ generate different feelings and both have fans in the milonga. But the most often heard Tanturi tanda in fact is his instrumental one. It is kind of similar to D’Arienzo, but lighter and more elegant.

• Argañaraz (1940)
• El Buey Solo (1941)
• Comparsa Criolla (1941)
• Una Noche de Garufa (1941)
• Gallo Ciego (1938)
• Adiós Pueblo (1941)

Osvaldo Fresedo – Instrumental

Surprisingly, what I hear the most often of Fresedo is his instrumental pieces. I used to only focus on Fresedo’s vocal pieces with Roberto Ray and Ricardo Ruiz. Being here in Buenos Aires draws my attention to Fresedo’s instrumental pieces. A remarkable difference between the vocal pieces and the instrumental pieces is that vocal pieces tend to be more romantic and melodic, while instrumental pieces are more rhythmic and more interesting for dancing. 

• Derecho Viejo (1941)
• El Irresistible (1944)
• La Clavada (1933)
• Firulete (1939)
• Poliya (1939)
• Pimienta (1939)
• Arrabalero (1939)
• Tigre Viejo (1934)

Ricardo Malerba with Orlando Medina

I think Ricardo Malerba is almost completely neglected by DJs outside Buenos Aires. I bought his CDs (there’re only 2 on the current commercial CD market) years ago and I never used his music to DJ. Only when I’m dancing here in the milonga, I can feel this orchestra. And my feeling is getting stronger and stronger each time I hear it. The essence of this orchestra is the singer Orlando Medina. Milongueros and milongueras just love his singing! (Me too! ) Malerba’s orchestra only left 43 recordings. Usually only one tanda is played in each milonga, and the choice are always those with Orlando Medina. The tanda is always composed with the following songs (all with Orlando Medina):

• Gitana Rusa (1942)
• Enbrujamiento (1943)
• Mi Taza de Cafe (1943)
• La Piba de Los Jasmines (1943)
• Ninguna (1942)
• Remembranza (1943)
• Olga Mozo (1942)