THE MASTERS OF THE OLD GUARD
1. EL CHOCLO, Sexteto Tango
2. EL PORTEÑITO, Los Tubatango
3. EL ESQUINAZO, Los muchachos de antes/Sexteto Mayor
4. EL ENTRERRIANO, Osvaldo Pugliese
5. DON JUAN, Anibal Troilo
6. RODRIGUEZ PEÑA, Donato Raciatti
More than one hundred years have passed since the suburbs of Buenos Aires rocked the cradle of the music that would become synonymous of a nostalgic and sentimental Argentina. With her back bathed by the river with the color of a lion and her chest breathing the untamed air of the Pampas, Buenos Aires , the Silver Queen gave birth to an illegitimate son to whom at first she rejected to maintain her social standing.
Fruit of a forbidden love, of the passion of the man of the outskirts with a city that didn’t belong to him, the tango was rocked in its cradle by malevos and cotorras, men of doubtful morality and women of the underworld.
But that son grew up, matured, and not only forgave its mother city but loved her, idolized her and honored her making her famous around the world, commanding respect and admiration from old and young, rich and poor.
Who educated and nursed that rejected hybrid offspring? Who taught him about life’s chances and misfortunes and the grief and discontent that accompanies pain?
They were the men who saw in the tango their own origins. That in spite of its insolent lyrics and verses and its questionable and blurred origin, went about molding its personality. The men who taught it about eighth and sixty-fourth notes. The men who gave it the 2×4 rhythm that resounded in cabarets and ballrooms of the beginning of the 20th century in Buenos Aires and eventually in the whole world.
They were the priests, the apostles, the masters of the Old Guard.