Archive for the ‘Special feature’ Category





1.  Cancion desesperada
2.  Dejame, no quiere verte mas
3.  Sus ojos se cerraron
4.  La cancion de Buenos Aires
5.  Adios pampa mia
6.  Gardel-Razzano
7.  Rosa de otoño
8.  Desde el alma
9.  Nobleza de arrabal
10.Sentimiento gaucho


Nelly Omar passed away in her sleep on December 20, 2013 at the age of 102. The singer was born in the province of Buenos Aires on September 10, 1911. Her artistic career as a professional singer started  in 1924. Between the years 1932 and 1933, she sang on Radio Stentor.

For some decades the quota of tango recordings was considerably restricted. The share corresponding to the ladies was small in relation to the contribution they made to the history of this popular music. The case of Nelly Omar serves well as a good example. She finally recorded in 1946, having already sung professionally for 14 years.
Then, through the sponsorship of Francisco Canaro on behalf of the Odeon label, she recorded ten songs with his orchestra, January 1946 and October 1947. In this album one cannot choose one song above another, because Nelly Omar knew she was making recording history, and that she might not easily come across similar opportunities ever again.

Nelly Omar forged a close relationship with First Lady Eva Perón in 1940. Years later, Omar said that Evita loved her singing style, and helped her get a spot on Radio Splendid.
In 1955, following the military coup that overthrew Peron, Nelly Omar was blacklisted for her close links to Peronism.

She traveled to Montevideo, Uruguay, where her friend Tita Merello offered her a singing role on a stage production. Omar then flew to Venezuela, where she stayed for nearly a year.
She returned to Argentina during Arturo Frondizi’s term in office, but retired shortly after.

She staged a huge comeback in 1972 with guitarrist José Canet, and never left the stage again.



At the gate (I want to go to Mar del Plata )

Singer: Carlos Gardel
Music: Francisco Lomuto
Lyrics: Francisco Lomuto

The ranchera has its roots in the mazurka, and it appeared in the second decade of the twentieth century. The popularity of the mazurka in the rural areas of the province of Buenos Aires along with the use of the eight bass accordion by Italian immigrants and been, encouraged the Creoles to provide the accompaniment with their guitars, using the 6/8 strumming of El Gato, a popular folklore rhythm. Gradually the transformation of the mazurka in the new world resulted in the ranchera.

Almost all popular singers included in their repertoire this popular musical motive. The two who are among those who contributed to make the Ranchera a famous musical genre were the unforgettable Agustin Magaldi and of course Carlos Gardel.

Recorded on Aug 21, 1930 this is the version by Carlos Gardel with the guitars of Aguilar, Barbieri and Riverol.

To Mar del Plata I want to go
there is only one thing missing
I have a lot of courage
I only need money for travel

I have a house in Colon Street
a few meters from the old Torreon
it’s an the old style cottage
that a good friend is letting me use.

Don’t think that because of this I’m a freeloader
that I do not pay anyone or I’m a shark
Let it be known that I’m very decent,
intelligent and a good-hearted fellow.

If a girl wants to get married
and easily conquer a boyfriend,
two conditions are essential,
having money and a mom who does’t talk;
It is very difficult at present
that little problem of making a home.
And those with pretensions
better to lower those illusions.
Don’t think that I’m a freeloader
that I do not pay anyone or I’m a shark
Let it be known that I’m very decent,
educated, intelligent and a good-hearted fellow.


PLAYLIST – All lyrics written by Homero Manzi

1. A HOMERO, Anibal Troilo with Roberto Goyeneche
2. MANO BLANCA, Alberto Castillo
3. BARRIO DE TANGO, Anibal Troilo with Roberto Goyeneche
4. TAL VEZ SERA TU VOZ, Anibal Troilo with Alberto Marino
5. FUIMOS, Anibal Troilo with Alberto Marino
6. DESPUES, Anibal Troilo with Alberto Marino
8. ROPA BLANCA, Anibal Troilo with Alberto Marino
9. NINGUNA, Anibal Troilo with Roberto Rufino
10. FRUTA AMARGA, Anibal Troilo with Alberto Marino
11. SUR, Anibal Troilo with Edmundo Rivero
12. EL ULTIMO ORGANITO, Anibal Troilo with Edmundo Rivero


In the beginning the tango was music, happy music that people danced to. The environmental surroundings of the outskirts of the city began adding refrains that later became words. Words that mixed the language of the thieves and crooks, the lunfardo, with the romantic experiences of the pimps and their prostitutes.

Homero Manzi deserves the honor of being the first to convert the words of the tangos in poetry. Poetry describing nostalgic neighborhood postcards, like the low rise houses with ivy clinging to the bare walls and people seeing through he eyes of a child from the windows of the mythical religious boarding school in the neighborhood of Pompeya. In other words, his infancy’s lost paradise in a remote city where the days were definitely better. A watercolor of nights and suburban moons.

Manzi invented simple metaphors , strictly visual, using a common artifice of the epoch, the enumeration or description of elements as an integral part of painting a scenery.





01 La cumparsita
02 Zita
03 Fracanapa
04 Berretin
05 Verano porteño
06 Adios nonino


Today is 4th of July. Another anniversary of the Declaration of Independence of the United States of America.
As the years go by, the memories of that summer night in 1992 when Astor Piazzolla’s life came to an end are still fresh.

I was at the controls of a radio station in San Francisco in the middle of the night, and all I could feel at that moment was an uncontrollable desire to cry.
I wonder now, how many of my fellow tango friends have ever shed a tear for the loss of Astor Piazzolla?
There has been so much bullshit invented in the name of Piazzolla, and so many excuses given for shoddy dancing and mediocre musicians, but the words of the Brooklyn teenager who went back to Buenos Aires to face a world that was foreign to him, explain why he became a hot rod that changed the way the world looked at the music of Buenos Aires forever.


1. PA’ UD AMIGO, Horacio Laguna
2. MI VIEJO, Piero
3. PAPA QUERIDO VIEJO, Trio San Javier
4. ABUELO, DULCE ABUELO, Trio San Javier
6. EL PADRE, Alberto Paz
7. ADIOS NONINO, Astor Piazzolla


My dad and I in TucumanIn the beginning God mixed water and dirt to create life.  Since then, fathers and sons have continued the eternal ritual of growing up and multiplying.

It is true that the seed needs the fertile ground to sprout, but the tree that results from that union, only grows and becomes strong because it knows that it is its destiny to give shade to the land where it germinated.

The paternal figure is alarmingly absent from the ethos of the tango, perhaps because of the circumstances of the period when it began its genesis without a father.

Not so in other musical expressions from diverse regions around the country.

Astor Piazzolla, raised in New York, brought the figure of the father to the tango in a very poignant way when he wrote his masterpiece Adios Nonino, in memory of his father who passed away in Argentina while Astor was working in North America.


La Milonga de New Orleans – Holiday Edition

A special podcast of Radio del Tango dedicated to tango dancers everywhere.
Enjoy 3-1/2 hours of classic tangos, milongas and valses in standard tandas format, separated by New Orleans style holiday cortinas.
Enjoy it wherever you are, listen or dance, at home or at your local milonga hangout.
This is the music we’re dancing at La Milonga of New Orleans today, Sunday, December 23, 2012

Eduardo Arolas was a bandoneon player, composer and conductor. He was born on February 25, 1892 on the Barracas neighborhood in Buenos Aires. The son of French immigrants, as a child, he learned to play the concertina by ear. Later he learned the guitar, an instrument he played with serenading street groups and trios, playing sporadically in neighborhood cafes.

In 1906 he placed a bandoneon on his lap and soon he learned to play it in such a way that he become a virtuoso earning the nickname “The King” and “El Tigre del Bandoneon”.

His first tango was “UNA NOCHE DE GARUFA” (1909). He appeared with Agustin Bardi and Ernesto Ponzio forming his own group with which he performed at the Royal and the Pigalle cabarets.

Luis Alberto Sierra, credits Arolas with the innovative use of eighth note phrasing with the right hand (fraseo octavado). Julio De Caro – who wrote two tangos in his tribute, AROLAS and EL TIGRE DEL BANDONEON – said that Arolas amazed the public with the sound he created with his right hand. His colleagues who came to listen to him said he was the creator of the “rezongo y el fraseo” (grumbling and phrasing.)

Another great bandoneon innovator, Pedro Laurenz said: “Arolas performance was brilliant, energetic, his way to play the tango was very simple, without variations, very nuanced and colorful.”

Eduardo Arolas authored many tangos among which stood out: “DERECHO VIEJO”, “RAWSON”, “EL MARNE” y “MAIPO”.

He died on 29 September 1924 due to pulmonary tuberculosis.

01 Derecho Viejo, Sexteto Francisco Pracánico
02 La Guitarrita, Carlos Di Sarli y su Sexteto Tipico
03 Una Noche De Garufa, Carlos Di Sarli y su Sexteto Tipico
04 La Trilla, Florindo Sassone Tango
05 Maipo, Juan D’Arienzo
06 Rawson, Juan D’Arienzo
07 Lágrimas, Osvaldo Pugliese y su Orquesta Tipica
08 Suipacha, Osvaldo Pugliese
09 El Marne, Anibal Troilo Tango
10 Comme Il Faut, Anibal Troilo Tango
11 La cachila, Astor Piazzolla