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The Best of Tiempo Nuevo – Jun 3, 1992

with Alberto Paz

Tiempo Nuevo was the first and only ever radio broadcast totally devoted to the Argentine tango produced by Alberto Paz in the San Francisco Bay Area from 1990 – 1992 at radio station KIQI-1010.

These are collector’s editions of the best of Tiempo Nuevo.

taza-de-cafe480

EL CAFE

PLAYLIST

01 BOLICHE, Angel Vargas
02 VAYAMOS A AQUEL BAR, Argentino Ledesma
03 CAFE DE LOS ANGELITOS, Blanca Mooney
04 EL ULTIMO CAFE, Rosana Falasca
05 CAFETIN DE BUENOS AIRES, Enrique Dumas
06 CAFE LA HUMEDAD, Ruben Juarez

SYNOPSIS

Early in the twentieth century El cafe became a neighborhood institution. It was the place to meet friends who conformed to a particular category, people with whom one could talk about everyday life, about football and politics, on the events of the neighborhood or personal problems. These conversations rarely entered their respective homes as if home and coffee were completely opposite places.
For the tango, El cafe is also the site where one can learn from other more experienced men.

“Cafe in a Buenos Aires neighborhood Sunday night, paper’s sixth edition, cup, the topic, soccer and ponies.
Four guys around the table discussing whether River Plate is better than Boca Jrs.
If Leguisamo is a better jockey than Antunez or which orchestra is superior.
Anselmo shares his sorrows, Ricardo his bad luck, and Jose very sadly tells that his things are getting worse.”

El Cafe is the warm shelter of the man who is alone and waiting, smoking, staring distantly into his memory. It represents the occult science of knowledge, the quiet intelligence.
Going to a coffee always gave me an almost savage joy since I was very young, when after the theater my father would treat me to a delicious chocolate with churros. Why in the cafe? Yeah, sure, we could go anywhere, to a bar, or a self-service. But what mattered about El cafe, was the magical air, that air of magic hospitality that sometimes made me think that the elves of Buenos Aires  lived there…

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NELLY OMAR with FRANCISCO CANARO

 

PLAYLIST

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

SYNOPSIS

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.

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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.

HE WHO WROTE POETRY FOR THE PEOPLE

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
7. MILONGA TRISTE, Julio Sosa
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

SYNOPSIS

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.

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THE BROOKLYN TEEN WHO CHANGED THE MUSIC OF BUENOS AIRES FOREVER

PLAYLIST

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

SYNOPSIS

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.

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THE MYSTERY WE UNDERSTAND

PLAYLIST1. SOY GARDEL, Alberto Paz
2. LA CANCION DE BUENOS AIRES, Carlos Gardel
3. VIEJO RINCON, Carlos Gardel
4. EL PANGARE, Carlos Gardel
5. EL MORO, Carlos Gardel
6. EL CIRUJA, Carlos Gardel
7. SILBANDO, Carlos Gardel
8. EL CARRETERO, Carlos Gardel
9. MI NOCHE TRISTE, Carlos Gardel
10. MILONGUITA, Carlos Gardel
11. POBRE PAICA, Carlos Gardel
12. MANO A MANO, Carlos Gardel
13. BAJO BELGRANO, Carlos Gardel
14. SOY UNA FIERA, Carlos Gardel
15. TOMO Y OBLIGO, Carlos Gardel
16. MELODIA DE ARRABAL, Carlos Gardel
17. SILENCIO, Carlos Gardel
18. VOLVER, Carlos Gardel
19. CUESTA ABAJO, Carlos Gardel
20. EL DIA QUE ME QUIERAS, Carlos Gardel

SYNOPSIS

Every year on this date, June 24th, we’re haunted by the imagery of the fiery airplane crash that took the lives of Carlos Gardel and Alfredo Lepera in 1935. For most folks born outside South America, it is nearly impossible to understand what it meant for the nation of Argentina, and many other South American countries, to wake up on the morning of June 25, 1935 to the chilling news shaped in bold letters headlines that, except for minor variations in copy, were saying the same unthinkable fact: GARDEL IS DEAD.

Gardel and Lepera had become very successful partners in the tango-for-films department. Under contract with Paramount, Carlos Gardel was becoming a box office attraction in South America because of his personal appeal, his baritone voice, and his successful tours around Western Europe. Yet, the underlying attraction of Gardel, the music and lyrics of his tangos, had presented a public relations problem for the Hollywood suits. There was something about the language and jargon embedded in the lyrics of the tangos Gardel sang that didn’t fly very well outside Buenos Aires.

So they brought Alfredo Lepera, a Brazilian born writer and poet then living in Buenos Aires. His mission was to write new lyrics in a more pure Castilian language that would be universally understood and appreciated in all of South America and Spanish speaking Europe. The resulting body of work represents the most popular and celebrated songs that are easily recognized by people all over the world, even when many may not realize that they were all written for films starring Carlos Gardel. Can you remember hearing any of these titles: Cuesta abajo, Volver, Melodia de arrabal, El dia que me quieras, Por una cabeza…? It was during a promotional tour for his latest film, El dia que quieras, that Gardel and Lepera met their untimely deaths. First Puerto Rico, then Cuba and finally Colombia were visits that attracted large crowds eager to see, touch and listen to Carlos Gardel.

Towards the end of the tour, Gardel and his entourage boarded a plane at Medellin airport for a short flight to Cali, where he would make his final appearance on a radio program before returning to New York, in time to board a ship to Buenos Aires to fulfill a promise he had made to his mother, that is, spending more time with her. The aircraft never got completely airborne as it suddenly veered of course and slammed into another aircraft waiting to enter the runway. Among a twisted pile of melting metal and an infernal blaze, Gardel ended his mortal existence.

Almost instantly he became immortal, and his image, his legacy and his works eternally became the subject of a religious adoration and veneration for a large majority of people spanning many generations.

When his remains arrived in Buenos Aires almost a year later, the city came to a grinding halt. He laid in wake for a day at the Luna Park stadium, located where Avenida Corrientes begins its growth up into the heart of the city. Dignitaries, musicians, singers, artists, and plain people all shed tears of sorrow and mourning before his casket began its final journey along Corrientes Avenue to the cemetery of Chacarita where he was laid to rest. The slow pace of the funeral march was accentuated by a shower of flowers and tears being cast from every balcony and every door along the way.

So, if shouldn’t come as a surprise that every June 24th, as it has been happening since 1935, men and women in Peru, Colombia, Ecuador, Venezuela, Bolivia, Uruguay, Puerto Rico, Nicaragua, El Salvador and Mexico will listen to Gardel with a very special purpose, to continue paying respect to his memory, to continue admiring a singer that sings better every day.

Perhaps what it is most important to understand about Gardel, the man, the myth, the icon, is the identification that the common people of Buenos Aires have with his rise to fame from humble beginnings. With his unmatched fame and success, and his eternal smile, he has been shining a ray of hope over the tribulations of those who face life challenges from a less than ideal social standing. Gardel is the epitome of the socially challenged immigrant who made it out of the tenement and into the royal palaces of Europe all the while retaining the modesty, humility, loyalty and generosity of those who never forget the friends they make on their way up because they know that they’ll still be there when it’s time to come down. The eternal smile reminds us of that.

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orq_troilo THAT GUY TROILO

PLAYLIST

1. ESE MUCHACHO TROILO
2. QUEJAS DE BANDONEON
3. BARRIO DE TANGO
4. SUR
5. MILONGUEANDO EN EL 40
6. RESPONSO

SYNOPSIS

For many, Anibal Troilo is the archetype of the 1940s tango. Somehow, among the many luminaries that emerged during the golden years, Anibal Troilo has been elevated to the category of myth. This explains why his artistic achievements, his musical prowess, and his personal life have been chronicled in many oblique ways, the way religious writ- ings deal with the unexplainable mystery of faith. Ironically, though having been dubbed in the early 1960s “el bandoneon mayor de Buenos Aires (the premier bandoneon of Buenos Aires)” by poet Julian Centeya (a moniker widely accepted and adopted as dogma), his name does not seem to generate much excitement among dancers outside Buenos Aires.

The word that describes the Troilo style is complete. His solos demonstrate a sound that does not need technical jargon. He was not narcissistic, ostenta- tious, or exhibitionistic; the bandoneón in his hands, held on his knee, hardly moved. The stage lights would dim, leaving him alone in the spotlight with the mystery of his romance with the instrument. Those who have seen him and heard him can only describe the experience as the deep eruption of emotions that occurs when the magic of his sound takes possession of the body. Among the many merits attributed to Anibal Troilo were his intuition in selecting his musicians and singers and his ability to adapt them to his ensemble. The selec- tion of his repertoire also indicates his brilliance. His favorite composer was himself. Forty-one of his recordings were his own.

The life of Anibal Troilo moved around heartaches. A mild stroke had affected him seriously a year before his death. For 20 years he dealt with the excruciating pain caused by an arthritic hip. He once went through hundreds of cortisone shots within a 60-day period. On the morning of May 18, 1975, Troilo fainted, and spent most of the day in intensive care at the Hospital Italiano. That evening, around 8 p.m., patrons were filing into the doors of the Teatro Odeon for a performance of the musical Simplemente . . . Pichuco (Simply Pichuco). However, that evening the show didn’t go on. At 11:40 p.m. the heart of Anibal Troilo played its final note. The torture of the man had come to an end. The peace of his soul had begun. The city mourned the death of an idol baptized on the sidewalks with the teardrops of his sobbing bandoneon.

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HMANZI THE REVOLUTIONARY POET

PLAYLIST

1. A HOMERO, Susana Rinaldi
2. FUIMOS, Osvaldo Pugliese with Roberto Chanel
3. CHE BANDONEON, Hector Artola with Raul Alonso
4. BARRIO DE TANGO, Anibal Troilo with Roberto Goyeneche
5. DISCEPOLIN, Anibal Troilo with Raul Beron
6. SUR, Edmundo Rivero

SYNOPSIS
Homero Manzi was an author of tango lyrics that became true porteño anthems , he was also an activist  speaker who always spoke in favor of the disenfranchised people. Both in the arts and in life Homero Manzi walked the popular sidewalk. On May 3, 1951, consumed by a relentless disease, he stepped into immortality.

Homero Manzi will always be evoked when the definitive history of the creators of the music and poetry of Buenos Aires is written.
Very few have chronicled with such talent and tenderness, the archetypes and the ghosts of a city humid and nostalgic, the voices, the caricatures and the contradictions of a traumatized society .

Before Manzi, the tango was a dense musical expression with blurred poetic expressions. Most poets and authors had created a stereotyped anthology of the complaint. The most distinguished aspect of Homero Manzi was to not contribute to the increasing flow of porteño tears. He used his provincial eyes to paint the neighborhood and its characters, avoiding kitsch to write about kitschy things such as simple domestic lives.

Until the arrival of Manzi, the narrative style which prevailed in tango typified evil and fugitive women in licks and ermine, who abandoned their beaus to end up in their older days in some tubercular hospital.

Homero Manzi’s legacy is his poetry, filled with neighborhoods nostalgia and landscapes of Buenos Aires with his characters lost in deep love relationships.
Homero Manzi represents for many Argentines the epitome of a country that could be and often have been denied. A rural man, a connoisseur of the land that is the root of all things, he was also a neighborhood porteño with an privileged intellect to serve the people.

A renovator poet who dared to take hold of the poetry of books to convert them into the verses of the popular song.

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CLICK ON THE ARROW TO LISTEN TO THE PROGRAM

PLAYLIST

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

SYNOPSIS

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.

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