Introduction / Overview¶

A person attempting to develop a collection of tango music faces two challenges: knowing which recordings are likely to be suitable for social dancing and finding a place to buy them. Most of the tango recordings available in U.S. music stores are not well suited for social dancing. Mail ordering is often the best option. In starting our collection of tango music for social dancing, we found the `Tango Montreal`_ website to be helpful. Classics of Tango Dance Music and Mike Lavocah’s recommendations at milonga.co.uk are other useful resources. We also ask the DJs at milongas and practicas what they are playing when we hear something we particularly like. Our final guide has been our own ears, sense of rhythm, and the improving availability of recordings.

A purchaser can improve the odds of finding good dance music by watching for the four big names in tango social dance music: Juan D’ Arienzo, Carlos Di Sarli, Osvaldo Pugliese, and Anibal Troilo. Their orchestras were among the most popular during the golden age of tango, and their music is still prominently featured at milongas in Buenos Aires. A number of other orchestras from the golden age of tango – particularly those led by of Rodolfo Biagi, Miguel Caló, Francisco Canaro, Angel D’Agostino, Alfredo De Angelis, Pedro Laurenz, and Ricardo Tanturi – also produced music that is excellent for social dancing, and their music is still played at milongas in Buenos Aires. The EMI Reliquias and Tango Argentino labels contain many of the best tangos recorded by the great orchestras of the golden age.

Some of the orchestras from the old guard that held sway prior to the golden age, such as Orquesta Tipica Victor and those led by Julio De Caro, Roberto Firpo, Osvaldo Fresedo, and Francisco Lomuto also produced excellent social dance music, but the available recordings are generally of lower fidelity. Orchestras playing new tango, such as those led by Astor Piazzolla, Pablo Ziegler, and Juan-Jose Mosalini, typically recorded concert music that most tango dancers consider unsuitable for social dancing. Orchestras recording during the transition from the golden age to new tango, such as those led José Basso, Carlos Garcia, Francini-Pontier, Alfredo Gobbi, and Horacio Salgan, played arrangements that ranged from concert music to social dance music.

There are a number of easy to find recordings that are probably best avoided when starting a collection of tango recordings for social dancing. Most prominent in this category are the recordings of Carlos Gardel and Astor Piazzolla. Although recordings by these artists are widely available and highly regarded for listening, they did not produce music intended for social dance. Recordings for stage shows are also probably best avoided. Although the music can be excellent and well recorded, most of the music is played at tempos that are too fast for social dancing.

Where to Buy¶

Despite a growing number of releases over the past few years, distribution remains limited, and availability is a constant issue in obtaining recordings of Argentine tango music suitable for dancing. For purchases in the United States, keep your eyes open and visit lots of compact disc stores and be prepared to mail order. Barnes and Noble bookstores occasionally have a few CDs of good tango music for social dancing – particularly on the Blue Moon and El Bandoneon and Harlequin labels – along with extensive stocks of tango music completely unsuitable for social dancing. Some large local stores near universities also stock a fair number of tango recordings, some of which may be suitable for social dancing.

Of the dealers in the United States, TangoCD.com has the most extensive list of recordings. Zival’s Tango Store in Buenos Aires has the most extensive list of recordings and ships promptly. Owing to the distance, Zival’s shipping costs are high and are best spread across a big order. In the United Kingdom, Mike Lavocah’s milonga.co.uk, has an extensive list of available recordings. In Germany, Danza y Movimiento has an extensive list of recordings.

Getting Started in Building a Collection¶

Most of the tango music used for social dance was recorded by the major orchestras that played during the golden age of tango, which extended from the late 1930s through the early 1950s. Each of the major orchestras had a somewhat different sound. One of the key elements of successfully building a collection is to obtain a core set of CDs that represents the diversity of these great orchestras with CDs that have well-recorded music that is suitable for dancing. When starting a collection of of tango music for social dancing, our recommendation is to begin with the four great orchestras of the golden age – D’ Arienzo, Di Sarli, Troilo and Pugliese. We also recommend expanding this collection with recording by some of the other major orchestras of the golden age, particularly Caló, Tanturi, DeAngelis, Laurenz and Biagi.

Recordings from other eras can be added later. The recordings of the old guard, which recorded prior to the golden era, are important historically, but the poor fidelity limits their usefulness for social dancing. Recordings of new tango or from the transition to new tango are of better fidelity than most recordings from the golden age, but most of the arrangements are less suitable for social dancing.

Building a More Extensive Collection¶

For purposes of developing a more extensive collection of tango music, we find useful to think of the music in a number of categories. Because the recordings of the golden age that are suitable for social dancing are so extensive, we categorize them as early golden age, harder rhythmic, softer rhythmic, smooth, lyrical and dramatic. Including the tangos of the old guard, transition era, new tango, modern tango orchestras, and tango fusion, as well as milongas and valses we obtain 13 categories with which to classify recordings. Each category has a different sound, and numerous CDs are available in each category.

Golden Age Harder Rhythmic Strong ric-tic rhythms characterize the harder rhythmic tangos. For the tangos in this style that have vocals, the singer stays relatively close to the orchestra’s rhythm. D’ Arienzo, Biagi, Rodriguez Golden Age Softer Rhythmic Less pronounced ric-tic rhythms characterize the softer rhythmic tangos. For the tangos in this style that have vocals, the singer stays relatively close to the orchestra’s rhythm. early Troilo, some Troilo/Fiorentino, Tanturi/Castillo, Caló instrumentals, Caló/Podesta, Federico, Laurenz, D’ Agostino/Vargas, early Di Sarli Golden Age Smooth A strong, slow walking beat and the near elimination of the ric-tic rhythms characterize the smooth tangos. most Di Sarli instrumentals, some Canaro instrumentals, some Fresedo instrumentals, some Troilo instrumentals Golden Age Lyrical During the golden age, sometimes the singer sang with orchestra, sometimes the orchestra played for the singer. When the orchestra played for the singer, the result was a lyrical tango in which the singers often departs from a close adherence to the orchestra’s rhythm. The overall effect is to emphasize the lyrical nature of the music Caló/Beron, Di Sarli/Rufino, Di Sarli/Duran, some Troilo/Fiorentino, some Canaro with singers, Fresedo/Ray, Tanturi/Campos, Demare with singers, DeAngelis with singers Golden Age Dramatic The tangos in this category have the most dramatic arrangements with more rubato playing, greater dissonance, stronger climaxes, and (sometimes) tempo shifts. DeAngelis instrumentals, Pugliese Transition Era The tangos in this category were recorded during an era in which orchestras were shifting from dance music to concert music, but have a few tracks with sufficiently strong dance beat for social dance. Sassone, Gobbi, Varela, Francini/Pontier, Garello New Tango Building on the work of Anibal Troilo, Osvaldo Pugliese and Horacio Salgan, Astor Piazzolla led a revolution in concert-oriented tango music in which drama was heightened through rubato playing, pauses, and tempo changes. The combined effect works well for tango dance performances, but can be outside the comfort zone for social dancing. For social dancing, the most useful new-tango recordings combine some of Piazzolla’s sensibilities with a tango dance beat that is sufficiently strong for modern ears. Piazzolla, New York Tango Trio, Litto Nebia, Trio Pantango Modern Dance Orquestas Several modern tango orchestras have returned to the dance beat that characterized the golden era of tango dance music. The recordings made by modern dance orchestras typically have more intricate arrangements with a little more of a dramatic concert feel than those made during the golden era, but the dance beat is prominent and the fidelity is much better than on the golden era recordings. Color Tango, El Arranque, Sexteto Sur Tango Fusion Tango fusion integerates traditional tango rhythms and instrumentation with other musical traditions, contemporary instruments and electronica to create a modern and culturally relevant world tango music with a dance-club sound. Gotan Project, Bajofondo Tango Club, Carlos Libedinsky Milongas Milonga is a faster-paced dance music with a relentless driving rhythm from which tango music developed. Canaro, D’ Arienzo, Troilo, Tanturi, Caló, Di Sarli, Pugliese, Biagi, Laurenz Valses Vals music is based on the classic 1-2-3 waltz rhythm but is played at a much faster tempo than characterizes ballroom or Viennese waltz music. Canaro, D’ Arienzo, Biagi, Troilo, Tanturi, Caló, Di Sarli, DeAngeles, Laurenz

A Note on Fidelity¶

Fidelity is a major issue facing someone building a collection of tango music for social dance. The recording technology during the golden era was somewhat limited, and the quality of the restoration varies considerably across labels. For most of the material, we generally rate the sound quality on the major labels reissuing tango music from the golden age as follows (starting with the best):

1. RCA Victor 100 Años and other special RCA releases (limited titles)
2. Solo Tango/FM Tango (limited titles)
3. RCA, EMI, EMI Reliquias, Euro
4. Lantower, Tango Argentino
5. Music Hall, Danza y Movimiento (limited titles)
6. Blue Moon, El Bandoneon
7. Magenta, Harlequin, Club Tango Argentino

A Note on Changing Availability¶

Over the past ten years, the availability of recordings of Argentine tango music for social dancing has generally improved as the number of tango dancers has increased. Some CDs and labels have gone out of production, only to be replaced by others. EMI sharply reduced its tango catalog. The EMI Pampa, Music Hall and FM Tango labels discontinued production. The Solo Tango label has released many of the CDs once available on the FM Tango label. A few years ago The EMI Reliquias and Tango Argentino labels picked up much of the slack by issuing material licensed from EMI and RCA, respectively. More recently, RCA has been releasing much of the material from its vaults in special collections with impressive sound quality. The Lantower, Blue Moon and El Bandoneon labels also contributed with growing catalogs of vintage recordings from the golden age and earlier.

Some of the Better Recordings¶

Below are our descriptions and assessments of some of the better recordings for social dancing. We concentrate on the classics of tango dance music and other recordings that have caught our attention, making no attempt to create a comprehensive listing of tango recordings. Information is organized by style/epoch: Old Guard, Golden Age, Transition to New Tango, New Tango, Neo-Tango and Compilations.

• indicates CDs listed in the basic and/or extended collection

½ indicates a half or less of the songs on each disc are suitable for dancing. ¼ indicates a fourth or less of the songs on each disc are suitable for dancing.

Recordings to Avoid¶

The vast majority of recordings used to dance Argentine tango socially were made by the big name orchestras that recorded during the golden era. Recordings of other orchestras, particularly those made during other eras, are much less likely to be suitable for social dancing. Unfortunately, the tango recordings that are most easily found in stores are not usually the best for dancing Argentine tango socially. For the many tango recordings we do not list above, critical listening before purchasing would be wise. We also recommend being very careful about purchasing the recordings listed below when starting a collection of tango recordings for social dancing. They may be excellent for listening and may contain a few gems for dancing that make them good additions to an extensive collection.

Recordings by Carlos Gardel Although Carlitos is widely regarded as the greatest tango singer of all time, his recordings were not intended for dancing, and some Argentines consider it offensive to his memory to do so.

Recordings by Astor Piazzolla, Pablo Ziegler and Juan-Jose Mosalini Recordings by these artists are widely available and highly regarded for listening, but they did not record tango music with social dancing in mind. When we first wrote this guide, we made a blanket recommendation against the use of their recordings for social dancing, but those who dance the nuevo and liquid styles of tango are beginning to use these recordings for social dancing. Dancers of other social styles may dismiss such dancing as largely theatrical.

Recordings from tango stage shows. Although the music can be excellent, at best one to three tracks on a CD are suitable for social dancing. Some recordings have no pieces suitable for social dancing. Usually the tempos are much too fast. Some DJs who mine obscure recordings may play an exceptional piece from a tango show at a milonga, but these DJs are often drawing upon a much larger collection of tango music than is described here.

Recordings of Ballroom Tango Ballroom tango music is not generally accepted for dancing Argentine tango, but it is typically found in the same bins at the store as Argentine tango music. For tipoffs that the CD is likely to be ballroom tango watch for cover art that suggests ballroom dancing and song titles listed in English, such as Blue Tango, Hernando’s Hideaway or Jealousy. None of the online sources listed above in Where to Buy carry ballroom tango music.

Tango Recordings by Opera Singers Enough said!!

Some of Our Favorite Tango CDs¶

1. Osvaldo Pugliese – Ausencia (EMI Odeon # 8 35886 2)
2. Miguel Caló – Al Compás del Corazon (EMI Reliquias)
3. Juan D’ Arienzo – El Esquinazo 1937-1938 (RCA 70 Años)
4. Carlos Di Sarli – Milonguero Viejo (Music Hall 10018-2)
5. Rodolfo Biagi – Sus Exitos con Alberto Amor (EMI Reliquias)
6. Anibal Troilo con Francisco Fiorentino – Troilo/Fiorentino (Solo Tango)
7. Orquesta Color Tango – Con Estilo Para Bailar, vol. 2 (Techno Disc)
8. Ricardo Tanturi con Enrique Campos – Una Emoción (Tango Argentino)
9. Osvaldo Fresedo con Roberto Ray – Tangos de Salon (Tango Argentino)

10. Ricardo Tanturi con Alberto Castillo – Tanturi/Castillo (Solo Tango)
11. Carlos Di Sarli con Jorge Duran – Porteño y Bailarín (Tango Argentino)
12. Osvaldo Pugliese – DeCaro por Pugliese (EMI)
13. Juan D’ Arienzo – De Pura Cepa 1935-1936 (RCA 70 Años)
14. Pedro Laurenz – Milonga de Mis Amores (El Bandoneon)

Tango Montreal Top 25¶

In early 1997, Tango Montreal conducted a survey of the top tango recordings, and about 75 individuals responded. Although RCA, Solo Tango, EMI Reliquias, Tango Argentino, Lantower, El Bandoneon and Blue Moon have released many good tango CDs since the survey was conducted, it may remain a useful source of information. Below are the dance titles rated in the top 25.

1. Miguel Caló, Yo Soy el Tango - El Bandoneon EBCD 34
2. Francisco Canaro, La Melodía de Nuestro Adiós (1932-38) - El Bandoneon EBCD 30
3. Juan D’ Arienzo, El Rey del Compás - El Bandoneon EBCD 43
4. Carlos Di Sarli, Milonguero Viejo - Music Hall 10018-2
5. Anibal Troilo, El Inmortal Pichuco (1941) - El Bandoneon EBCD 1
6. Ricardo Tanturi, Cuatro Compases - El Bandoneon EBCD 48
7. Carlos Di Sarli, El Señor del Tango - El Bandoneon EBCD 38
8. Osvaldo Pugliese, Recuerdo (1944-1945) - El Bandoneon EBCD 71
9. Alfredo De Angelis, Adiós Marinero - El Bandoneon EBCD 35
10. Rodolfo Biagi, Campo Afuera (1939-42) - El Bandoneon EBCD 40
11. Anibal Troilo, Del Tiempo Guapo (1941-43) - El Bandoneon EBCD 47
12. – not social dance music
13. Anibal Troilo, Quejas de Bandoneón - El Bandoneon EBCD 67
14. – not social dance music
15. Litto Nebia Quinteto, Tangos Argentinos de Enrique Cadicamo - Iris 980
16. Compilation, Instrumental Tangos of the Golden Age - Harlequin HQCD 45
17. Julio De Caro, El Inolvidable (1926-1928) - El Bandoneon EBCD 6
18. Juan D’ Arienzo, La Cumparsita (1935-39) - El Bandoneon EBCD 84
19. Lucio Demare, Tango Guapo (1942-1944) - El Bandoneon EBCD 10
20. Orquesta Tipica Victor (1923-1934) - El Bandoneon EBCD 41
21. Francini-Pontier, A los Amigos (1946-50) - El Bandoneon EBCD 28
22. Compilation, Historia del Tango - (label uncertain)
23. Osvaldo Fresedo, El Pibe de la Paternal (1950-53) - El Bandoneon EBCD 49
24. Angel D’ Agostino, Y su Orquesta Típica (1940-45) - El Bandoneon EBCD 44
25. – not social dance music

Overview¶

Outside of Argentina, most people do not grow up hearing tango music. Consequently, many beginning dancers face the challenge of finding music that is useful for learning to hear and move to the beat of tango. Many instructors recommend beginning with the music of the Carlos Di Sarli orchestra, and we consider that a good recommendation.

We think, however, that the beginning dancer will do better by listening and moving to the tangos on Francisco Canaro’s La Melodia de Nuestro Adios and Miguel Caló’s Yo Soy el Tango before moving onto Di Sarli. The tangos on these two CDs are among the very best for learning the walking rhythm of tango because they have a clear and simple beat that is stronger and closer to a walking tempo than that found on Di Sarli recordings. We recommend working with the tangos on the Canaro CD first because they are somewhat slower in tempo than those on the Caló CD.

After learning to move to the tangos on the two Canaro and Caló CDs, many beginning dancers are ready to listen and move to the instrumental tangos of Carlos Di Sarli. The best available Di Sarli CD is Solo Tango: Instrumental Vol. 1. The tangos on this CD have a clear and simple walking beat for dancing. The release RCA Victor 100 Años is nearly as good. The Tango Argentino release Instrumental is a decent third choice. For those wishing to add a vocal dimension to Di Sarli’s music, the CDs Sus Primeros Exitos, vol. 1 with singer Roberto Rufino or Porteño y Bailarin (Tango Argentino) with vocalist Jorge Duran are outstanding choices.

After learning to move to Di Sarli, the beginning dancer is ready to move onto the rhythm king, Juan D’Arienzo. To learn to hear and move to the 2x4 rhythms of Juan D’Arienzo, El Esquinazo 1937-1938, or Instrumental, vol. 1 are the best choices. For D’Arienzo, El Esquinazo has the best set of tracks in the best-sounding collection of D’ Arienzo’s classics. Instrumental, vol. 1 has more of D’ Arienzo’s classic instrumentals than any other CD and very good sound quality. Other choices are Sus Primeros Exitos vol. 1, Sus Primeros Exitos vol. 2, or El Rey del Compas.

After D’Arienzo comes the more subtle Anibal Troilo and Ricardo Tanturi with Alberto Castillo. The CDs Yo Soy El Tango (Troilo en RCA) and Instrumental (Tango Argentino) are the best choices for Troilo’s early instrumentals. The CD Troilo/Fiorentino (Solo Tango) captures Troilo with the vocalist Francisco Fiorentino. Much of the best material from these three CDs can be found on the more widely available El Inmortal Pichuco (El Bandoneon) but at much lower fidelity. For the Ricardo Tanturi orchestra with vocalist Alberto Castillo, the Solo Tango release, Tanturi/Castillo is a great choice. The Tanturi/Castillo CDs, Tangos de mi Ciudad and El Tango es el Tango are also quite good.

The next challenge is to move onto the music of De Angelis, Pugliese and Biagi. The music of Alfredo De Angelis provides a good bridge from Di Sarli to Pugliese because the De Angelis orchestra played solid dance music that has a feel between the smoothness of Di Sarli and the drama of Pugliese. For Alfredo De Angelis, either From Argentina to the World or Instrumentales Inolvidables would be a good choice.

For a dancer moving onto the more challenging rhythms of Pugliese, the CD Ausencia captures dance classics from both early and later in his career, showing his transition from more solid dance rhythms to the more challenging, but wonderfully compelling La Yumba beat. The CD Instrumentales Inolvidables is a good second choice.

Rodolfo Biagi – who was a pianist in the first Juan D’Arienzo Orchestra – took D’Arienzo’s direction of playing in a 2x4 rhythm but added striking rhythmic elements of his own. Dancers who are comfortable with D’Arienzo’s music are ready to tackle Biagi’s music. For those first listening and moving to Biagi, good choices are Sus Exitos con Falgas y Ibanez (EMI Reliquias) and the somewhat lower fidelity Campo Afuera (El Bandoneon).

The Recordings¶

1. Francisco Canaro

   La Melodia de Nuestro Adios (El Bandoneon) Las Grandes Orquestas del Tango (Blue Moon)

2. Miguel Caló

   Yo Soy el Tango (El Bandoneon)

3. Carlos Di Sarli

   Instrumental Vol. 1 (Solo Tango) RCA Victor 100 Años Instrumental (Tango Argentino)

4. Carlos Di Sarli with vocalists

   Sus Primeros Exitos, vol.1 - with vocalist Roberto Rufino (Tango Argentino) Porteño y Bailarin - with vocalist Jorge Duran (Tango Argentino)

5. Juan D’Arienzo

   El Esquinazo 1937-1938 (RCA 70 Años) Instrumental Vol. 1 (Solo Tango) Sus Primeros Exitos, vol. 1 (Tango Argentino) Sus Primeros Exitos, vol. 2 (Tango Argentino BMG-RCA) El Rey del Compas (El Bandoneon)

6. Anibal Troilo

   Yo Soy El Tango (Troilo en RCA Victor) Instrumental (Tango Argentino) Troilo/Fiorentino (Solo Tango) El Inmortal Pichuco (El Bandoneon EBCD 1)

7. Ricardo Tanturi con Alberto Castillo

   Tanturi/Castillo (Solo Tango) Tangos de mi Ciudad (Tango Argentino) El Tango es el Tango (Tango Argentino)

8. Alfredo De Angelis

   From Argentina to the World (EMI) Instrumentales Inolvidables (EMI Reliquias)

9. Osvaldo Pugliese

   Ausencia (EMI Odeon # 8 35886 2) Instrumentales Inolvidables (EMI Reliquias)

10. Rodolfo Biagi

    Sus Exitos con Falgas y Ibanez (EMI Reliquias) Campo Afuera (El Bandoneon 40)

Where to Buy¶

Despite a growing number of releases over the past few years, distribution remains limited, and availability is a constant issue in obtaining recordings of Argentine tango music suitable for dancing. For purchases in the United States, keep your eyes open and visit lots of compact disc stores and be prepared to mail order. Barnes and Noble bookstores occasionally have a few CDs of good tango music for social dancing – particularly on the Blue Moon and El Bandoneon and Harlequin labels – along with extensive stocks of tango music completely unsuitable for social dancing. Some large local stores near universities also stock a fair number of tango recordings, some of which may be suitable for social dancing.

• Of the dealers in the United States,

TangoCD.com has the most extensive list of recordings.

• Zival’s Tango Store in Buenos Aires has the most extensive list of recordings and ships promptly. Owing to the distance, Zival’s shipping costs are high and are best spread

  across a big order.

• In the United Kingdom, Mike Lavocah’s milonga.co.uk, has an extensive list

of available recordings.

• In Germany, Danza y Movimiento has an extensive list of recordings.

List as of 1 May 2011¶

Organized by Epoch and Style

Acknowledgments and Comments¶

More than 20 people – Dan Boccia, Steve and Susan Brown, Mark Celaya, Keith Elshaw, Christopher Everett, Al Garvey, Alberto Gesualdi, Graciela Gonzalez, Robert Hauk, Tine Herreman, Christoph Lanner, Mike Lavocah, Polly McBride, Carole McCurdy, Andrea Missé, Matej Oresic, Daniel Saindon, Astrid Sato, Dave Schmitz, Tom Stermitz, Florencia Taccetti, Peter Turowski and Ruddy Zelaya have contributed to the current list, and their contributions have been significant. All listings have been at my discretion, however, and I bear all responsibility for any shortcomings of the list.

More work remains to be done to make the list of classics of tango dance music the best resource it can be and to keep it up to date as new CDs are released and others go out of production. I opened the list for public viewing with the idea that it would never be perfect and that public scrutiny would help improve it as a resource.

One of the issues in developing a list like the classics of tango dance music is assessing recording quality and availability. If such a list is to be useful to the readership, it ought to consist of great tango, milonga and vals music on readily available CDs with the highest sound quality.

With sound quality in mind, I listed a number of Troilo recordings as coming from the Troilo en RCA Victor series, Troilo/Fiorentino (Solo Tango) and Instrumental (Tango Argentino) rather than the much lower fidelity El Inmortal Pichuco (El Bandoneon). The El Bandoneon release is actually somewhat more available because it can be found in some stores. The other two recordings typically have to be mail ordered from businesses like Juan Fabbri’s The Tango Catalogue in the United States, Mike Lavocah’s milonga.co.uk in the United Kingdom, or Zival’s in Buenos Aires. For a tango enthusiast or dj, that is probably not too much trouble.

For those recordings where the only available recording is on a CD that has gone out of print, I have retained the listing because it remains the only source. People can better find out-of-print CDs (such as those on the EMI Pampa, Disco Latina or Music Hall labels) if they know to look for them. When a good alternative to an out-of-print CD becomes available, I will list the new CD.

For only a few classics, privately issued CD-Rs seem to be the only source. Privately issued CD-Rs are likely to be on shaky legal ground – even when they are compiled from vintage recordings that are 50 years old or older. All commercial labels either own or pay for the rights to the material they release. Several commercial labels have obtained the rights to produce CDs from vintage recordings that were originally issued by other companies by paying nominal licensing fees to an international agency – but without paying any royalties to the original artists or recording companies. A few other commercial labels have obtained the rights to produce their CDs by contracting directly with the original recording companies. In contrast, private CD-Rs may have been created without the payment of any licensing fees or royalties.

The sound quality on private CD-Rs ranges from terrible to better than that found on some commercial releases. Availability can be a difficult issue for privately issued CD-Rs because they are typically only available from the individual producer. In this electronic age, contacting and ordering CD-Rs directly from some producers is relatively easy. Other CD-Rs may require a bit of work to track down. With availability and legality in mind, I have listed commercial recordings whenever possible and privately issued CD-Rs only when absolutely necessary.

Overview – The DJ’s Role¶

Described simply, the DJ plays the music at a milonga, practica or other tango event in which recorded music is used. In playing the music, the DJ assumes control of the energy and success of the event and becomes responsible for the experience of a whole room full of people, and potentially the evolution of the tango community.

The DJ can greatly affect the tango community by influencing how well people dance and how well they regard their evening of dancing. If the DJ plays music that has clear dance rhythms and inspires the dancers, they are more likely to move with energy and with a connection to the rhythm of the music. The DJ can also prepare dancers to go to Buenos Aires and have a great time dancing by playing the classics of tango� – the music the dancers are likely to hear at milongas in Buenos Aires.

You cannot assume the responsibility for playing the music and use it as a vehicle to show off. In accepting the role of playing the music, your goal is to encourage people to dance and dance, all night long. You DJ to share the joy of this experience. It is a great experience to have a room full of people dancing, with very few sitting down, and the energy of the room electric.

Selecting Music for Dancing¶

My approach as a DJ is shaped by my much more extensive experience as a tango dancer and by my love for music that honestly conveys emotion. For me, the best tangos for dancing provide a solid rhythmic footing and convey an emotion that touches me in the heart. Fortunately, there are many tangos, milongas and valses that meet these requirements.

Every DJ does things a little differently, and there is no one correct way or formula. I think for North Americans who didn’t grow up with tango music, it is probably important to have some experience dancing tango before assuming responsibility for the music. Personally, I consider myself a dancer who occasionally assumes the responsibility for playing the music, and I dance a lot when I DJ. I find that dancing gives me a first hand feel for what is working and what is not.

It takes a lot of time with the music to find the best dance music. Every orchestra has great pieces, and lousy ones. The DJ filters this raw material and puts together a program of music to inspire the dancers. But, it’s not the size of the collection that makes a DJ. The DJ must understand the dance, and what the dancers will feel when certain songs play. It takes a lot of time listening to the music, moving to it, and really feeling it to assemble an evening of music that will make people want to dance.

Although the DJ is frequently one of the most knowledgeable people about tango music in the community and often has the largest collection of CDs, the DJ’s own tastes and needs are not the priority for a successful evening. The successful DJ must have a sensitivity to the crowd and be able to engage in a conversation with a room full of dancers through the music that is played. On some nights, the dancers are full of energy and find spirited tangos to their liking. On other nights, the dancers may prefer quieter, more lyrical music.

The choice of the music will also be influenced by the style of tango that the dancers prefer. Enthusiasts of the close-embrace styles of tango typically want to hear more of the harder rhythmic music�such as that played by D’Arienzo and Biagi. Enthusiasts of salon-style tango typically want to hear smooth music�such as that played by DiSarli, Fresedo, Canaro and Sassone. Softer rhythmic music�such as that played by Caló, Tanturi, D’Agostino, and Troilo works well for both styles of dancing. The dramatic music from the golden age of tango�exemplified by Pugliese�is typically played later in the evening. Enthusiasts of tango theatrics will want to hear newer, more dramatic music with more flexible rhythms�such as that captured on soundtracks for tango shows or recorded by the Pugliese and Piazzolla orchestras after the golden age of tango.

Whatever the style of dance, the core music of any milonga is likely to be drawn from the classics of tango dance music. The classics are principally found in recordings made during the golden age of tango that extended from the late 1930s to the early 1950s. A particular orchestra’s version of a song has become a dance classic for a reason. The energy of the piece inspires more dancing�even when the dancers are tired.

When the DJ has a big collection of music, it may be increasingly tempting to play unusual recordings�obscure songs and familiar tangos by unfamiliar orchestras. For the person with the collection, the variety is interesting. Listening to music is a substantially different experience than dancing to music, however. When listening to music, surprises, different phrasing, and unexpected tempos are entertaining. For dancers, however, familiarity facilitates good dancing. When the piece is familiar, the dancers can interpret the details of the music, and better get into the flow of the phrases. When the version of the song is unfamiliar, and the dancers do not know what will happen next, they cannot get as far into the music.

In short, the successful DJ must draw heavily from what the crowd considers the top 40 of tango dance music. The DJ must also not become too intellectual, too obscure or play too many pieces outside the classics, but the DJ cannot simply play the same music every milonga, or on repeated evenings the music will become boring. Variety comes from mixing the music, changing the order in which it is played, and by selectively including pieces outside the top 40 that build energy and contribute to the mood of the evening.

See Classics of Tango Dance Music.

In Search of Fidelity¶

One of the major challenges facing any DJ is to find a sufficient variety of recorded music with acceptable fidelity and solid dance rhythms. The bulk of recordings that are used for milongas were recorded by orchestras that played during the golden age of tango, which extended from the late 1930s through the early 1950s. Some useful recordings are older and some are newer.

Newcomers to the tango scene quickly reveal the problems with relying too heavily on recordings with low fidelity. They are soon put off by music that sounds like old cartoons to them. They may be inclined to think that we experienced tango dancers are dancing to what we imagine we are hearing rather than what any normal person can hear.

But the newcomers are like canaries in a mine that warn the miners about the presence of toxic gases. Even the experienced dancers grow bored and tired when too many low-fidelity recordings are used. Fortunately, with some careful planning and a little work, a DJ can significantly improve the sound quality at a milonga.

For starters, the DJ can improve the sound chain�using relatively good equipment and working with CDs rather than lower fidelity media, such as MP3s ripped at low bit rates. The DJ can also work to get the best sounding recordings of the most popular tangos. I can hear substantial differences in the quality of the sound on the different labels that are reissuing classic tango music. For most of the material that I have heard, I would generally rate the sound quality on the major labels reissuing tango music from the golden-age as follows (starting with the best):

1. RCA Victor 100 Años (limited titles)
2. Solo Tango/FM Tango (limited titles), Danza y Movimiento (limited titles)
3. EMI Reliquias, Tango Argentino, EMI, RCA, Music Hall
4. Blue Moon, El Bandoneon
5. Magenta, Harlequin, Club Tango Argentino

A DJ should also recognize that recordings made prior to the golden age are of such limited fidelity that they can be used only very sparingly. Ciriaco Ortiz, Orquesta Tipica Victor, Julio De Caro, Francisco Lomuto, and Band Municipal de la Ciudad de Buenos Aires (to name a few) recorded great music, but more than a little of this music will make everyone tired and listless, except the tango music historians who are more likely to write and talk about tango than dance. Recordings from the golden age of tango are of much better fidelity and have solid dance rhythms.

Why Golden-Age Recordings Dominate Most Playlists¶

At most milongas, recordings from the golden age of tango dominate the playlist. For the first half of the 20th century, Argentine tango music and social dancing evolved together. The ways of moving the body and the feet in Argentine tango were expressions of the music. From the mid-1950s through the mid-1980s, however, Argentine tango music and social dancing evolved independently of each other. After the golden age, tango dancing was pushed into small neighborhood clubs and private homes where it did not evolve much and recordings from the golden age continued to be played. At the same time, the tango orchestras shifted toward a concert sound that did not accommodate dancing.

With renewed interest in dancing tango socially, dancers rediscovered the older recordings that were still in use by those who had been dancing tango in clubs and at home. The recording companies accommodated the renewed interest in tango by reissuing many of the classics on CD. Consequently, music from the golden age still dominates milongas�some 50-70 years after it was recorded.

New recordings are emerging, however. If the tango dancing remains sufficiently popular to support new recordings, the music will continue to evolve, and gradually some of the golden-age recordings will be supplanted by newer material. Music has timeless qualities, however, and many of the recordings from the golden age will prove just too good to take off playlists.

Using Post-Golden-Age Recordings¶

With some critical listening, a DJ is likely to ponder strategies to improve sound quality by looking for a few gems that somehow were recorded with better fidelity and by using music that was recorded well after the golden age. Much better fidelity can be obtained by using recordings made after the golden age, but the sound pallette offered to the DJ by such recordings is surprisingly limited. For one thing, the recordings in which modern orchestras recreate the sound of vintage tango orchestras are quite few in number.

More importantly, after the golden age, tango music made a transition into several concert sounds that are of limited usefulness for social dancing. Although the major orchestras from the golden age continued to record after the transition, they also shifted to playing concert music. The recordings of the Troilo orchestra exemplify the shift in sound. The early Troilo recordings made during the golden age have solid dance rhythms and are considered among the classics for social dance. The later Troilo recordings, which are rarely used by experienced DJs, display virtuosic playing and have a concert sound.

Some orchestras�such as those led by Sassone, Varela, Garcia, and Francini/Pontier�created a concert sound that emphasized lush, full and dramatic orchestration of music that, for the most part, had previously been recorded during the golden age. Although there are a few classics among these recordings, such as Varela’s Palomita Blanca, most of these recordings lack the pulsing energy of golden-age tangos and tend to sound repititous and dull if utilized any more than sparingly.

The Pugliese, Piazzolla and Salgan orchestras pioneered a more progressive concert sound with more complex rhythmic and melodic development. These orchestras heightened drama through the use of pauses and, in some cases, tempo changes. With Pugliese’s orchestra, the transitions were used more sparingly and in contrast with a strong marcato rhythm. The smaller orchestras�such as Piazzolla’s and the contemporary orchestras who followed his example�create their dramatic effects through abrupt changes in tempo and/or rubato playing that often proves difficult for social dancing.

The recordings with the progressive concert-oriented sound that are useful for social dancing�such as later Pugliese, later Troilo, Sexteto Tango, Orquesta Color Tango, Sexteto Sur, Nuevo Quinteto Real, and the New York Tango Trio�tend to work best for late-night dancing when dancers are more willing to work with pauses and a changing or loose beat. Late night is a territory for which the Pugliese orchestra recorded many tangos with reasonably high fidelity that had a consistent dance rhythm. The more contemporary orchestras offer little additional variety within this place on the DJ’s sound pallette.

Most recordings from tango shows present a concert sound that is designed to help professional dancers with considerable rehearsal time dazzle their audiences. The music from tango shows frequently combines progressive sensibilities with lush, full orchestration, fast tempos and difficult rhythm changes. The recordings from tango shows that are most suitable for social dancing draw heavily from progressive sensibilities and, again, are most suitable for late-night dancing.

Among the more promising recordings are golden-age redux�that is contemporary recordings made in the dance styles of orchestras from the golden age. Many of the modern orchestras making such recordings play in the style of Osvaldo Pugliese, but contemporary orchestras also play in the styles of Juan D’Arienzo, Carlos Di Sarli and Miguel Caló. The recordings made by these contemporary orchestras often have more intricate arrangements with a little more of a dramatic concert feel than those made during the golden era, but the dance beat is prominent and the fidelity is much better than on the old recordings.

See A DJ’s Guide to Post-Golden-Age Recordings.

Using Neo-Tango Recordings¶

Until the past few years, nearly all of the music played at milongas was taken from recordings that were made by orchestras from the golden age of tango. In addition, many contemporary tango orchestras have filled out their repetoires with compositions from the golden era. In the 21st century, however, we have different social venues, newer technologies, some different musical instruments, and continuing musical evolution. All of these developments have inspired some of today’s musicians to develop new approaches to tango. At the same time, dancers are looking for new expression.

At some of the milongas in Buenos Aires, Europe and North America, the DJs have added neo-tango music to their playlists of traditional tango music. Neo-tango consists of two genres of music: tango-fusion and “alternative” tango music. Tango fusion integerates traditional tango rhythms and instrumentation with other musical traditions, contemporary instruments and electronica to create a modern and culturally relevant world tango music with a dance-club sound. Some of the better-known tango-fusion artists are Gotan Project, Bajofondo Tango Club, and Carlos Libedinsky. Alternative tango music is tango music from other traditions or non-tango music that some dancers find interesting for dancing Argentine tango steps.

At its best, neo-tango music adds fidelity, variety and something a little different to an evening�along with the potential to connect with mass audiences. At its worst, neo-tango is simply music to which tango steps can be executed. The use of neo-tango music depends largely on the dancers at the milonga. While some dancers love neo-tango music and expect to hear it at the milongas they attend, traditionalists often hate it.

Some dancers and djs prefer a relatively heavy mix of neo-tango recordings. Others prefer a lighter mix. The Organic Tango School’s Tango DJ Resource Page represents an attempt to bridge the gap between traditional and alternative forms of tango deejaying.

Personally, I find that neo-tango music tends to work best when it is used sparingly for late-night selections rather than as the core of the program. In some ways, the use of tango-fusion music can be like playing Piazzolla or other post-golden-age tangos�people like to hear some new recordings, but the rhythms can be quite challenging, and a little goes a long way. Non-tango music is considerably more varied, but much of it works better when the dancers have been immersed in traditional tango music and can express tango sensibilities when dancing to the more languid rhythms that tend to dominate the alternative tango selections.

Also see A DJ’s Guide to Neo-Tango Recordings.

Tandas and Cortinas¶

At milongas held in Buenos Aires, tango, vals and milonga music are typically played in sets of three to five songs known as “tandas.” Nearly all tandas are composed of music played by the same orchestra during a given era. The sound of many orchestras changed over time, and for these orchestras, music from different eras are not mixed together in the same tanda. Similarly, vocal and instrumental music are rarely mixed in the same tanda. Each tanda is followed by a short piece of music, known as a “cortina,” that acts as a curtain indicating the tanda has drawn to a close. The same cortina is used for the duration of an evening. Swing, salsa or other latin dance music is also played in tandas at these milongas.

In Buenos Aires, most couples dance an entire tanda together and then move on to other partners for the next tanda. It is rare when a couple stops dancing before the tanda ends, and doing so is considered an indication that something has gone very wrong. If a person is unsure about the desirability of dancing with another for an entire tanda, the person who is unsure may delay going out onto the floor until the last song of the tanda.

Social practices are considerably different in most North American cities, but playing music in tandas familiarizes the dancers with the social codes in Buenos Aires and works quite well in helping to build a mood for the evening’s dancing. Each of the major orchestras sound different from each other, but many recordings made by a given orchestra during a particular era will have a similar sound. Playing music in tandas takes advantage of both the similarity of the recordings made by the same orchestra and the differences between orchestras.

Playing three to five tangos in a row that have a similar sound, tempo and feel allows the dancers to settle into the orchestra’s sound with their dancing and then draw inspiration from the music. It also allows couples who enjoy dancing together to a particular orchestra to take to the floor knowing that they will have 10 to 15 minutes to dance together to music that works well for them.

Playing too many songs in a row with a similar sound begins to sound monotonous. In addition, playing more than five songs from the same orchestra in the same era often reaches too deeply into the recordings and yields music that is not a highly regarded for dancing. Switching to a tanda of music by another orchestra changes the energy and refreshes the dancers.

Composing Tandas¶

Strategies vary for composing a tanda, but all the songs on a tanda should have a similar feel. This is most easily achieved by relying on the music of a single orchestra in a given era and by avoiding mixing vocal and instrumental music. Few of us who play music at milongas have an extensive enough knowledge of tango music history, but through careful listening, the DJ can assemble an excellent tanda by ear, picking music from a given orchestra that has a similar rhythmic feel, sound, and style of orchestration.

I create tandas of four tangos�usually from the same orchestra. I find that four songs is just about right for each tanda. A few individuals have suggested that the ideal tanda would consist of four songs that sound exactly the same. My own experience suggests each song in a tanda should have its own compelling personality, while it contributes to the continuity of the tanda. Using my ear and this philosophy, I have successfully constructed many tandas including a few that mix orchestras and some that mix vocals and instrumentals.

The first song of a tanda has to be so strong it pulls people out of their chairs and onto the dance floor. It has to make people want to dance this set regardless of how their feet hurt, or how tired they may be. The energy of the music takes them. The last song of the tanda should be strong and compelling so that everyone who is dancing feels happy about having stayed out on the floor for the entire tanda.

The middle songs do not have to be as strong as the first or last songs of a tanda, but here are more than enough good tangos available that none needs to be filler. The ideal middle songs should sustain the energy of the first song, provide continuity to the last song, and have enough personality of their own to provide a feeling of variety. In a rhythmic tanda, the second or third song might be slightly more romantic or more impressionistic. In a lyrical, romantic tanda, the second or third song might be a little more rhythmic.

If I start a tanda with Pugliese’s “La Yumba,” I will end with the equally strong “Gallo Ciego.” Good candidates for the second and third spots are the bittersweet “La Rayuela” and the romantic “La Tupungatina.” To intensify the drama, another pair of candidates for the second and third spots are “Yunta de Oro” and “Nochero Soy.”

For more examples of tandas, see An Annotated List of Tandas.

Selecting a Cortina¶

In theory, any piece of music other than tango, vals or milonga can be used for a cortina. At some milongas in Buenos Aires, big band swing music may be used. I have heard acoustic guitar, classical piano, salsa, dixieland jazz, new-age music and grating rhythmic sound effects used as cortinas.

Some of these choices work better than others. At milongas where a lot people like latin dancing, salsa is a poor choice for a cortina. Some people will jump out on the floor and begin to dance, blissfully unaware that the DJ is playing a cortina and is about to cut them off. At this point, it is an embarrassment to the DJ and all the dancers to explain what a cortina is. To dancers, dance music is for dancing. Similarly, swing or any other dance music is also a poor choice in most North American venues.

Personally, I prefer to use music for the cortina that is not suitable for dancing and that has a neutral effect on the mood. I want the dancers to understand the dancing has come temporarily to an end, but I do not want to disrupt the mood that is building. I regularly use an acoustic guitar rendition of Bix Beiderbecke’s “Flashes” found on Ry Cooder�s CD Jazz. I have also used cuts from Vince Guaraldi’s A Charlie Brown Christmas, Leo Kottke’s Peculiaroso and Argentinian folk guitarist Atahualpa Yupanqui as cortinas.

Mixing the Music: Some Mechanics¶

DJs can approach an evening with one of several strategies. With their knowledge of a large number of CDs, they can compose each tanda and program it into the evening’s music on the fly. They can prerecord the entire evening’s program in advance, or they can use prerecorded tandas as the building blocks for mixing the evening’s music.

The principal advantage of mixing the music during the course of the milonga is the DJ can interact with the dancers and adjust the music to suit their tastes and the feel of the evening. For instance, if the dancers seem full of energy, the DJ can continue to build tension by playing music that is increasingly dramatic or quicker in tempo. If the dancers seem to be having trouble finding the rhythm of the music, the DJ can respond with early Canaro, D’Arienzo, Caló with Podesta or Di Sarli.

Using prerecorded music has several advantages. The DJ does not have to remain chained to the equipment and is able to have fun dancing while finding out first hand what works and what doesn’t. (I have learned that some pieces that sound great at home just do not work at a milonga.) In addition, the DJ does not need to remember which three songs on a 20 song CD are the best for dancing and go well together while playing the music during the evening.

Developing and mixing prerecorded tandas captures most of the flexibility obtained through mixing the music to create tandas on the fly, and it preserves nearly all of the advantages of using prerecorded music. For the DJ using prerecorded tandas, all that is required in mixing the evening’s music is a feel for the music on the prerecorded tandas, a general strategy for programming the evening’s music, and a feel for what will work next.

I currently have more than 100 preset tandas�each on its own disc with a cortina at the end. As the cortina at the end of a tanda begins playing, I can return to the DJ equipment and get ready to start the next tanda. Preset tandas can also be recorded stored as MP3 files in computers or other digital playback equipment. I prefer the sound quality of compact discs.

Another possibility is to combine longer programs of prerecorded music with prerecorded tandas that are mixed during the milonga. I will sometimes start a milonga with a prerecorded program of tandas (without cortinas). I switch to mixing prerecorded tandas only after the dancers really begin showing up in large numbers.

Programming a Cycle¶

I typically use the TTVTTM cycle and look at the vals and milonga tandas as marking the seams in the cycle. Rather than trying to build a consistent theme through an entire cycle, I look at the first two tandas of tango and the tanda of vals as a unit. I pick the these two tandas of tango considering their relationship to each other and to the tanda of valses that will follow. I then pick the next two tandas of tango considering their relationship to each other and the tanda of milongas that follows. One strategy is to build romantic or dramatic intensity toward the tanda of valses. Another is to build rhythmic intensity toward the tanda of milongas.

Hence, one cycle might look like this: T - smooth tangos T - lyrical tangos V - valses T - softer rhythmic T - harder rhythmic M - milongas

Another cycle might be: T - harder rhythmic tangos T - softer rhythmic tangos V - valses T - lyrical tangos T - softer or harder rhythmic tangos M - milongas

Another cycle might be: T- smooth or lyrical tangos T - dramatic tangos V - valses T - lyrical tangos T - softer rhythmic M - milongas

Developing an Evening’s Mood¶

Adhering to the programmatic cycle I establish early in the evening, I work to take the dancers more deeply into the music over the course of the evening. I find that starting with simple rhythms and working through more complex rhythms to arrive at the subtle, dramatic and romantic music later at night helps draw the dancers deeper into the music and create a more satisfying evening. At the same time, playing a diverse selection of music contributes to a feeling of a more full evening of dancing.

I try to work through the categories to build rhythmic, romantic and dramatic tension and then resolve it several times over the course of the evening. There are a number of ways to build tension and release it. Quicker tempos, sharper accents in the music, more dramatic crescendos all build tension. Light and lyrical music or music with a very smooth sound often release rhythmic and dramatic tension, though they may contribute to romantic tension. Building Tension The most rhythmic tension is created by moving from softer rhythmic tangos to harder rhythmic tangos to milongas. For example, playing a tanda of Caló with Podesta, then a tanda of D’Arienzo or Biagi, and finally a tanda of milongas builds tension through tempo and accents. If salsa is popular at the venue, a set of salsa will further add to the tension through tempo. A less intense way to build to build rhythmic tension is to work from a tanda of lyrical or smooth tangos to softer rhythmic tangos before playing the milongas.

Romantic tension is created by playing a tanda of softer rhythmic tangos or smooth music, a tanda of lyrical tangos and then a tanda of vals. For example, moving from Di Sarli instrumentals to Caló with Beron and then to vals creates a strong romantic feel. Going from softer rhythmic tangos to lyrical tangos before the vals will probably result in less romantic tension.

The most dramatic tension is created by leading with music that has as much power as the dramatic tangos. Consequently, playing a tanda of Di Sarli’s 1950s instrumentals ahead of a tanda of Pugliese instrumentals is unrivaled in creating dramatic tension. A less powerful way to build dramatic tension is to play lyrical tangos, such as Troilo with Fiorentino ahead of the dramatic tangos. Releasing and Softening Tension A release of the tension occurs when a tanda breaks the direction of the programming. Rhythmic tension can be released or eased by playing smooth or light, lyrical music, such as Di Sarli instrumentals or Fresedo with Ray. Dramatic tension can be released by playing some light Canaro valses, such as those with Nelly Omar. Romantic tension that was built by playing lyrical tangos and valses is usually released by playing softer rhythmic tangos. Light and lyrical music, such as Fresedo with Ray is often a refreshing way to release either dramatic or rhythmic tension.

I always try to keep the break in the direction of programming from being too too jarring. Following a tanda of Pugliese with a tanda of Los Tubatango or D’Arienzo valses is likely to upset the mood that is being built. Similarly, following D’Arienzo with a tanda of modern valses is not likely to work well.

A softening of the tension is a little different. It occurs when a tandas don’t go quite as far as is possible in the direction that is being set or a tanda backs off the direction of intensity. For example, playing a tanda of lyrical tangos and a tanda of softer rhythmic tangos before the tanda of milongas creates less rhythmic intensity than playing tandas of softer rhythmic and harder rhythmic tangos before it. Reversing the order and playing softer rhythmic tangos and then lyrical tangos before the tanda of milongas would soften the tension by more.

Softening dramatic and romantic tension is similar. Following a tanda of smooth or lyrical tangos with a less ultimate tanda of Pugliese softens dramatic tension. Playing a tanda of softer rhythmic tangos after a tanda smooth or lyrical tangos and before the valses softens dramatic tension nearly to the point of disappearing. Progressing from lyrical tangos to softer rhythmic tangos to valses does much less to build romantic tension than progressing from softer rhytmic tangos to lyrical tangos to the valses. Pulling the Strategies Together On some nights, these strategies could mean working to build tension through sharper rhythm, and then continuing onward to building tension through romance and/or drama. Early in the evening, I might start a cycle of six tandas with something like Caló with Podesta (softer rhythmic), progress to D’Arienzo (harder rhythmic), and then move onto a tanda of milongas. (Salsa follows milonga well if it is suitable for the venue.) I then might come back with something smoother and more powerful, such as Di Sarli intrumentals and then move onto something lyrical, such as Troilo with Fiorentino. A tanda of valses follows.

Further into the evening, I might start a series of six tandas with something like Tanturi with Castillo (softer rhythmic), go onto Biagi with Amor (harder rhythmic), and then onto a tanda of milongas. I might then come back with something lyrical like Caló with Beron or Di Sarli with Duran, play a tanda of dramatic Pugliese, and then continue onward with a tanda of valses.

Later in the evening, I might start a series of six tandas with a tanda of something lyrical, such as Fresedo with Ray or Tanturi with Campos. The next tanda will be softer rhythmic, such as D’Agostino with Vargas, and then a tanda of milongas. I might follow the milongas with a tanda of Di Sarli instrumentals, a tanda of dramatic Pugliese, and finish with a tanda of valses.

In many ways, the low-end density and power of Di Sarli is a perfect lead into the power and drama of classic Pugliese. Following Pugliese with valses solves the problem what to play after Pugliese. In some ways, no other tangos can follow classic Pugliese. Classic Pugliese is the most dramatic in golden-age music, and the more modern tangos are too similar to Pugliese. Following Pugliese with valses goes in another direction. The right valses can release the power and build drama and romance at the same time. But, the valses that follow Pugliese have to be sophsticated,. Di Sarli, D’Arienzo and Laurenz valses wouldn’t work well. The sound is too elemental�”too country” as Nito Garcia would say. The more sophisticated valses of Caló, Biagi or contemporary orchestras work much better after Pugliese. So do some Canaro valses.

On other evenings, it may prove desirable to work with much less tension throughout an entire six-tanda cycle. Keeping a sense of continuity while reducing tension can be accomplished by using recordings with less intensity in a given direction or by reducing continuity in rhythmic and dramatic intensity. For instance, I might start a cycle of six tandas with a tanda of smooth Di Sarli instrumentals, continue with a tanda of lyrical or softer rhythmic tangos, and then play a tanda of milongas. Such an approach builds some intensity, but much less so than progressing from softer rhythmic tangos through harder rhythmic tangos to milongas.

After the milongas, I might use a tanda of softer rhythmic or lyrical tangos (whichever didn’t precede the milongas). I might follow the tanda of lyrical tangos with either softer rhythmic tangos or dramatic tangos before concluding with a tanda of valses. I might follow the tanda of softer rhythmic tangos with either lyrical or harder rhythmic tangos before concluding with a tanda of vals.

If I work toward more rhythmic intensity with the tangos�lyrical to softer rhythmic or softer rhythmic to harder rhythmic, the tanda of vals will soften the tension and provide a sense of variety. If I work toward more dramatic or romantic intensity�lyrical to dramatic or softer rhythmic to lyrical�the tanda of vals will heighten romantic intensity and release much of the dramatic intensity that has been built. But, progressing from lyrical to dramatic tangos or softer rhythmic to lyrical tangos will build less dramatic intensity than progressing from the powerful Di Sarli instrumentals to dramatic Pugliese. The Dancers and the Music Any strategy is less effective when conducted in isolation from the dancers. When DJing, I watch the dancers and adjust to what they seem to want. I watch to see what music pulls them out on the floor. I also try to get out on the floor to experience the effect of the music first hand to make sure that I am not being too intellectual and isolated from the dancers, but I never dance to the point where I am spending the evening dancing rather than DJing.

I watch to see if the dancers are connecting to the rhythm of the music. If they seem to be having trouble, I will play music with simpler and clearer rhythms such as Di Sarli, 1930s Canaro, D’Arienzo, and Caló with Podesta. Playing these orchestras helps educate the dancers to the basic rhythms of tango music, and it improves their ability to dance to the more complex pieces that build tension and draw them more deeply into the music. When the room seems full of beginners, I typically end up playing more music with simpler and more obvious rhythms.

I also watch to see how much tension the dancers are willing to accept. If the dancers seem willing to accept more tension, I will push it farther. If they seem to be at the height of tension or unwilling to accept much tension, I will find music to release or soften the tension. In general, I try to create greater tension as the evening progresses.

On some nights, I find playing more of the harder and softer rhythmic music is more appropriate. One those nights, the dancers will accept rhythmic tension but not dramatic tension, and lyrical music or a little bit of Pugliese can create a very strong impact On other nights, smooth, lyrical and dramatic music is more appropriate. On those nights, the dancers will not accept much rhythmic tension. I find myself reaching the later Pugliese recordings, and I often play at least one tanda of modern tangos. Finding the Groove The tanda I actually choose at moment of time depends greatly on the current mood on the dance floor. Are the dancers feeling lazy? Are they crazy? Are they listening? Are they getting tired? Are they bursting with energy? Are they connecting with the rhythm.

It also depends on my intentions. Do I want to kick them to unknown heights? Do I want to calm them down, because some of the dancers have become reckless? Do I want to make them listen? Do I want to put more drive in the ronda? Do I want to ready them for the evening to end? Do I want to suggest that the milonga can continue indefinitely?

Watching the dancers and developing an intuitive feel for the energy in the room, I keep all of these strategies in mind while I select the next tanda to play. I find that by pursuing these strategies, I am able to give the dancers a stronger impression of having spent a full emotional evening dancing, and they go home a happy tired, whenever the evening ends.

Alternative Strategies for Programming an Evening’s Music¶

Although most DJs work at pleasing their dancing audience, not all take the strategy of building a mood that takes the dancers deeper and deeper into the music. Some play music for an audience whose composition shifts over the evening. Some play music in a wide mixture of styles during each hour.

At a milonga that I attended a few times in another city, the DJ relied heavily on the more dramatic music from Pugliese, Caló with Beron, DeAngelis and tango shows early in the evening. In mid-evening, he shifts the mix toward the simpler social dance rhythms of DiSarli, Canaro, and Caló with Podesta. Moving toward the end of the evening, he shifted the mix toward music, such as D’Arienzo, Biagi, and Lomuto, that has the ric-tic rhythm that is favored by those who dance the close-embrace styles of tango. A friend who attended this milonga regularly explained that this DJ is playing music for people who want to dance theatrically early in the evening. And, when he starts playing serious social dance music, those who are into theatrics go home and leave the dance floor to those who want to dance socially. Personally, I did not find dancing at this milonga very satisfying, but I am glad that those who dance theatrically went home early.

Another strategy is to play tango music in a wide mixture of styles during each hour, keeping the music in tandas, but mixing the orchestras in the tandas of vals and milonga without much regard to style. A milonga where the DJ uses this strategy feels like the top 40 hits of tango�fun, but without the development of an intense mood that draws the dancers deeper and deeper into the music.

Another strategy, which does not preclude others, is to make a special effort to accomodate beginners early in the evening by playing music with simpler and clearer rhythms and by relying less heavily on the use of tandas.

Whatever the strategy, DJs who watch the dancers are provided with instant feedback about how they are doing. If half of the dancers sit down and leave the dance floor nearly empty, it may be an indication that the music is not inspiring enough for the moment. If the dancers seem to be struggling with the rhythm, it may be an indication that the dancers need music with simpler and clearer rhythms. If the floor is crowded with people who are dancing well (by the community’s standards) and dancers walk off the floor with big smiles at the end of a tanda, it is an indication that the DJ is doing something right.

Closing an Evening of Dancing¶

When the DJ at a milonga in Buenos Aires plays the tango classic “La Cumparsita,” dancers know the milonga is ending and the evening is coming to a close. At milongas in Buenos Aires, DJs typically play at least two versions of “La Cumparsita” to end the evening. Dancers often dance the first version with whoever is nearby and reserve the second for someone special. Sometimes DJs will play more than two versions of “La Cumparsita.”

Many DJs in North America have also adopted the practice of playing “La Cumparsita” to close the evening. The practice helps educate their dancers to the social codes of milongas in Buenos Aires.

Many orchestras have recorded “La Cumparsita,” and some have recorded it more than once. Consequently, the DJ has a wide range of excellent choices in every style including old guard, harder rhythmic, softer rhythmic, smooth, dramatic, transitional and nuevo tango. In selecting which version of “La Cumparsita” to play, the DJ should consider what most of the dancers would appreciate hearing and dancing to at the end of the evening. Do most of the dancers tend toward the close-embrace styles of tango, or to salon-style tango? Would many like the challenge of dancing to the jazz elements of new tango?

Acknowledgments¶

In writing this guide I have drawn on the thoughts and words of Susan Brown, Dan Boccia, Victor Crichton, Sharna Fabiano, Robert Hauk, Lisa Penninger, Dave Schmitz, Tom Stermitz, Florencia Taccetti, Ruddy Zelaya and Thorsten Zörner. I also am indebted to the numerous DJs who played music that inspired me to dance all night long and all the dancers who have given me feedback�either verbally or through their dancing.

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Old Guard � Orquesta Típica Victor, Carabelli, Lomuto, Fresedo¶

The tangos of the old guard generally had less complex arrangements and simpler rhythms in comparison to tangos played during golden age and later eras. These tandas can be used sparingly in early in the evening when simple rhythms will help the dancers find the beat of the music. They can also be used in the morning�as a postscript or cup of coffee after to a full evening of dancing.

Los Tubatango (Los Tubatango is a modern era orchestra that plays in old-guard style with unique instrumentation�flute, guitar, bandoneón and tuba�that is fun when used sparingly.)

Rodríguez Peña Una Noche de Garufa Almagro Zorro Gris � all from Una Noche de Garufa (Music Hall 10044-2 discontinued)

Orquesta Típica Victor � Che Papusa Oí (On some versions of this CD, the tracks are mislabeled. The tangos below are found on tracks 1, 3, 8 and 14)

Negro Pato Re Fa Si Che Papusa Oí � all from 1926-1940 (El Bandoneón EBCD 85)

Orquesta Típica Victor � Adiós Buenos Aires

Niño Bien El Porteñito Ventarrón Adiós Buenos Aires � all from RCA Victor 100 Años

Adolfo Carabelli

Felicia Mi Refugio El Caburé Cuatro Palabras � all from Cuatro Palabras (El Bandoneón EBCD 87)

Osvaldo Fresedo � Tigre Viejo (These tracks presage the early golden age.)

Tigre Viejo Poliya Pimienta Arrabalero � all from Susana Miller CD #3

Early Golden Age � De Caro, Canaro¶

Tangos from the early golden age represent a transition from the old guard to the golden age of tango. They have clear, simple rhythms but show signs of the stronger orchestration that characterizes golden age tangos. When the sound reproduction is of sufficient quality, these tandas can be used early in the evening to help educate the dancers to the beat.

Julio De Caro � Golden Age

El Monito Colombina Derecho Viejo Boedo � all from Instrumental Tangos of the Golden Age (Harlequin compilation HQCD 45)

Francisco Canaro � La Melodía de Nuestro Adiós (This tanda is a classic set of tracks to help dancers find the beat of tango music.)

La Melodía de Nuestro Adiós Pampa Retintín � all from La Melodía de Nuestro Adiós (El Bandoneón EBCD 30)

Francisco Canaro y su Quinteto Pirincho

Viento en Popa Don Esteban Champagne Tango � all from Nobleza de Arrabal (El Bandoneón EBCD 90)

Francisco Canaro � Poema (This tanda has both a lyrical and early golden-age sound. It ends with the truly sublime “Poema.” You can now assemble this tanda from commercial sources, but all four tracks are found together on the Susana Miller compilation with a sound quality that cannot be beat.)

Viejos Tiempos Mala Suerte Cuartito Azul Poema � all from Susana Miller compilation CD (#1 or A)

Mixed Tanda (Although some purists would object to this mix of orchestras, dancers seem to enjoy it. It works well early in the evening.)

La Melodía de Nuestro Adiós � Francisco Canaro, � from La Melodía de Nuestro Adiós (El Bandoneón EBCD 30) Yo Soy El Tango � Miguel Caló, � from Yo Soy el Tango (El Bandoneón EBCD 34) El Once � Osvaldo Fresedo, � from El Pibe de la Paternal (El Bandoneón EBCD 48) Mano a Mano � Francisco Lomuto � from Great Bands of Tango’s “Golden Age” 1936-47 (Harlequin HQCD 89)

Golden Age Harder Rhythmic � D’Arienzo, Biagi, Rodríguez¶

In the 1930s, Juan D’Arienzo and Rodolfo Biagi joined together to revolutionize tango by returning to strong staccato rhythms in 2x4 time while using more modern arrangements and instrumentation. After leaving D’Arienzo’s orchestra, Biagi formed his own orchestra and added more striking and challenging rhythmic elements to the music. For the tangos in this style that have vocals, the singer stayed relatively close to the orchestra’s rhythm, and an occasional mixing of vocals with instrumentals in the same tanda is possible (if not advised). The strong ric-tic-tic rhythms of the music played by either orchestra seems to insist on milonguero- or club-style dancing. The simpler rhythms of D’Arienzo’s music helps the dancers find the rhythm for milonguero-style dancing. Once the dancers find the rhythm for milonguero-style dancing, Biagi’s music is a wonderful challenge.

Juan D’Arienzo � El Rey del Compás

Retintín Don Esteban El Irresistible La Morocha � all from El Rey del Compás (El Bandoneón EBCD 43)

Juan D’Arienzo � El Flete (The third track, Pensalo Bien, is a vocal track but it provides a nice addition to the instrumental tracks. For those who want a soley instrumental tanda, El Africano from the CD El Gran D’Arienzo, Vol. 1 or Ataniche from the D’Arienzo CD Sus Primeros Exitos, Vol 2. could be subsituted.)

Unión Cívica � from El Rey del Compás (El Bandoneón) Canaro en París � from La Puñalada (Blue Moon) Pensalo Bien � from The Tango Lesson (Sony movie soundtrack) El Flete � from The Tango Lesson (Sony movie soundtrack)

Juan D’Arienzo � El Africano/El Flete (The third track, Pensalo Bien, is a vocal track but it provides a nice addition to the instrumental tracks. For those who want a soley instrumental tanda, Ataniche from the D’Arienzo CD Sus Primeros Exitos, Vol 2. could be subsituted.)

El Cencerro � from El Gran D’Arienzo, Vol. 1, 1937 (Fueye) El Africano � from El Gran D’Arienzo, Vol. 1, 1937 (Fueye) Pensalo Bien � from The Tango Lesson (Sony movie soundtrack) El Flete � from The Tango Lesson (Sony movie soundtrack)

Juan D’Arienzo � Felicia

El Internado � from La Puñalada (Blue Moon BMT 011) Jueves � from La Puñalada (Blue Moon BMT 011) Pampa � from Cambalache (El Bandoneón) Felicia � from La Puñalada (Blue Moon BMT 011)

Juan D’Arienzo � 9 de Julio

9 de Julio � from Sus Primeros Exitos, Vol. 1 (Tango Argentino BMG-RCA) La Viruta � from Sus Primeros Exitos, Vol. 1 (Tango Argentino BMG-RCA) El Porteñito � from Sus Primeros Exitos, Vol. 2 (Tango Argentino BMG-RCA) Derecho Viejo � from Sus Primeros Exitos, Vol. 1 (Tango Argentino BMG-RCA)

Juan D’Arienzo con Alberto Echagüe

Paciencia � from La Cumparsita (El Bandoneón) Cambalache � from Cambalache (El Bandoneón) No Va Más � from Cambalache (El Bandoneón) Che Negrito � from Vol. 21 (Club Tango Argentino CTA 321)

Juan D’Arienzo con Héctor Mauré

Ya Lo Ves Mirame en la Cara Enamorado (Metido) Amarras � all from D’Arienzo/Maure (Solo Tango)

Juan D’Arienzo con Mario Bustos

Justo El 31 Si Soy Así No Te Quiero Más Susanita � all from Tangos Orilleros (Tango Argentino BMG-RCA)

Juan D’Arienzo � Para el Mundo The music in this tanda was recorded in stereo during the concert era. The playing seems to combine the smoother, powerful sensibilities of Di Sarli with the rhythms of D’Arienzo.)

La Morocha Germaine Inspiración Criolla Linda � all from Tangos Para el Mundo, Vol. 2 (Tango Argentino BMG-RCA)

Orquesta Juan D’Arienzo (Juan D’Arienzo recorded the third track, “A Media Luz.” The other three tracks are newer recordings made by Orquesta Juan D’Arienzo, which was led by a former D’Arienzo sideman and played in classic D’Arienzo style.)

Pampa � from La Cumparsita (Philips) Derecho Viejo � from La Cumparsita (Philips) A Media Luz � from Tangos Para el Mundo, Vol. 2 (Tango Argentino BMG-RCA) Don Juan � from La Cumparsita (Philips)

Rodolfo Biagi con Alberto Amor (The music in this tanda is played relatively close to the softer rhythmic style and has a wonderful romantic feel.)

Nada Si La Llegaran A Ver Tus Labios Me Dirán Seamos Amigos � all from Sus Exitos con Alberto Amor (EMI Reliquias)

Rodolfo Biagi � Instrumentals

Pura Clase � from Solos de Orquesta (EMI Reliquias)

Racing Club

� from Solos de Orquesta (EMI Reliquias) Unión Cívica � from Sus Exitos con Andrés Falgas y Teófilo Ibáñez (EMI Reliquias) El Recodo � from Solos de Orquesta (EMI Reliquias)

Rodolfo Biagi � Racing Club

Unión Cívica � from Sus Exitos con Andrés Falgas y Teófilo Ibáñez (EMI Reliquias) Son Cosas del Bandoneón � from Sus Exitos con Andrés Falgas y Teófilo Ibáñez (EMI Reliquias) Pura Clase � from Solos de Orquesta (EMI Reliquias) Racing Club � from Solos de Orquesta (EMI Reliquias)

Rodolfo Biagi � Instrumentals (2) (Tracks 1, 2 and 3 also are found on Pura Clase on the Blue Moon label. Track 3 also is found on Campo Afuera on the El Bandoneón label.)

El Incendio � from Su Orquesta y Sus Cantores (EMI Reliquias) Pura Clase � from Solos de Orquesta (EMI Reliquias) Di Di � from Solos de Orquesta (EMI Reliquias) La Maleva � from Su Orquesta y Sus Cantores (EMI Reliquias)

Rodolfo Biagi con Jorge Ortiz (The fourth track, Racing Club, is an instrumental.)

Humillación � from Sus Exitos con Jorge Ortiz (EMI Reliquias) Señor, Señor � from Sus Exitos con Jorge Ortiz (EMI Reliquias) Pájaro Ciego � from Sus Exitos con Jorge Ortiz (EMI Reliquias) Racing Club � from Sus Exitos con Jorge Ortiz, Vol. 2 (EMI Reliquias)

Rodolfo Biagi con Andrés Falgas (The fourth track, Unión Cívica, is an instrumental.)

Cicatrices Son Cosas del Bandoneón A Mí No Me Interesa Unión Cívica � all from Sus Exitos con Andrés Falgas y Teófilo Ibáñez (EMI Reliquias)

Enrique Rodríguez con Roberto Flores y Armando Moreno (I pulled this tanda together from the now discontinued 27 Tangos: 1939-1952 on EMI.)

Son Cosas del Bandoneón � from El “Chato” Flores en el Recuerdo (EMI Reliquias) A Media Luz � from Tangos con Armando Moreno (EMI Reliquias) Cómo Se Pianta la Vida � from Tangos con Armando Moreno Vol. 2 (EMI Reliquias) En la Buena y en la Mala � from Tangos con Armando Moreno (EMI Reliquias)

Golden Age Softer Rhythmic � Troilo, Tanturi, Caló, Laurenz, D’Agostino, Troilo, Di Sarli¶

Pedro Laurenz, Ricardo Tanturi, Aníbal Troilo, Miguel Caló, and Angel D’Agostino played with softer rhythmic accents than typified the music of Juan D’Arienzo and Rodolfo Biagi. The softer rhythmic accents give the music a more romantic feel and the music supports dancing of either salon- or milonguero-style tango. For the tangos in this style that have vocals, the singer stayed relatively close to the orchestra’s rhythm, and an occasional mixing of vocals with instrumentals in the same tanda is possible (if not advised). These tandas are useful throughout the evening, and some of the music�particularly that recorded by Miguel Caló�is quite romantic.

Aníbal Troilo � Pichuco (I have listed these instrumental tangos as played in the softer rhythmic style, but some are close to the harder rhythmic style.)

Cachirulo Milongueando en el 40 Guapeando Cordón de Oro � all from Yo Soy El Tango (Troilo en RCA Victor)

Aníbal Troilo con Francisco Fiorentino � Tinta Roja (Francisco Fiorentino with the Aníbal Troilo Orquesta is one of the classic matches of singer with a tango orchestra. They recorded in both a softer rhythmic style and a lyrical style. I have listed these tangos as softer rhythmic, but some have elements of the lyrical style.)

Tinta Roja El Bulín de la Calle Ayacucho Tabernero Toda Mi Vida � all from Troilo/Fiorentino (Solo Tango BMG-RCA)

Ricardo Tanturi con Alberto Castillo � Noches de Colón (To give this tanda a slightly harder-edged rhythmic feel, replace Muñeca Brava as the third track with Pocas Palabras from the CD Tangos de mi Ciudad.)

Noches de Colón Al Compás de un Tango Muñeca Brava El Tango Es el Tango � all from Tanturi/Castillo (Solo Tango BMG-RCA)

Ricardo Tanturi con Alberto Castillo � Cuatro Compases

Ese Sos Vos � from Tangos de mi Ciudad (Tango Argentino BMG-RCA) Así Se Baila El Tango � from El Tango...Es el Tango (Tango Argentino BMG-RCA) Recuerdo Malevo

� from El Tango...Es el Tango (Tango Argentino BMG-RCA)

Cuatro Compases � from El Tango...Es el Tango (Tango Argentino BMG-RCA)

Miguel Caló � Yo Soy el Tango (This tanda opens with two vocals by the great Alberto Podestá. The third track is an instrumental. The tanda closes with a rhythmic track sung by the great Raúl Berón.)

Yo Soy el Tango � from Sus Exitos con Podestá, Ortiz y Berón (EMI Reliquias) La Cantina � from Yo Soy el Tango (El Bandoneon) La Maleva � from Recordando Viejos Temas (EMI Reliquias) Lejos de Buenos Aires � from Al Compás del Corazón (EMI Reliquias)

Miguel Caló � Stock Privado (The first and fourth tracks are instrumentals. The second and third tracks are vocals.)

Sans Souci � from Sus Exitos con Podestá, Ortiz y Berón (EMI Reliquias) Tedio � from Sus Exitos con Roberto Arrieta (EMI Reliquias) Tarde Gris � Sus Exitos con Raúl Iriarte, Vol. 2 (EMI Reliquias) Saludos � from Sus Exitos con Podestá, Ortiz y Berón (EMI Reliquias)

Pedro Laurenz

Arrabal Amurado De Puro Guapo Nunca Tuvo Novio � all from Milonga de Mis Amores (El Bandoneón)

Angel D’Agostino y Angel Vargas � A Pan y Agua (The fourth track is the playful “A Pan y Agua,” but its opening will remind some of “Café Domínguez.”)

Pero Yo Sé � from Tangos de los Angeles, Vol. 1 (Tango Argentino BMG-RCA) Una Pena � from Tangos de los Angeles, Vol. 1 (Tango Argentino BMG-RCA) Tres Esquinas � from Tangos de los Angeles, Vol. 1 (Tango Argentino BMG-RCA) A Pan y Agua � from Tangos de los Angeles, Vol. 2 (Tango Argentino BMG-RCA)

Angel D’Agostino y Angel Vargas � Hotel Victoria

Shusheta (El Aristócrata) � from Tangos de los Angeles, Vol. 3 (Tango Argentino BMG-RCA) Mano Blanca � from Tangos de los Angeles, Vol. 2 (Tango Argentino BMG-RCA) Esta Noche en Buenos Aires � from Tangos de los Angeles, Vol. 2 (Tango Argentino BMG-RCA) Hotel Victoria � from Tangos de los Angeles, Vol. 2 (Tango Argentino BMG-RCA)

Angel D’Agostino y Angel Vargas � Café Domínguez (This tanda closes with the classic “Café Domínguez.”)

Me Llaman Tango Caricias Mi Viejo Barrio Café Domínguez � all from Tangos de los Angeles, Vol. 4 (Tango Argentino BMG-RCA)

Carlos Di Sarli � Shusheta (Although Di Sarli is most associated with the smooth style, the music in this tanda was recorded early in Di Sarli’s career when he played in the softer rhythmic style. It is suitable for dancing milonguero- or salon-style tango.)

El Recodo La Torcacita La Cachila Shusheta � all from Instrumental, Vol. 2 (Tango Argentino BMG-RCA)

Golden Age Smooth � Di Sarli, Canaro, Fresedo, Troilo¶

Carlos Di Sarli, Francisco Canaro, Osvaldo Fresedo and Aníbal Troilo all recorded smooth-sounding music during the golden age of tango. The music in this category generally lacks the rhythmic accents that help support milonguero-style dancing, but salon-style dancers find it quite enjoyable for dancing.

Carlos Di Sarli developed clean sounding arrangements, and his orchestra played the walking beat of salon tango that epitomizes golden age smooth. His music helps educate dancers to the rhythm of salon-style tango and is useful early in the evening or whenever the DJ thinks the dancers need a refreshing change of pace or help in finding the rhythm. It is also useful in the resolution to the evening’s dancing. Other than tracks found on Instrumental, Vol. 2, most of Di Sarli’s music lacks the rhythmic accents used to support milonguero-style dancing.

Francisco Canaro contributed many recordings during the golden age of tango, but only a few are enjoyable to modern ears. His lyrical recordings with singers wear much better. Osvaldo Fresedo is associated with the early golden age, but he also contributed smooth-sounding and lyrical recordings during the golden age. Some of Fresedo’s golden-age recordings have the rhythmic elements that help support milonguero-style dancing, but most dancers tend to treat the music as smooth.

Over his career, Troilo gradually made a shift from a softer rhythmic sound to a concert sound. In the process of the transition, he recorded many well-regarded tangos with a smooth sound.

Carlos Di Sarli � Comme Il Faut

Don Juan Tinta Verde El Once Comme Il Faut � all from Solo Tango, Instrumental Vol. 1 (Solo Tango BMG-RCA)

Carlos Di Sarli � Milonguero Viejo (A great tanda with a classic set of tracks.)

A La Gran Muñeca El Caburé Mi Refugio Milonguero Viejo � all from Milonguero Viejo (Music Hall 10018-2 discontinued)

Carlos Di Sarli � El Ingeniero

Champagne Tango � from Instrumental (Tango Argentino BMG-RCA) Organito de la Tarde � from Solo Tango, Instrumental Vol. 1 (Solo Tango BMG-RCA) Cara Sucia � from Solo Tango, Instrumental Vol. 1 (Solo Tango BMG-RCA) El Ingeniero

� from Solo Tango, Instrumental Vol. 1 (Solo Tango BMG-RCA)

Carlos Di Sarli � Bahía Blanca (These four tracks are from the 1958 Philips session and appeared together on the now discontinued Di Sarli CD Bahía Blanca that was released by Polydor.)

El Abrojo � from Susana Miller compilation CD (#1 or A) Una Fija � from Susana Miller compilation CD (#1 or A) Indio Manso � from Susana Miller compilation CD (#1 or A) Bahía Blanca (1958 version) � from The Tango Lesson (Sony)

Aníbal Troilo � Quejas de Bandoneón

Quejas de Bandoneón El Marne Don Juan El Pollo Ricardo � all from Su Mejores Momentos (Music Hall discontinued)

Golden Age Lyrical � Caló, Troilo, Di Sarli, Canaro, Fresedo, Tanturi, Demare, De Angelis¶

During the golden age, sometimes the singer sang with orchestra, sometimes the orchestra played for the singer. Many of the major orchestras that played in the softer rhythmic or smooth styles also recorded music in which they played for the singer. Done right, the result was a compelling, lyrical sound. These tandas have a wonderfully romantic and seductive feel that can help build the mood of the evening.

Miguel Caló con Raúl Berón (This tanda has wonderfully romantic tangos for dancing with that special someone late in the evening.)

Al Compás del Corazón Trasnochando Qué Te Importa Que Te Llore Tristezas de le Calle Corrientes � all from Al Compás del Corazón (EMI Reliquias)

Miguel Caló con Raúl Berón (alternate) (This tanda has a little more rhythmic feel.)

Qué Te Importa Que Te Llore Tarareando Lejos de Buenos Aires Tristezas de le Calle Corrientes � all from Al Compás del Corazón (EMI Reliquias)

Aníbal Troilo con Francisco Fiorentino � Malena (Francisco Fiorentino with the Aníbal Troilo Orquesta is one of the classic matches of a singer with a tango orchestra. They recorded in both a softer rhythmic style and a lyrical style. This tanda has lyrical tangos and ends with the classic “Malena.”)

Pájaro Ciego En Esta Tarde Gris Sencillo y Compadre Malena

� all from Troilo/Fiorentino, Vol. 1 (Solo Tango BMG-RCA)

Aníbal Troilo con Francisco Fiorentino � Gricel (This tanda has lyrical tangos and opens with the wonderful “Barrio de Tango” and closes with the sublime “Gricel.”)

Barrio de Tango

� from Troilo/Fiorentino, Vol. 2 (Solo Tango BMG-RCA)

Maragata

� from Troilo/Fiorentino, Vol. 1 (Solo Tango BMG-RCA)

Suerte Loca

� from Troilo/Fiorentino, Vol. 1 (Solo Tango BMG-RCA)

Gricel

� from Troilo/Fiorentino, Vol. 2 (Solo Tango BMG-RCA)

Aníbal Troilo con Francisco Fiorentino � Malena/Gricel (This tanda of lyrical tangos combines some of the best Troilo/Fiorentino recordings.)

Pájaro Ciego

� from Troilo/Fiorentino, Vol. 1 (Solo Tango BMG-RCA)

Barrio de Tango

� from Troilo/Fiorentino, Vol. 2 (Solo Tango BMG-RCA)

Gricel

� from Troilo/Fiorentino, Vol. 2 (Solo Tango BMG-RCA)

Malena

� from Troilo/Fiorentino, Vol. 1 (Solo Tango BMG-RCA)

Carlos Di Sarli con Roberto Rufino

Verdemar Tristeza Marina Cascabelito Charlemos � all from Sus Primeros Exitos, Vol. 1 (Tango Argentino BMG-RCA)

Carlos Di Sarli con Jorge Durán

Porteño y Bailarín Un Tango y Nada Más Duelo Criollo Vieja Luna � all from Porteño y Bailarín (Tango Argentino BMG-RCA)

Francisco Canaro � Poema (This tanda has both a lyrical and early golden-age sound. It ends with the truly sublime “Poema.” You can now assemble this tanda from commercial sources, but all four tracks are found together on the Susana Miller compilation with a sound quality that cannot be beat.)

Viejos Tiempos Mala Suerte Cuartito Azul Poema � all from Susana Miller compilation CD (#1 or A)

Francisco Canaro � Uno (This tanda consists of wonderfully romantic tangos for dancing with that special someone. The romantic softness of Uno may not be too appealing if the mood and the sound equipment aren’t right.)

Uno � from Desde el Alma (EMI Reliquias) Nido Gaucho � from Desde el Alma (EMI Reliquias) Como Dos Extraños � from Tangos Inolvidables del ‘40 (EMI Reliquias) Cada Vez Que Me Recuerdes � from Desde el Alma (EMI Reliquias)

Osvaldo Fresedo con Roberto Ray � Vida Mía (This tanda has wonderfully romantic tangos for dancing with that special someone either late in the evening as the drama builds or during the resolution or denouement of the evening’s dancing. These tracks may be better classified as old guard lyrical, but they play well as golden age lyrical. The rhythmic accents that support milonguero-style dancing are present in the music to some extent, but the overall impression is smooth and lyrical, and most dancers respond that way.)

Vida Mía Niebla del Riachuelo Pampero Sollozos � all from Tangos de Salón (Tango Argentino BMG-RCA)

Ricardo Tanturi con Enrique Campos � Domingo a la Noche

Muchachos Comienza la Ronda Oigo Tu Voz Malvón Domingo a la Noche � all from Una Emoción (Tango Argentino BMG-RCA)

Ricardo Tanturi con Enrique Campos � Una Emoción (The second track, “Raza Criolla,” is an instrumental.)

Qué Nunca Me Falte � from Una Emoción (Tango Argentino BMG-RCA) Raza Criolla � from Noches de Tango (Tango Argentino BMG-RCA) Así Se Canta � from Una Emoción (Tango Argentino BMG-RCA) Una Emoción � from Una Emoción (Tango Argentino BMG-RCA)

Lucio Demare � Tango Guapo (All of these tracks can also be found on the CD Tango Guapo on the El Bandoneón label.)

Al Compás de un Tango � from Sus Exitos con Miranda, Berón y Quintana (EMI Reliquias) Canción de Rango � from Sus Primeros Exitos (EMI Reliquias) Tango Guapo � from Sus Primeros Exitos (EMI Reliquias) Malena � from Sus Exitos con Miranda, Berón y Quintana (EMI Reliquias)

Lucio Demare con Raúl Berón

Una Emoción Y Siempre Igual Tal Vez Será Su Voz Oigo Tu Voz � all from Sus Exitos con Raúl Berón (EMI Reliquias)

Alfredo De Angelis � Adiós Marinero (Drawn from an orchestra that is better known for its dramatic tangos and lyrical valses, this tanda opens and closes with lyrical tangos and has two smooth instrumentals in the middle. All of these tracks also can be found on the CD Adiós Marinero on the El Bandoneón label.)

Adiós Marinero � from Los Dúos de Carlos Dante y Julio Martel (EMI Reliquias) Pura Maña � from Los Primeros Instrumentales (EMI Reliquias) El Entrerriano � from Los Dúos de Carlos Dante y Julio Martel, Vol. 2 (EMI Reliquias) Compadrón � from 20 Exitos, Vol. 1 (EMI Reliquias)

Golden Age Dramatic � De Angelis, Pugliese¶

Alfredo De Angelis and Osvaldo Pugliese played dramatic music that is best used to increase tension and build to the height of the evening. As the evening builds to a climax, more Pugliese and De Angelis is included in the mix. The music on the De Angelis tanda and the first three Pugliese tandas have simpler rhythms and might be earlier in the evening than the next two Pugliese tandas. Of the tandas in this section, only the Pugliese tanda that I have called “De Caro por Pugliese” is suitable for early evening play.

Alfredo De Angelis � Pavadita (This dramatic tanda closes with the must-be-played classic Pavadita. The wonderful “Mi Dolor” replaces “Guardia Vieja” quite readily.)

El Tango Club � from Instrumentales Inolvidables (EMI Reliquias) Guardia Vieja � from From Argentina to the World (EMI) El Pial � from From Argentina to the World (EMI) Pavadita � from From Argentina to the World (EMI)

Osvaldo Pugliese � De Caro por Pugliese (This tanda captures some of Pugliese’s recordings of DeCaro tangos, which which are wonderful for dancing but do not have the heavy thumping “La Yumba” beat that people associate with Pugliese. Orgullo Criollo was recorded a bit later, but it still fits with the other tangos. I put this tanda together from the now discontinued CD, De Caro por Pugliese on EMI Pampa.)

Tierra Querida � from Instrumentales Inolvidables (EMI Reliquias) Mala Junta � from Instrumentales Inolvidables (EMI Reliquias) Orgullo Criollo � from Sus Grandes Exitos (EMI Reliquias) Boedo � from Instrumentales Inolvidables, Vol. 2 (EMI Reliquias)

Osvaldo Pugliese � Corrientes y Esmeralda (This tanda is primarily of early Pugliese recordings which are wonderful for dancing but do not have the heavy thumping “La Yumba” beat that people associate with Pugliese. The first tango is a vocal.)

Corrientes y Esmeralda � from Sus Exitos con Roberto Chanel (EMI Reliquias) Mala Estampa � from Instrumentales Inolvidables (EMI Reliquias) Tiny � from Instrumentales Inolvidables (EMI Reliquias) El Remate � from Instrumentales Inolvidables (EMI Reliquias)

Osvaldo Pugliese � Recuerdo/Fuimos (This tanda is of music in which Pugliese made during his transition to the heavy thumping “La Yumba” beat. The last two tangos are vocals.)

Recuerdo � from Instrumentales Inolvidables (EMI Reliquias) El Arranque � from Instrumentales Inolvidables (EMI Reliquias) Farol � from Ausencia (EMI Odeon) Fuimos � from Ausencia (EMI Odeon)

Osvaldo Pugliese � Remembranza (This tanda contains three incredibly passionate vocals and the classic instrumental “Chique.”)

Pasional Chiqué Cascabelito Remembranza � all from Ausencia (EMI Odeón)

Osvaldo Pugliese � La Yumba/La Tupungatina (I have made four tandas that open with the must-be-played “La Yumba” and close with the wonderful “Gallo Ciego.” The bittersweet “La Rayuela” and the sublime “La Tupungantina” are what make this tanda my favorite.)

La Yumba � from The Tango Lesson (Sony movie soundtrack) La Rayuela

� from Instrumentales Inolvidables, Vol. 3 (EMI Reliquias)

La Tupungatina � from Cantan Alberto Moran y Roberto Chanel (EMI Reliquias)

Gallo Ciego

� from From Argentina to the World (EMI)

Osvaldo Pugliese � La Yumba/Yunta de Oro (This tanda of classics opens with the must-be-played “La Yumba” and continues with the rhythmic “Yunta de Oro” and sublime “La Tupungatina” before closing with the wonderful “Gallo Ciego.”)

La Yumba � from The Tango Lesson (Sony movie soundtrack) Yunta de Oro

� from Instrumentales Inolvidables, Vol. 3 (EMI Reliquias)

La Tupungatina � from Cantan Alberto Moran y Roberto Chanel (EMI Reliquias)

Gallo Ciego

� from From Argentina to the World (EMI)

Osvaldo Pugliese � La Yumba (This tanda of classics opens with the must-be-played “La Yumba” and continues with great intensity through “Nochero Soy” and “La Mariposa” to close with the wonderful “Gallo Ciego.”)

La Yumba � from The Tango Lesson (Sony movie soundtrack) Nochero Soy � from Ausencia (EMI Odeón) La Mariposa � from Ausencia (EMI Odeón) Gallo Ciego � from From Argentina to the World (EMI)

Osvaldo Pugliese � La Tupungatina (This tanda illustrates my philsophy in constructing a tanda. Susana Miller’s DJ organized the songs to build intensity within the tanda. His ordering � “La Tupungatina,” “El Embrollo,” “La Rayuela,” “Gallo Ciego” � starts with sweet subtlety and gradually builds with bitterness through the next two tangos before culminating in intensity. My ordering starts with a dramatic bittnerness that pulls dancers onto the floor but then softens to sweetness through the next two tangos before culminating in intensity. The effect is more like a hammock, and I find the contribution to the evening’s intensity is stronger.)

La Rayuela

� from Instrumentales Inolvidables, Vol. 3 (EMI Reliquias)

El Embrollo � from Instrumentales Inolvidables, Vol. 3 (EMI Reliquias) La Tupungatina � from Cantan Alberto Moran y Roberto Chanel (EMI Reliquias) Gallo Ciego � from From Argentina to the World (EMI)

Osvaldo Pugliese � Nochero Soy/La Mariposa (This tanda of classics opens with the intense classic “Nochero Soy” and closes with the floating but intense “La Mariposa.” All these tangos have the classic “La Yumba” beat, but they also have lengthy departures in which the beat is submerged. The sound borders on the transitional era when the Pugliese orchestra played dramatic concert music.)

Nochero Soy � from Ausencia (EMI Odeón) A Mis Compañeros � from Instrumentales Inolvidables, Vol. 2 (EMI Reliquias) El Embrollo � from Instrumentales Inolvidables, Vol. 3 (EMI Reliquias) La Mariposa � from Ausencia (EMI Odeón)

Osvaldo Pugliese � Tinta Roja (The music in this tanda is from the transitional era when the Pugliese orchestra played dramatic concert music. It can be used for social dancing, but do not be surprised if some dancers engage in theatrics.)

Tinta Roja Arrabal A Los Amigos El Andariego � all from From Argentina to the World (EMI)

Osvaldo Pugliese � A Evaristo Carriego (The truly stunning music in this tanda represents the transitional era when the Pugliese orchestra played dramatic concert music. It can be used for social dancing, but do not be surprised if some dancers engage in theatrics.)

Emancipación � from From Argentina to the World (EMI) Pata Ancha � from From Argentina to the World (EMI) La Bordona � from From Argentina to the World (EMI) A Evaristo Carriego � from Nostálgico (DBN Polydor)

Transitional and New Tangos¶

In the late 1940s and early 1950s, tango orchestras began to shift away from dance music toward a concert sound that culminated in the new tango of Astor Piazzolla. The music from these eras is well recorded but is generally less well suited for social dancing than music from the golden age. I have pulled together a few tandas of music that are played with a dance beat and have the dramatic and lyrical qualities of tangos from the transitional and new-tango eras. Tandas from these eras should be used sparingly, and care should be used in selecting music for the tandas and in positioning them during the evening’s mix of music.

Alfredo Gobbi

La Viruta Orlando Goñi Puro Apronte Racing Club � all from Instrumentales Inolvidables (Tango Argentino BMG-RCA) or Alfredo Gobbi (Solo Tango BMG-RCA)

Florindo Sassone (Some dancers may have difficulty connecting with complex rhythms of this music. Others will be exhilirated by it.)

La Viruta

� Bien Milonguero Vol. 2 (EMI Reliquias) Rawson � Bien Milonguero Vol. 1 (EMI Reliquias) Bar Exposición � Bien Milonguero Vol. 1 (EMI Reliquias) Rodríguez Peña � Bien Milonguero Vol. 1 (EMI Reliquias)

Mixed Tanda � Verano Porteño (Dancers seem to enjoy this tanda of dramatic and lyrical tangos which can be used to help build toward the climax of the evening, but do not be surprised if some dancers engage in theatrics.)

Francini-Pontier � A Media Luz � from Tango I (JVC discontinued) Tango Bar (Raúl Juarena) � Nostálgico � from Tango Bar (Chesky) Carlos García and Tango All Stars � Adiós Nonino � from Tango II (JVC discontinued) Raúl Garello � Verano Porteño � from Compilation, Buenos Aires by Night (EMI)

New York Tango Trio (This is a tanda of dramatic music that stirs fond memories for those who have seen the New York Tango Trio live.)

El Entrerriano Yuyito 9 de Julio � all from Cabarute (Lyrichord 7428)

Litto Nebbia Quinteto (This tanda of lyrical music can be used during the resolution or denouement of the evening’s dancing. It can also be used to refresh the dancers as the drama is building toward the height of the evening. Although the music has a simple, clear beat, it does not seem to inspire dancers when it is played early in the evening.)

Malandra Tango Canyengue Cabarét Nostálgias � all from Tangos Argentinos de Enrique Cadícamo (Iris 980)

Mixed Tanda � Oblivion (Languid describes the music in this tanda. As such, the tanda is only useful during the denouement of the evening’s dancing, when the dancers are contemplating oblivion themselves. Use at any other time could send the DJ to oblivion in short order.)

Trío Pantango � Silbando � from Tango Argentino (ARC EUCD 1257) Hugo Díaz (harmonica) � Milonga Triste � from The Tango Lesson (Sony movie soundtrack) Daniel Barenboim � Mi Buenos Aires Querido � from Tangos Among Friends Gidon Kremer � Oblivion � from Hommage à Piazzolla

Modern Dance Orquestas¶

Some modern tango orchestras, most notably Orquesta Color Tango, have returned to the dance beat that characterized the golden era of tango dance music. The recordings made by modern dance orchestras typically have more intricate arrangements with a little more of a dramatic concert feel than those made during the golden era, but the dance beat is prominent and the fidelity is much better than on the old recordings.

Orquesta Color Tango � Emancipación (This contemporary orchestra now sounds quite similar to that of the Pugliese orchestra during the transitional era. It first recorded with a Pugliese concert sound.)

Emancipación � from Con Estilo para Bailar, Vol. 2 (Techno disc) Recuerdo � from Con Estilo para Bailar, Vol. 2 (Techno disc) Festejando � from Con Estilo para Bailar (Techno disc) A Evaristo Carriego � from Con Estilo para Bailar, Vol. 2 (Techno disc)

El Arranque (The last track is actually concert-era Troilo, but it has a dance beat and fits quite well with the other three by Orquesta El Arranque.)

El Arranque � from Tango (Vaiven) El Abrojito � from Tango (Vaiven) Zorro Gris � from Tango (Vaiven) Don Juan (Aníbal Troilo) � from RCA 100 Años (BMG RCA)

Mixed Tanda � Color Tango, Cadícamo, Varela

Orquesta Color Tango � Unión Cívica � from Con Estilo para Bailar, Vol. 3 Enrique Cadícamo � Bar Nocturno � from Dance to Cadícamo’s Music (Melopea) Adriana Varela � Como Dos Extraños � from Maquillaje (Melopea) Orquesta Color Tango � Yunta de Oro � from Con Estilo para Bailar, vol. 3

Mixed Tanda � Oblivion (2) (Mae West once said, “Too much of a good thing can be wonderful.” Hence a second tanda ending in “Oblivion.” On this tanda, most of the tracks are played by modern-era orchestras. Some dancers may find the rhythms of the third track, “Zum,” to be a little challenging.)

Aníbal Troilo � Don Juan � from RCA 100 Años (BMG-RCA) Sexteto Sur � Tanguera � from Libertango (Victor Japan) Orquesta Color Tango � Zum � from Con Estilo para Bailar (Techno disc) Quartango � Oblivion � from Esprit (Justin Time)

Neo-Tango Music¶

Neo-tango consists of two genres of music: tango-fusion and “alternative tango” music. Tango fusion integrates tango rhythms with those of other musical traditions to create a modern and culturally relevant world tango music with a dance-club sound. Alternative tango music is tango music from other traditions or non-tango music that some dancers find interesting for dancing Argentine tango steps. At its best, neo-tango music adds variety and fidelity to an evening. At its worst, neo-tango is simply a music to which tango steps can be executed.

The use of neo-tango music depends critically upon who is at the milonga. Some dancers love neo-tango music and expect to hear it at the milongas they attend. Dancers who are steeped in tango traditions often dislike it. Consequently, the use of neo-tango music requires considerable judgement from the DJ (which I hope that I am developing). I don’t usually play much more than an occasional tanda of neo-tango music at a milonga, and when do so, I frequently recombine the tango-fusion music from the tandas listed below�occasionally including alternative tangos that are not listed.

Mixed Tanda � Tango-Fusion/Electronica (This tanda starts with a track that has only a light layer of electronica and gradually builds to the explosive Felino. All the tracks adhere reasonably closely to tango sensibilities. For a variation use Bajofondo’s En Mí/Soledad in place of one the Libedinsky tracks.)

Carla Pugliese � Ostinato � from Ojos Verdes Cerrados Carlos Libedinsky � Otra Luna � from Narcotango (Tademus) Carlos Libedinsky � Vi Luz y Subí � from Narcotango (Tademus) Electrocutango � Felino � from Felino (Rapid Productions)

Mixed Tanda � Tango-Fusion (This tanda contains a mixture of tango-fusion music that adheres reasonably close to a tango sound. In comparison to some tango-fusion recordings, these pieces have subtantially fewer dance-club layers to obscure the tango rhythms.)

Gotan Project � Una Música Brutal � from La Revancha del Tango (discgraph) Gotan Project � Queremos Paz � from La Revancha del Tango (discgraph) Carlos Libedinsky � Vi Luz y Subí � from Narcotango (Tademus) Bajofondo � En Mí/Soledad � from Bajofondo Tango Club (Universal)

Gotan Project (A French/Argentine group helped create the tango-fusion sound by layering Argentine tango with other dance rhythms. Many still consider Gotan Project to offer the best tango-fusion music.)

Queremos Paz Una Música Brutal Epoca Santa María (del Buen Ayre) � all from La Revancha del Tango (discgraph)

Neo Tango � En Mí/Soledad (This tanda contains a mixture of tango-fusion music that adheres reasonably closely to a tango sound. “El Tango” is a bit more challenging than some of the other pieces.)

Bajofondo TangoClub � En Mí/Soledad � from Bajofondo TangoClub Hi Perspective � El Tango � from Leçons de Tango Carlos Libedinsky � Plano Secuencia � from Narcotango Tango Project � Sentimientos � Vol. II New Tango

Tango-Fusion Tanda (This tanda contains a mixture of tango-fusion music that adheres reasonably closely to a tango sound. For tango-fusion, the first three tracks have a languid and deeply emotional sound. The tango rhythm is a bit deeper in the mix on the fourth track.)

Bajofondo � En Mi/Soledad � from Bajofondo Tango Club (Universal) Carlos Libedinsky � Vi Luz y Subí � from Narcotango (Tademus) Carlos Libedinsky � Otra Luna � from Narcotango (Tademus) Hi Perspective � El Tango � from Leçons de Tango

Neo Tango � Otra Luna (This tanda lacks the heavy electronica found in much tango-fusion music. It shows the softer, more languid side of neo-tango music, but still has a propulsive beat. It works best after several more dramatic tandas. Some dancers may find “Youkali” and “Praga” too languid.)

Carlos Libedinsky � Otra Luna � from Narcotango (Tademus) Carla Pugliese � Ostinato � from Ojos Verdes Cerrados Mizrahi-Longhi � Youkali � from Carne Argenta Mizrahi-Longhi � Praga � from Carne Argenta

Neo Tango � Perfume (This tanda contains a mixture of tango-fusion music that adheres reasonably closely to a tango sound.)

Bajofondo TangoClub � Perfume � from Supervielle Tanghetto � Una Llamada � from Emigrante Tanghetto � Inmigrante � from Emigrante Bajofondo TangoClub � Pulso � from Supervielle

Mixed Tanda � Neo Tango de Roxanne (The tanda opens with two tangos that have a languid and deeply emotional sound. “Naranjo en Flor” has stronger dance-club feel, which helps create a transition to the dramatic “El Tango de Roxanne.”)

Bajofondo � En Mí/Soledad � from Bajofondo Tango Club (Universal) Carlos Libedinsky � Vi Luz y Subí � from Narcotango (Tademus) Hybrid Tango � Mas de lo Mismo � from Hybrid Tango Ewan McGregor, José Feliciano and Jacek Koman � El Tango de Roxanne � from Moulin Rouge soundtrack (Interscope)

Milongas¶

The fast pace of milonga music can help give a lift to everyone’s energy. It can also be used to exhaust the dancers and send them off the dance floor for a break.

Francisco Canaro � Slow Milongas (This tanda consists of relatively slow but frequently played milongas. Some dancers may have difficulty connecting with the slow rhythms.)

Milonga Sentimental � from La Melodía de Nuestro Adiós (El Bandoneón) Milonga del 900 � from Todo Milonga (Club Tango Argentino 1051) Silueta Porteña � from La Melodía de Nuestro Adiós (El Bandoneón)

Francisco Canaro � Milongas (Although Canaro’s orchestra recorded many slow milongas, this tanda has moderately paced milongas that can be used for a variety of milonga dance styles.)

Reliquias Porteñas No Hay Tierra Como La Mía Milonga Brava � all from Las Grandes Orquestas del Tango (Blue Moon)

Francisco Canaro � Milongas (2)

Cuando Un Viejo Se Enamora � from Milongueando con Canaro La Milonga de Buenos Aires � from Francisco Canaro (Serie de Oro) Milongón � from Bailando Tangos, Valses y Milongas (EMI Reliquias)

Juan D’Arienzo � La Puñalada (Milongas) (This tanda opens with the stereo recording of the great D’Arienzo milonga La Puñalada.)

La Puñalada � from Tangos Para el Mundo, Vol. 2 (Tango Argentino BMG-RCA) Candombe Oriental � from Cambalache (El Bandoneón EBCD 110) La Espuela � from 1944/1949 (RCA) or Corrientes y Esmeralda, 1944-1949 (RCA)

Juan D’Arienzo � Milongas

El Temblor � from El Rey del Compás (El Bandoneón 43) Milonga Querida � from El Rey del Compás (El Bandoneón 43) Milonga del Corazón � from La Cumparsita (El Bandoneón 84)

Juan D’Arienzo � Milongas 2

El Esquinazo � from Sus Primeros Exitos, Vol. 2 (Tango Argentino BMG-RCA) Milonga Vieja Milonga � from Milonga Vieja Milonga (Danza y Movimiento compilation) De Pura Cepa � from Sus Primeros Exitos, Vol. 2 (Tango Argentino BMG-RCA)

Juan D’Arienzo � Milongas 3 (These milongas may give some dancers the impression of being faster than they are.)

Estampa de Varón � from El Rey del Compás (El Bandoneón 43) El Comandante � from Vol. 21 (CTA-321) Milonga Que Peina Canas � from Tango Bravo (Tango Argentino BMG-RCA) or La Puñalada (Blue Moon BMT 011)

Juan D’Arienzo � Milongas 4 (These delightful milongas are at a somewhat slower pace than is typical of D’Arienzo.)

El Potro � from Cambalache (El Bandoneón EBCD 110) or Juan D’Arienzo, Vol. 2 (Serie Arco Iris) La Cicatriz � from Milongueando (RCA) Me Gusta Bailar Milonga � from Cambalache (El Bandoneón EBCD 110) or Juan D’Arienzo, Vol. 2 (Serie Arco Iris)

Rodolfo Biagi � Milongas (Biagi’s milongas are fast paced with demanding rhythms.)

Campo Afuera � from Sus Exitos con Andrés Falgás y Teófilo Ibáñez (EMI Reliquias) or Campo Afuera (El Bandoneón EBCD 40) Picante � from Su Orquesta y sus Cantores (EMI Reliquias) or Campo Afuera (El Bandoneón EBCD 40) Flor de Montserrat � from Sus Exitos con Alberto Amor (EMI Reliquias)

Ricardo Tanturi con Alberto Castillo � Milongas (There may be no better singer of milongas and candombes than Alberto Castillo.)

Mozo Guapo Así Es la Milonga Mi Morocha � all from Tangos de Mi Ciudad (Tango Argentino BMG-RCA)

Alberto Castillo � Candombes y Milongas (There may be no better singer of milongas and candombes than Alberto Castillo.)

Vestido Punzo Bronce Café � all from Candombes y Milongas (EMI Reliquias)

Aníbal Troilo/Francisco Fiorentino � Milongas

Mano Brava

� from Troilo/Fiorentino (Solo Tango BMG-RCA)

Ficha de Oro � from Del Tiempo Guapo (El Bandoneón EBCD 47) Del Tiempo Guapo � from Troilo/Fiorentino Vol. 2 (Solo Tango BMG-RCA)

Pedro Laurenz � Milongas

Milonga Compadre Yo Soy de San Telmo Milonga de Mis Amores � all from Milonga de Mis Amores (El Bandoneón EBCD 82)

Miguel Caló � Milongas (This sophisticated tanda closes with the great candombe, “Azabache.”)

Milonga Antigua � from Al Compás del Corazón (EMI Reliquias) Milonga Que Peina Canas � from Sus Exitos con Podestá, Ortiz y Berón (EMI Reliquias) Azabache � from Al Compás del Corazón (EMI Reliquias)

Carlos Di Sarli � Milongas (A tanda of playful, lyrical, relatively light and delightfully danceable milongas.)

Rosa Morena � from Sus Primeros Exitos, Vol 3. (Tango Argentino BMG-RCA) Zorzal � from Sus Primeros Exitos, Vol 3. (Tango Argentino BMG-RCA) La Mulateada � from Sus Primeros Exitos, Vol 3. (Tango Argentino BMG-RCA) Pena Mulata � from Sus Primeros Exitos, Vol 1. (Tango Argentino BMG-RCA)

Osvaldo Pugliese � Milongas (Some dancers like Pugliese’s milongas, but others won’t dance to them. This tanda opens and closes with what are regarded as the better Pugliese milongas.)

Tortazos � from Cantan Alberto Morán y Roberto Chanel (EMI Reliquias) Andá Que Te Cure Lola � from Cantan Alberto Morán y Roberto Chanel (EMI Reliquias) Un Baile A Beneficio � La Yumba (EMI Odeon)

Mixed Tanda � Milongas (A contemporary mix that opens with two milongas and closes with two explosive candombes. Although the second milonga is relatively short, this tanda may be a little too long for many dancers. Consider ending after the third.)

Miguel Villasboas � La Mulita � from Tango Rioplatense (StarMusic) Dan Diaz and the Tango Camerata � Milonga del 900 � from Live at Stanford (Rio Plata Institute) Juan Carlos Cáceres � Tango Negro � from Toca Tango (Discos CNR de Argentina) Juan Carlos Cáceres � Toca Tango � from Toca Tango (Discos CNR de Argentina)

Mixed Tanda � Candombes (A mix of classic and contemporary candombes that may be a little too long for many dancers. Consider ending after the third.)

Miguel Caló � Azabache � from Al Compás del Corazón (EMI Reliquias) Alberto Castillo � Café � from Candombes y Milongas (EMI Reliquias) Juan Carlos Cáceres � Tango Negro � from Toca Tango (Discos CNR de Argentina) Juan Carlos Cáceres � Toca Tango � from Toca Tango (Discos CNR de Argentina)

Guitar Milongas (A short collection of milongas featuring guitar and bandoneón that offer something a little different.)

Aníbal Troilo/Roberto Grela � La Trampera � from Cuarteto Tipico Dan Diaz and the Tango Camerata � Milonga del 900 � from Live at Stanford (Rio Plata Institute)

Esteban Morgado � Morena

� from Cuestarriba Tango

Valses¶

Tango waltz music is delightfully lyrical and romantic. Playing it usually lifts everyone’s spirits.

Los Tubatango

Francia Vibraciones del Alma Ilusión de Mi Vida � all from Una Noche de Garufa (Music Hall discontinued)

Francisco Canaro � Valses 1

Ronda del Querer Adiós Juventud Para Ti Madre � all from La Melodía de Nuestro Adiós (El Bandoneón EBCD 30)

Francisco Canaro � Valses 2

Bajo el Cielo Azul � from Desde El Alma (EMI Reliquias) Muchacha � from Tangos Inolvidables del ‘40 (EMI Reliquias) Yo No Sé Que Han Hecho Tus Ojos � from Te Acordás Hermano? (EMI Reliquias) or Tiempos Viejos (Blue Moon)

Francisco Canaro con Nelly Omar � Valses (The wonderful Nelly Omar sings the first and last valses. Francisco Canaro’s Quinteto Pirincho plays the instrumental in the middle.)

Rosa de Otoño � Los 100 Mejores Tangos, Milongas y Valses del Milenio, Vol. 4 (El Bandoneón EBCD 304) Vibraciones del Alma � Tangos del Tiempo Viejo (EMI Reliquias) Desde el Alma � Desde El Alma (EMI Reliquias)

Quinteto Pirincho (Francisco Canaro) � Instrumental Valses

El Trovero Francia María Esther � all from Tangos del Tiempo Viejo, Vol. 4 (EMI Reliquias)

Juan D’Arienzo � Amor y Celos (Valses) (This tanda closes with the classic Amor y Celos.)

Valsecito Criollo � Sus Primeros Exitos Vol. 2 (Tango Argentino BMG-RCA) Mentías � Sus Primeros Exitos Vol. 2 (Tango Argentino BMG-RCA) Amor y Celos � The Tango Lesson (Sony movie soundtrack)

Juan D’Arienzo � Valses 1

Valsecito Criollo � Sus Primeros Exitos Vol. 2 (Tango Argentino BMG-RCA) Cabeza de Novia � El Rey del Compás (El Bandoneón EBCD 43) Mentías � Sus Primeros Exitos Vol. 2 (Tango Argentino BMG-RCA)

Juan D’Arienzo � Valses 2

No Llores Madre � La Cumparsita (El Bandoneón EBCD 84) Inolvidable � La Cumparsita (El Bandoneón EBCD 84) Valsecito de Antes � Los 100 Mejores Tangos, Milongas y Valses del Milenio, Vol. 4 (El Bandoneón EBCD 304)

Rodolfo Biagi � Valses (This tanda closes with Biagi’s incredible instrumental rendition of “Lágrimas y Sonrisas.”)

Paloma � from Sus Exitos con Alberto Amor (EMI Reliquias) Por Un Beso de Amor � from Sus Exitos con Jorge Ortiz, Vol. 2 (EMI Reliquias) Cuatro Palabras � from Sus Exitos con Jorge Ortiz, Vol. 2 (EMI Reliquias) Lágrimas y Sonrisas � from Sus Exitos con Jorge Ortiz (EMI Reliquias)

Rodolfo Biagi � Amor y Vals (Valses) (This tanda opens with the sublime “Amor y Vals” and closes with Biagi’s incredible rendition of “Lágrimas y Sonrisas.”)

Amor y Vals � from Valses Inolvidables (EMI Reliquias compilation) Paloma � from Sus Exitos con Alberto Amor (EMI Reliquias) Lágrimas y Sonrisas � from Sus Exitos con Jorge Ortiz (EMI Reliquias)

Ricardo Tanturi con Alberto Castillo � Valses

Mi Romance Con Los Amigos La Serenata Recuerdo � all from Tangos de Mi Ciudad (Tango Argentino DBN-RCA)

Pedro Laurenz � Valses (Pedro Laurenz played unbeatable vals music.)

Mascarita Paisaje Mendocina � all from Milonga de Mis Amores (El Bandoneón EBCD 82)

Aníbal Troilo and Floreal Ruiz � Valses (This tanda opens with a definitive rendition of “Romance de Barrio” and closes with the wonderful “Flor de Lino.” The listed sources are what I currently consider the best sounding commercial releases. All of the tracks also can be found with lower-fidelity sound on several other releases.)

Romance de Barrio � from Romance de Barrio (Troilo en RCA Victor) Llorarás, Llorarás � from Maria (Troilo en RCA Victor) Palomita Blanca � from Quejas de Bandoneon (Troilo en RCA Victor) Flor de Lino � from Romance de Barrio (Troilo en RCA Victor)

Miguel Caló � Valses (Miguel Caló played incredibly romantic vals music.)

Bajo un Cielo de Estrellas � from Valses Inolvidables (EMI Reliquias compilation) Pedacito de Cielo � from Valses Inolvidables (EMI Reliquias compilation) El Vals Soñador � from Al Compás del Corazón (EMI Reliquias)

Carlos Di Sarli � Valses

Cortando Camino (1941 w/ Rufino) � Sus Primeros Exitos Vol. 3 (Tango Argentino BMG-RCA) Rosamel (1940 w/ Rufino) � Sus Primeros Exitos Vol. 1 (Tango Argentino BMG-RCA) Ausencia (1940 w/ Volpe) � 1940-1943 (Colección 78 RPM Euro Records)

Carlos Di Sarli � Valses 2

De Vuelta (1947 w/ Podestá) Estampa Federal (1942 w/ Podestá) Acuérdate de Mí (1946 w/ Durán) � all from Sus Primeros Exitos, Vol. 3 (Tango Argentino BMG-RCA)

Alfredo De Angelis � Valses (All of these valses are absolutely delightful. A four vals tanda may seem a little long, but it is common in Buenos Aires.)

Flores del Alma A Magaldi Pobre Flor Soñar y Nada Más � all from Los Dúos de Carlos Dante y Julio Martel (EMI Reliquias) or Adiós Marinero (El Bandoneón EBCD 35)

Miguel Villasboas � Valses (A contemporary orchestra with a vintage sound that is great for valses.)

Luna de Arrabal Angustias del Corazón Desde el Alma � all from Tango Rioplatense (StarMusic)

Mixed Tanda � Valses (This tanda closes with the the incredible and dramatic Desde el Alma.)

Orquesta Color Tango � Ilusión de Mi Vida � from Con Estilo para Bailar (Techno Disc) Héctor Varela � Palomita Blanca � from Buenos Aires de Noche (EMI compilation) Lalo Schifrin Orquesta � Corazón de Oro � from Tango, movie soundtrack Osvaldo Pugliese � Desde el Alma � from Ausencia (EMI)

La Cumparsita � The Finale¶

When the DJ plays the classic “La Cumparsita,” dancers know the milonga is ending and the evening is coming to a close. At milongas in Buenos Aires, DJs typically play at least two versions of “La Cumparsita” to end the evening. Dancers often dance the first version with whoever is nearby and reserve the second for someone special. Sometimes DJs will play more than two versions of “La Cumparsita.”

La Cumparsita with a Rhythmic Sound (The following recordings have a rhythmic sound that is preferred by those who dance milonguero and club-style tango.)

Roberto Firpo � De La Guardia Vieja (EMI Reliquias) Los Tubatango � Una Noche de Garufa (Music Hall discontinued) Francisco Lomuto � Great Orchestras of Tango�s Golden Age (Harlequin) Francisco Canaro � Las Grandes Orquestas del Tango (Blue Moon) Juan D’Arienzo � Sus Primeros Exitos (Tango Argentino BMG-RCA) Juan D’Arienzo � Tangos para el Mundo (Tango Argentino BMG-RCA) Angel D’Agostino y Angel Vargas � Tangos de los Angeles, Vol. 2 (Tango Argentino BMG-RCA) Rodolfo Biagi con Jorge Ortiz, Vol. 2 (EMI Reliquias)

La Cumparsita with a Smooth or Dramatic Sound (The following recordings have a smooth or dramatic sound that is preferred by those who dance salon-style tango.)

Carlos Di Sarli � Instrumental (Tango Argentino BMG-RCA) Aníbal Troilo � Instrumental (Tango Argentino BMG-RCA) Los Porteños � Tangos de Siempre (Seyer) Alfredo De Angelis � From Argentina to the World (EMI) Orquesta Francini-Pontier � Tangos I (JVC) Florindo Sassone � Bien Milonguero, Vol. 2 (EMI Reliquias) Carlos García � Tangos II (JVC) Dan Diaz and the Tango Camerata � Live at Stanford Tango X 2 Orquesta � Una Noche de Tango Aníbal Troilo � RCA Victor 100 Años

La Cumparsita with Progressive Sound (The following recordings are of jazz tango and may be appreciated by those who favor a progressive sound in their tango music.)

New York Buenos Aires Connection � The New Tango (VAI Audio) Quinteto Francisco Canaro � self titled (Melopea)

La Cumparsita with a Neo-Tango Sound

Buenos Aires Ensemble � Tango Chill Out

Golden-Age and Old-Guard Redux¶

These recordings were made later that the golden age, but retain many of the sensibilities of recordings made during the golden age or earlier.

Orquesta Color Tango � various recordings An outstanding orchestra that started with a Pugliese/Piazzolla concert sound but has moved toward a Pugliese dance sound. In addition to several CDs of concert music, Color Tango has released three CDs of music intended for dance in the series Con Estilo de Bailar. All three of these CDs have tracks that work well for social dancing. Most are played in Pugliese style, and some are Pugliese classics.

Orquesta Tipica Imperial � various recordings An orchestra led by Hernan Bartalozzi (the second bandoneonist from Color Tango), that plays in the Pugliese style with a steady dance beat.

Orquesta Tipica Sans Souci � Al Estilo del ‘40 An orchestra that plays and records in the style of Miguel Caló and Osmar Maderna, the latter being a pianist who arranged and played for Caló and briefly led his own ensemble. Orquesta Tipica Sans Souci uses Osmar Maderna’s arrangements as transcribed from Caló’s and Maderna’s recordings made from 1940 through 1951. The mixture of instrumental and vocal tracks on the one available CD may prove to be an obstacle to assembling a tanda for dancing that has a consistent sound.

Orquesta Tipica Fervor de Buenos Aires � Quien Sos An orchestra that plays and records in the style of Carlos Di Sarli and has a growing list of original compositions recorded with the same sound.

Gente de Tango � Al Estilo Di Sarli An orchestra that plays and records in the style of Carlos Di Sarli.

Joaquín Amenabar � Orquesta Tipica De La Guardia Vieja Despite the name, this modern era orchestra plays in a style reminiscent of Laurenz, De Caro and Di Sarli.

Juan D’Arienzo � Tangos Para El Mundo, volumes 1 and 2 (Tango Argentino BMG-RCA) These two CDs capture some of the D’Arienzo orchestra’s later recordings, after it shifted toward concert music. The fidelity is great, and many tracks are suitable for dancing, but they are not the classics.

Orquesta Juan D’Arienzo � La Cumparsita (Phillips 832 799-2) On this recent high-quality recording, the orchestra is led by a former D’Arienzo side man. The orchestra plays in D’Arienzo’s style but takes many of the songs at a faster tempo than most would like for social dance. (likely discontinued)

Los Solistas de D’Arienzo � Lo Mejor de (Music Hall) This CD contains a relatively recent set of recordings of classic tangos played in D’Arienzo’s style. The music does not have quite the playful energy of authentic D’Arienzo recordings, but the recording is of much higher fidelity. (discontinued).

Los Reyes del Tango � Ventana (Epsa) The Los Reyes del Tango orchestra was founded in June 1992 to play the golden-age music of the late maestro Juan D’arienzo from the golden era of tango. The orchestra became a part of the stable show at the international La Ventana Restaurant, in the San Telmo. The orchestra recorded its now discontinued CD in 1995, and it contains a number of tracks suitable for dancing.

Orquesta Escuela de Tango � Bien Compadre & De Contrapunto A modern-era orchestra that plays and records in the many historical styles including those of Di Sarli, Troilo, D’Arienzo, Pugliese and Gobbi.

Los Tubatango � Una Noche de Garufa (Music Hall) A modern-era recording with music played in the old-guard style on guitar, bandoneon, tuba and flute. Works more as a novelty recording. (discontinued)

Juan Cambareri � y su Quarteto 1952-1957 (Disco Latina) Juan Cambareri was a virtuoso bandoneon player who played with Roberto Firpo. He led his own formation in the early 1950s, but retained Firpo’s style. This well-regarded CD has many cuts played at a very fast tempo. (discontinued)

Dan Diaz and the Tango Camerata Dan Diaz is leading a modern-era dance orchestra that has some elements of the progressive (Pugliese/Piazzolla/Salgan) sound but has adhered to more of golden age dance rhythm�even when playing Piazzolla’s music. The one available recording is of a trio with bandoneon, guitar and bass. I find the valses on this CD the most compelling for social dance. I found it difficult to assemble a tanda of tangos from the one currently available CD because the sound was a little too diverse.

Lush Transition-Era Orchestration¶

Some of the tango music recorded shortly after the golden age of tango took the route of playing classics from the golden age but with a fuller, lush and overblown orchestration. These recordings lack the pulsing energy of golden-age tangos and tend to sound repititous and dull if utilized any more than sparingly.

Anibal Troilo � Sus Ultimates Instrumentales (Tango Argentino) Well recorded music from the concert era that with a few exceptions lacks the beat to support most styles of social dance.

Florindo Sassone � Bien Milonguero, volumes 1 and 2 (EMI Reliquias) Florindo Sassone was heavily influenced by his instructors, Roberto Firpo and Osvaldo Fresedo. He also played in the DiSarli orchestra. As a leader, his music combined the smooth rhythmic feel of DiSarli and the lyrical sound of Fresedo with the fuller, stronger and more dramatic ochestration that characterized the transistion era. The fidelity is greater than that found on most Di Sarli recordings, but the dance beat is more deeply submerged, and the music is less compelling.

Hector Varela � various recordings Hector Varela was the first bandoneonist in Juan D’Arienzo’s orchestra for many years. He later led a popular transition era orchestra that retained elements of D’Arienzo’s dance beat while taking on a spacious concert sound somewhat reminiscent of Di Sarli. Most dancers would prefer D’Arienzo or Di Sarli.

Carlos Garcia and Tango All Stars � Tango II (JVC) This CD includes versions of several Piazzolla tangos that are suitable for dancing. Everyone seems to love the versions of La Cumparsita and Adios Nonino on this CD when played at the right time, but some of the music is lost in lush, full orchestration. (discontinued)

Orquesta Francini/Pontier � Tango I (JVC) Francini and Pontier both played with the Miguel Caló orchestra before striking out together to form their own orchestra. In some ways, their orchestra represents a continuation of the Calo sound into the concert era, but with a much fuller concert orchestration instead of a dance-band sound. This discontinued CD has many tangos suitable for dancing, but the overblown orchestral arrangements can grow tiresome if played too often or in combination with other highly orchestrated music. The earlier Francini/Pontier recording on El Bandoneon is of particularly low fidelity. (discontinued)

Progressive (Pugliese/Piazzolla/Salgan/Troilo) Sensibilities¶

Pugliese, Piazzolla, Salgan and Troilo introduced progressive sensibilities into tango in which the drama was heightened through pauses and, in some cases, tempo changes. With Pugliese’s orchestra, the transitions were used more sparingly and in contrast with a strong marcato rhythm. By contrast, smaller orchestras�such as Piazzolla’s and the contemporary orchestras who follow his example�rely heavily on abrupt tempo changes and rubato playing to create their dramatic effects. The smaller orchestras may have taken this approach because they lack enough members to produce drama through the sophisticated instrumental coloring used by larger golden-age orchestras.

Osvaldo Pugliese � Instrumentales Inolvidables, Vol. 3 (EMI Reliquias) This CD contains “Gallo Ciego,” “Pata Ancha” and a number of other outstanding instrumentals that the Pugliese orchestra recorded in its transition from dance orchestra to concert orchestra. Many would be suitable for late-evening dancing.

Osvaldo Pugliese � From Argentina to the World (EMI) Most of the tracks on this CD were recorded for listening rather than dancing. If you are building a collection strictly for dancing and want to consider a more modern sound, this excellent CD is still worthy consideration. About half of the songs are suitable for late evening dancing.

Osvaldo Pugliese � Nostalgico (EMI) Most of the tracks on this CD were recorded for listening rather than dancing. If you are building a collection strictly for dancing and want to consider a more modern sound, this excellent CD is worthy of consideration. About half of the songs are suitable for late evening dancing, including the classic “A Evaristo Carriego.”

Sexteto Tango � various recordings This orchestra was formed by members of a later Pugliese orchestra and went further toward a progressive concert sound. The recordings made by this orchestra lack the driving beat of Pugliese, but retain the complexity of Pugliese’s sound.

Anibal Troilo � RCA Victor 100 Años Very well recorded music from the concert era that lacks the prominent beat to support most styles of social dance. Shows strong modern sensibilities.

Color Tango � various recordings An outstanding orchestra that started with a Pugliese/Piazzolla concert sound but has moved toward a Pugliese dance sound. In addition to several CDs of concert music, Color Tango has released three CDs of music intended for dance in the series Con Estilo de Bailar. All three of these CDs have tracks that work well for social dancing. Most are played in Pugliese style and some are Pugliese classics.

El Arranque � various recordings This orchestra has a progressive sound. A number of the tracks from its CD Tango will appeal to progressively minded dancers without totally repelling the traditionalists.

Sexteto Sur � various recordings Another outstanding orchestra combines a progressive concert sound with dance rhythms.

Fernandez Fierro � various recordings An orchestra that combines later Pugliese and Piazzolla traditions with a decided emphasis on dissonance but a steady dance beat.

Orquesta Tipica Imperial � various recordings An orchestra in the same vein as later Troilo and Pugliese but mostly with a steady rhythm.

Rodolfo Mederos � various recordings An orchestra in the same vein as Troilo, Pugliese and Piazzolla with elements of jazz.

Orquesta Tipica el Afronte � various recordings An orchestra in that is mostly in the same vein as Pugliese, but with some other sounds as well.

Quinteto Francisco Canaro (Melopea Discos) This quintet was led by Antonio D’Alessandro, who was a violinist in Canaro’s orchestra and Quinteto Pirincho. Quinteto Francisco Canaro recorded three CDs worth of music for Melopea Discos. All are self-titled with the second and third labeled as Vol. 2 and Vol. 3, respectively. The first CD isn’t labeled Vol. 1, but is listed as such at some vendors. A compilation drawn from the three discs has been releaed as Lo Mejor del Quinteto Francisco Canaro. As represented on these recordings, the quintet played classics of tango in a relatively modern concert style with progressive sensibilities. Some the tracks are suitable for social dancing. Many dancers would find most tracks to be too complex and a bit fast. I sometimes use the recording of La Cumparsita found on the first CD. It has a fairly straight sound until the bassist solos, at which point the track takes on a jazz feel.

Tango Bar (Chesky) An audiophile recording, bearing no relationship to movies of the same name, in which the music was arranged by Raul Juarena (of the now disbanded New York Tango Trio). The arrangements combine elements of the Caló sound with a more progressive sound. Some of the pieces are suitable for dancing. With a little bit of work, a DJ could assemble a fairly decent tanda from this CD that could be used from mid to late evening. (not available through normal channels for tango recordings)

Piazzolla, Mosalini and Ziegler � various recordings Recordings by these three artists are widely available and highly regarded for listening, but these orchestras did not record with social dancing in mind. Those who dance the liquid and nuevo styles of tango are beginning to use these recordings for social dancing. Dancers of other social styles may dismiss such dancing as largely theatrical. All of these recordings reflect and the Piazzolla sensibility, and some of the Piazzolla recordings are of shockingly low fidelity. Many of these recordings would be good for exhibitons. Among the Piazzolla CDs, RCA Victor 100 Años is particularly interesting.

Nuevo Quinteto Real � various recordings An orchestra with some great tango musicians, including Horacio Salgan. It draws heavily on the Salgan sound and is firmly entrenched in the progressive sound developed in the concert era.

Gidon Kremer � Hommage a Piazzolla The music on this CD is dark and dramatic, drawing out classical elements in Piazzolla’s music. It is not really rhythmic enough for most styles of social dancing. On the right night, the very compelling recording of “Oblivion” could be used for late-night dancing.

Daniel Barenboim � Mi Buenos Aires Querido: Tangos Among Friends The music on this CD absolutely wonderful and recorded with the best fidelity that I have heard on any tango recording. It draws out the classical elements of progressive tango, and none of the songs have a rhythm that is really compelling for social dancing. One or two might be useable for late-night dancing.

Quartango � Esprit An outstanding orchestra with a progressive concert sound. The recording of “Oblivion” is very nice for late-night dancing.

New York Tango Trio � Cabarute (Lyrichord 7428) Some of the rhythm changes can be a bit tricky, and one or two numbers get a bit manic toward the end. Works decently when used sparingly for social dance. Seems to sound muddy on low-fidelity equipment. (maybe discontinued)

Son Cosos De Al Lao � Tango A small ensemble that plays classics and more contemporary pieces with dramatic concert touches, including just a hint of Jimi Hendrix on occasion.

Trio Hugo Diaz � various recordings A group comprising bandoneon, guitar, and bass has recorded some dance music which has a dreamy feel that can be used for a fun change of pace. On most recordings, the rhythm changes yields music that is not suitable for social dancing. (not available through normal channels for tango recordings)

Trio Pantango � Tango Argentino (ARC EUCD 1257) This CD features solid playing on bandoneon, guitar, and bass. Some of the music has a dreamy feel, which can be fun for a change of pace in dancing. Sometimes the music just floats away. (not available through normal channels for tango recordings)

Litto Nebia Quinteto � Tangos Argentinos de Enrique Cadicamo (Iris 980) A very well recorded CD of somewhat progressive music played on guitar, bandoneon, piano, bass and violin. The music can be used during the resolution or denouement of the evening’s dancing. It can also be used to refresh the dancers as the drama is building toward the height of the evening. Although the music has a simple, clear beat, it does not seem to inspire dancers when it is played early in the evening. (apparently discontinued)

Music from Tango Shows¶

Music from contemporary tango shows is designed to help professional dancers with considerable rehearsal time dazzle their audiences. The music varies from full orchestration to smaller ensembles, but it is typically marked by fast tempos, rhythm changes and other dramatic devices developed in the progressive sound of Pugliese, Piazzolla and Salgan. The best is similar to later Pugliese. None seems to have a golden-age sound.

Sexteto Mayor � various CDs The playing of Sexteto Mayor combines fast tempos with some progressive sensibilities to create an exciting theatrical sound. Their CD Tangos para Bailar is more firmly rooted in progressive sensibilities than their other CDs.

Tango Pasion � Angel Soundtrack Features the playing of Sexteto Mayor and combines fast tempos and rhythm changes, and some progressive sensibilities to create an exciting theatrical sound. (maybe discontinued)

Tango Argentino � Atlantic Soundtrack Takes the approach of combining lush, full orchestration, fast tempos and rhythm changes, and some progressive sensibilities to create an exciting theatrical sound.

Forever Tango � RCA Victor Soundtrack Takes the approach of combining lush, full orchestration, fast tempos and rhythm changes, and some progressive sensibilities to create an exciting theatrical sound.

Tango X 2 � Una Noche de Tango & Perfumes de Tango The music on these two CDs draws more heavily on progressive sensibilities. Some are played at fast tempos with difficult rhythm changes. The recordings of Gallo Ciego on Perfumes de Tango and La Cumparsita on Una Noche de Tango are quite good for social dancing.

Some Tango-Fusion Recordings¶

Carlos Libedinsky � Narcotango Of the currently available tango-fusion recordings, my friend Brian Dunn of Boulder, Colorado points out that Libedinsky’s Narcotango has the strongest tango sensibilities. Afficionados of tango fusion are likely to find all the tracks on Narcotango to be suitable for social dancing, but “Vi Luz y Subi” and “Otra Luna” are beautiful and have the strongest tango sound. “Plano Sequenco” and “Trancetango” also work fairly well, but the underlying tango sound is a little farther down in the mix.

Gotan Project � La Revancha del Tango This ensemble integrates Argentine tango with a Parisian house-music sensibility to create a sound that was fresh if played sufficiently sparingly. Once regarded as containing the best tango-fusion music available, the CD was played frequently at many milongas, and some dancers have grown tired of it. Less traditionally minded dancers regard all the tracks to be suitable for dancing, but “Queremos Paz,” “Una Musica Brutal” and “Epoca” stand out as the best.

Gotan Project Remixed The remix may be the answer for those who have grown tired of the original Gotan Project release. For this project, some of the tracks from previous album were radically remixed and some new remixes have been added. The new tracks have been repackaged with La Revancha del Tango as a ‘bonus’ disk.

Gotan Project � Inspiracion-Expiracion A disappointment after such a long wait for a new CD from Gotan Project, Inspiracion-Expiracion is no more than a dj remix that uses previously released Gotan Project tracks and tracks by non-tango artists. Not much is of interest for tango dancing.

Gotan Project � Lunatico A new effort that succeeds better than Inspiracion-Expiracion, but the sound is no longer as revolutionary as when the first Gotan Project CD was released.

Bajofondo Tango Club This Argentine/Uruguayan ensemble plays dance-club music with some tango rhythm. The combination does more to freshen the dance club sound than it does to freshen tango. Less traditionally minded dancers consider all of the tracks suitable for dancing Argentine tango, but “En Mi/Soloedad” stands out as the having the strongest tango sound. “Naranjo en Flor” also works fairly well as a slow milonga, but I prefer the remixed version found on the Leçons de Tango CD. On the other pieces, many dancers might find that the dance-club layers are too strong.

Bajofondo Tango Club � Supervielle With their second release, Bajofondo creates a more sophisticated downtempo/lounge sound. A few tracks are remixes of the old with completely new elements including hip hop and milonga. “Perfume,” “Pulso,” “Air Concret” and “Centroja” are among my favorite tracks for tango dancing. On his now defunct Tangonauts webpage, Santiago Steele recommended “Decollage,” “Perfume (Remix),” “Leonel,” “El Feo” and “Tangodrome” as the best tracks. Combined, the two lists suggest a disc with a lot of good material.

Electrocutango � Felino Norwegian composer Sverre Indris Joner has assembled a collection of original electronic music and has remixes some old tango. For dancing, the most interesting track is “Felino.”

Carla Pugliese � Ojos Verdes Cerrados Osvaldo Pugliese’s granddaughter leads a tango orchestra that adds a layer of keyboard electronica. Some find the overall effect more tango than tango-fusion. The standout track is Ostinato.

Otros Aires � Otros Aires Some original compositions and classic tangos and milongas that have been layered with non-traditional elements and electronica. Many of the tracks work well, but sound very much like each other. Milonga Sentimental is the stand out track.

Tanghetto � Emigrante Emmigrante adds a nocturnal jazz/lounge element to the club-tango sound of Bajofondo. The tracks all sound similar and only a few work well for tango dancing. “Una Llamada” and “Inmigrante” are strong enough to make the CD essential for most DJs or anyone else building a collection of tango-fusion music.

Hybrid Tango � Hybrid Tango Hybrid Tango mixes bandoneon, piano and spanish guitar with a driving electronic beat to create a sound similar to Tangoghetto and Bajofondo. The best track is “Más De Lo Mismo.”

Leçons de Tango by Aubade This CD, issued by the French lingerie company Aubade, is collection of tango-fusion tracks from Astor Piazzolla Remixed, new remixes of tracks from Bajofondo Tango Club and unadorned tangos by performers such as El Arranque, Roberto Goyeneche and Astor Piazzolla. Of particular interest are “El Tango” and “Naranjo en Flor.”

Tango Project (Jaime Wilensky) � Volume II New Tango Wilensky combines electronica with tango to create music that covers the ground from tango to lounge to elevator music. On this release, my favorite tracks are “Sentimientos” and “Buddy.” Some of the tracks have been released on other Wilensky CDs.

Astor Piazzolla Remixed Inspired by the success of the Gotan Project, the tracks on this CD overdub club-style electronica on original tracks of Piazzolla’s fusion of tango, jazz and classical music. Although interesting conceptually, the result isn’t inspiring for tango dancing � perhaps because the music lacks strong tango dance rhythms. As is the case for much of Piazzolla’s recordings, the underlying tango music lacks strong dance rhythms, and the layer of electronica doesn’t add tango rhythms. “El Tango” and “Luna” work the best.

Electronic Tango The music on this CD is a departure from dance-club sensibilities of Gotan Project and Bajofondo toward the avant garde electronica of groups like Amon Tobin and Aphex Twin. The music on the CD is quite difficult for dancing, but it is tango with a new sound. The most interesting tracks are “Torpedo” by Appart, “Tango” by Ruben Steiner and “Libertango” by Zumo Real.

Astornautas � Ultratango Not much stands out on this electronica meets Piazzolla CD. I like “CiteTango,” and it seems to work well at milongas.

Juan Carlos Caceres � Toca Tango Juan Carlos Caceres has a wonderful, deep singing voice and plays piano with jazz voicings and a perfect rhythmic touch. He is recorded here with a decidedly non-traditional ensemble, but little of the electronica that is found on most tango-fusion recordings. The result is tango and candombes that have overtones of cabaret, jazz, dance club and theatrical music. The tangos are decidedly slow, but a few of them may be the perfect change of pace late at night. Two of the candombes�”Tango Negro” and “Toca Tango”�are absolutely stunning.

Moulin Rouge (Soundtrack) The movie spectacular Moulin Rouge contains one tango, “El Tango de Roxanne” which some dancers may find fun for dancing on occasion. Recorded for the movie, this tango combines the rock classic “Roxanne” with a tango written by Mariano Mores.

Other Resources¶

Also see Sharna Fabiano’s DJ List of Neo Tangos, Veronika’s La Potranca, Homer and Cristina Ladas’ Tango DJ Resource Page, and Project Tango DJ Resources. The first two websites list tango-fusion, electrotango and “alternative” tango tracks. The last two present ideas for bridging the gap between traditional and alternative forms of tango deejaying

Listen to NeoTango online at Radio Buenos Aires. Radio Buenos Aires can be accessed by through Live365. Enter tango in the search and then scroll down to Radio Buenos Aires.