Tanda of the Week 33: Juan d'Arienzo & Alberto Echagüe

++Timeslots++
Start 00:00
Tutorial 00:47
Paciencia 05:13
No va más 07:26
Y suma y sigue 09:49
Amarroto 12:08

Over the last few weeks we did some romantic & melodic tandas, with Romantica Milonguera, Osvaldo Fresedo, and Carlos Di Sarli. So it’s now time for some high energy!

This week’s tanda is by Juan d’Arienzo and Alberto Echagüe. We did a tanda with d’Arienzo and Echagüe before, about a year ago, with songs from the 1930s, the years that D’Arienzo and Rodolfo Biagi together kicked-off the Epoca d’Oro of tango. Biagi went on to start his own orchestra (he was replaced by Juan Polito on piano) and in 1940 Alberto Echagüe and all members of d’Arienzo’s orchestra quit.

So, d’Arienzo needed a new orchestra and new singers, first Carlos Casares and Alberto Reynal, and then came Héctor Mauré. With Mauré, d’Arienzo had become a bit more melodical. But in 1944, Alberto Echagüe returned to the orchestra of d’Arienzo for his second stint with ‘El Rey del compás’. With Echagüe, the orchestra started to return to its hard hitting style.

The songs in this tanda are all from the early 1950s, when Fulvio Salamanca was the musical arranger for d’Arienzo. Echagüe’s way of singing had changed quite a bit since the 1930s. By now the show-man took over the singer sometimes. In his worst moments he became a caricature of himself, and the music became campy – I have to admit, in general this is not my favourite period of d’Arienzo tangos.

But there were still some strong moments, and I do think the songs in this tanda belong to the better ones that have survived the test of time. And for a tango DJ: these tracks may not be subtle, but they are very effective: if you need to push up the energy in the salon, these tangos will certainly do the trick.

The tanda kicks-off with ‘Paciencia’ from 1951. A re-recording of the track d’Arienzo recorded earlier with Enrique Carbel in 1937. There is a striking difference: it’s like Carbel sings the lyrics but Echagüe acts them. His timing is very different, starting his phrases after the beat. And claiming the spot-lights in doing so. Also, the bandoneons are a bit more dramatic than in the 1930s version. Welcome to the ’50s! The music for ‘Pacienia’ was written by Juan d’Arienzo, and the lyrics are by Francisco Gorrindo.

The second tango is ‘No va más’: Rien ne va plus, No more bets. It’s a tango written by Julián Cardozo and Gerardo Adroher, both from Uruguay. The lyrics have various references to gambling at the roulette tables in the casinos. The text is full of word play… some of that got lost in translation…

‘Y suma y sigue’ is the third tango of the tanda. People are cruel to those who have bad luck, while the rich are considered gentlemen, no matter how they got their money… Life is so unfair… The lyrics are by Carlos Bahr, and the music was written by Juan d’Arienzo and his pianist and music arranger of the time: Fulvio Salamanca.

The final track is ‘Amarroto’ – or scrooge: all work, no play. Music by Juan Cao, another musician and composer from Uruguay (he was born in San José de Mayo, just like Francisco Canaro) And lyrics by Miguel Bucino – composer, bandoneon player, and tango dancer, who also wrote the lyrics for ‘Lo pasao pasó’, a tango included in the previous tanda of the week, by Di Sarli and Rufino. The Amarroto that works hard, doesn’t enjoy the pleasures in life but saves all his money – and then ends up with an elderly woman that spends his money like there’s no tomorrow. Life’s little ironies…

So that’s the tanda of this week by d’Arienzo & Echagüe:
1. Paciencia 1951
2. No va más 1950
3. Y suma y sigue 1952
4. Amarroto 1951

Enjoy!

Thanks to www.tangoarchive.com , www.todotango.com , www.tangosalbardo.blogspot.com
FB Tango Time Machine: [ Ссылка ]


Please note: We do not own the music in this video. Songs are included for educational purposes only. All songs have been edited/cut to prevent downloading of the complete songs. You can buy them from various providers (like Tangotunes or iTunes) or stream them on Spotify.

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