10tango Music

It is one of the most popular orchestras of the new age of “tipicas”. A strong, political message, a “rocker” attitude and a sound that has created the spontaneity cult, all come together in the identity of “La Fierro”. This ensemble was initially characterized by its appeal to the “Pugliese” style, and later by the early development of its own instrumental repertoire. Like other tango groups composed of young musicians, this orchestra was managed in “La Escuela de Musica Popular de Avellaneda”, or, more precisely, in the lessons in producing an ensemble, led by Rodolfo Mederos. Its original name was “Orquestra Tipica Fernandez Branca”. Among its successes are multiple performances in Europe.

Great Artists at the Recording Studio: Walter Ríos & Ricardo Domínguez, Roberto Fats Fernández, Quinteto Francisco Canaro, Mauricio Marcelli & Osvaldo Requena, Juan Carlos Cirigliano, Carlos García, Carlos Buono.

The Selección Nacional del Tango is an orchestra set up in 2005 with the aim of gathering celebrated tango performers belonging to different generations within a single group. Made up of prominent soloists, it is alternately conducted by several maestros; all of them with a brilliant professional career: Leopoldo Federico, Ernesto Baffa, Rodolfo Mederos, Mauricio Marcelli, Walter Ríos.

Singer, guitarist and composer, Javier Calamaro came to tango after a well known career in local rock and pop, reaching peaks like playing as warmup for Guns and Roses and The Cult. His style integrates, precisely, this pop background with a solid tango tradition with Roberto Goyeneche and Julio Sosa as referents. This show walks through classics of porteño songs with new arrangements that welcome pop sounds: “La última curda”, “Garúa”, “Yuyo verde”, “Malevaje”, “Los mareados”, “Equipaje”, “Melodía de arrabal”

At the center stage of the new tango scene ever since 1997 –when he joined El Arranque orchestra as a violinist and arranger-, Ramiro Gallo is one of the latest revelations of the genre, both as a player and composer, now leading his own quintet. He began studying the violin at the age of five, in the Childrens’ Orchestra of the Province of Santa Fé, which was conducted by Roberto Benítez. At the age of nine he made his debut playing folklore as part of La Familia Gallo. A disciple of Ljerko Spiller, he performed in the South African National Symphonic Orchestra, in Johannesburg; and later came back to Argentina to devote himself to tango, which actually brought him to Buenos Aires. He also played for the Orquesta del Tango de Buenos Aires. When he joined El Arranque, this band experienced a quantum leap, touring Europe, Japan, and the U.S. An assistant violinist at the Orquesta Escuela de Tango, he set up a quintet to perform his own repertoire in 2000. In 2006, after his departure from El Arranque, he began to perform with his quintet, including brand-new players: Martín Vázquez (guitar), Lucía Ramírez (bandoneon), Marcos Rufo (double bass) and Adrián Enríquez (piano). In this session, held in the mythical ION recording studios, in Buenos Aires, Ramiro Gallo’s Quintet recorded “Don Alfredo” (by Ramiro Gallo), “Mi gaucha” (by Enrique Gallo) and “Bailongo” (by Ramiro Gallo), specially for 10tango.

Legendary guitar player Aníbal Arias’s repertoire and style are based on his classical training, national family heritage and definite choice of tango. He accompanied Libertad Lamarque, Rosita Quiroga, Roberto Goyeneche, Julio Sosa, Héctor Mauré and Susana Rinaldi, among other prominent singers, for a long time. At times he alternated music playing with his work as a TV technician or taxi driver. In 1969 he was invited by Aníbal Troilo to be part of his quartet; which he was until the bandoneon player’s death, in 1975. Since 1980 he has been a soloist in the Orquesta del Tango de Buenos Aires, conducted by Raúl Garello. Along with celebrated bandoneon player Osvaldo “Marinero” Montes, he is part of an instrumental duo that performs the classical pieces of the genre. In this session, held in the mythical ION recording studios, in Buenos Aires, Arias recorded “Milonga de mis amores” (by Laurenz), “Ensueños” (by Brighenti) and “A los míos” (by Montes), together with Montes, and “Tabaco” (by Pontier) and “La Bordona” (by Balcarce), as a soloist, specially for 10tango.

The emergence of singer Susana Rinaldi rocked the rather static and small tango scene of the ‘60s. An impeccable technique, an unbiased conception of the genre, and an impressive dramatic dimension are the elements that have defined her as a unique performer; a status she has been keeping for four decades now. She was simultaneously trained as a singer and an actress. She has renewed the traditional song book and introduced a brand-new repertoire. The uniqueness of her style interweaves echoes and reminiscences of exceptional performers –ranging from Mercedes Simone to Judy Garland, and from Edit Piaff to Liza Minelli. She has been successful both in Argentina and abroad, on stages such as the Olympia, in Paris, or the Carnegie Hall, in New York. She has been greatly admired by Julio Cortázar, Yves Montand, and Simone Signoret. She was decorated by the President of Finland, granted the Order of the Arts and Letters of France, and appointed Ambassador of Goodwill by the UNESCO. You are now enjoying a concert given in 1999, along with the Orchestra of Seinajoki, Finnland, which was conducted at the time by Juan Carlos Cuacci.

Leading his instrumental ensemble, saxophone player Pablo Porcelli performs his own pieces as well as different versions of the traditional repertoire of tango.

Rubén Juárez, bandoneon player, singer and composer, has been the most important figure in this type of musical genre since the end of the ‘60s, when he made his debut in the mythical Caño 14, sponsored by legendary Aníbal Troilo. An exquisite performer of the traditional repertoire, he is also a forerunner of the new porteño song book, which he constantly enriches as a composer. He started taking bandoneon classes at the age of six, and in 1956 he made his debut as a bandoneon player in orchestra Orquesta Típica at club Club Atlético Independiente. As a singer he won a contest in a restaurant called La huella del Tango; which enabled him to perform as a soloist for two months. Later he joined guitar player Héctor Arbello, who had toured the Argentine provinces with singer Julio Sosa. At the end of the ‘60s he started performing in Caño 14 and recorded his first song, a tango called Para vos canilla; which immediately became a success. He recorded his first long play under musical director Carlos García, and later went on a Latin American tour. Throughout his long career as a soloist, he took part in variety shows together with singers Raúl Lavié and Chico Novarro, shared the stage with singer Polaco Goyeneche and performed with rock stars Charly García, Fito Páez and Juan Carlos Baglietto, Catalonian singer Joan Manuel Serrat, Argentine singer Mercedes Sosa and dancer Julio Boca. He toured Europe, Japan and Latin America. Having settled down in Córdoba, his native province, he plans performances and tours from there. The show you are enjoying now took place in theater ND Ateneo, in Buenos Aires. Part II

A singer, a composer and, above all, a performer from the national rock scene, Daniel Melingo has updated the lunfardo (Buenos Aires slang) aspect of tango. Apart from his own lyrics, he set to music those of Enrique Cadícamo and Luis Alposta. He has expressed a predilection for marginal stories and a devout admiration for the art of Edmundo Rivero (whom he may be considered a postmodern apprentice of). He grew up in a family of tango aficionados, but made his musical debut by playing rock and roll. Not until 1996 did he meet tango music again; a genre he has identified with ever since. The former rocker’s repertoire includes his own pieces and others by poets such as Luis Alposta, Celedonio Flores, Enrique Cadícamo, Julián Centeya, Dante Linyera and Carlos de la Púa.

In 2001 five celebrated soloists with a brilliant professional career got together under the name of Quinteto Ventarrón: César Angeleri, Roberto Calvo and Gustavo Margulies (guitars), Néstor Basurto (guitarrón and voice) and Marcos Ruffo (double bass). Their refined versions of classical tangos and milongas combine the great popular tradition of the genre and the resources of an impeccable technique. In this session, held in the mythical ION recording studios, in Buenos Aires, they recorded “Don Agustín Bardi” (by Horacio Salgán) and “Milonga triste” (by Piana-Manzi) specially for 10tango.

Refined guitarist and composer Carlos Moscardini recorded at the mythical ION recording studios, in Buenos Aires, especially for 10tango. Enjoy a traditional version of “Flores negras” (by Francisco De Caro) and a selection of his own pieces with traditional melodies from the Province of Buenos Aires: “Horizonte infinito”, “Doña Carmen”, “A los tilingos”, “Milonga de un entrevero”, and “Temperley”.

Malevo (Sergio Bermejo) fuses tango with electronic and rock music, and other popular rhythms.

The emergence of singer Susana Rinaldi rocked the rather static and small tango scene of the ‘60s. An impeccable technique, an unbiased conception of the genre, and an impressive dramatic dimension are the elements that have defined her as a unique performer; a status she has been keeping for four decades now. She was simultaneously trained as a singer and an actress. She has renewed the traditional song book and introduced a brand-new repertoire. The uniqueness of her style interweaves echoes and reminiscences of exceptional performers –ranging from Mercedes Simone to Judy Garland, and from Edit Piaff to Liza Minelli. She has been successful both in Argentina and abroad, on stages such as the Olympia, in Paris, or the Carnegie Hall, in New York. She has been greatly admired by Julio Cortázar, Yves Montand, and Simone Signoret. She was decorated by the President of Finland, granted the Order of the Arts and Letters of France, and appointed Ambassador of Goodwill by the UNESCO. You are now enjoying a concert given in 1999, along with the Orchestra of Seinajoki, Finnland, which was conducted at the time by Juan Carlos Cuacci.

The Color Tango orchestra, created in 1989, has a special place among the many ensembles that pay tribute to the legendary Pugliese style. The current orchestra is conducted by bandoneon player and composer Roberto Alvarez, who belonged, for around twenty five years, to the orchestra of the creator of "La Yumba". Color Tango toured around the world with Pugliese's repertoire.

Debayres is a production representative of the latest trends in electronic and electro-acoustic tango.  

Rubén Juárez, bandoneon player, singer and composer, has been the most important figure in this type of musical genre since the end of the ‘60s, when he made his debut in the mythical Caño 14, sponsored by legendary Aníbal Troilo. An exquisite performer of the traditional repertoire, he is also a forerunner of the new porteño song book, which he constantly enriches as a composer. He started taking bandoneon classes at the age of six, and in 1956 he made his debut as a bandoneon player in orchestra Orquesta Típica at club Club Atlético Independiente. As a singer he won a contest in a restaurant called La huella del Tango; which enabled him to perform as a soloist for two months. Later he joined guitar player Héctor Arbello, who had toured the Argentine provinces with singer Julio Sosa. At the end of the ‘60s he started performing in Caño 14 and recorded his first song, a tango called Para vos canilla; which immediately became a success. He recorded his first long play under musical director Carlos García, and later went on a Latin American tour. Throughout his long career as a soloist, he took part in variety shows together with singers Raúl Lavié and Chico Novarro, shared the stage with singer Polaco Goyeneche and performed with rock stars Charly García, Fito Páez and Juan Carlos Baglietto, Catalonian singer Joan Manuel Serrat, Argentine singer Mercedes Sosa and dancer Julio Boca. He toured Europe, Japan and Latin America. Having settled down in Córdoba, his native province, he plans performances and tours from there. The show you are enjoying now took place in theater ND Ateneo, in Buenos Aires. Part II.

Singer Nelly Omar she is connected to the universe of the countryside because of her background and sensitivity. Her style embraces the rural and urban worlds, which is revealed in her repertoire of tangos, milongas, waltz and folklore songs. She is considered to be the greatest active performer. Borned in 1911, she continues performing and recording with remarkable technique and expressiveness that cannot be matched. She was born on a farm in the province of Buenos Aires and settled in the capital city with her family after her father died. She started singing in a movie theatre and in 1930 she performed on the radio. This was the beginning of her successful and long lasting professional career. Although she formed a duet with her sister, Nilda, she became known as a soloist. In 1938 after a performance in the small town of Valentín Alsina, the audience carried her on their shoulders and called her “Gardel in a skirt”. She had in fact identified herself with Gardel for years, and she had admired him since her childhood. Although she made a set of outstanding recordings with Francisco Canaro and his orchestra, she performed invariably with guitar accompaniment. She was Homero Manzi’s muse –it is said that the tango Malena is inspired in her, and Sur (by Troilo and Manzi) was exclusively sung by her. She performed it for the first time in 1948 in a show in Montevideo. She was loved and admired by Eva Perón, and was the voice of the supporting songs La descamisada and Es el pueblo. After Peron was overthrown in1955, she underwent political persecution. She endured and suffered inner exile. She started recording again at the end of the 60s, and in the 70s started perfoming regularly once more, dressed in a classic poncho that became her distinctive wardrobe. Her repertoire included city-like and rural themes, and was specially made up of milongas, tangos, waltzes and folklore songs (Campo afuera, Nobleza de arrabal, Tu vuelta –an important success, among others). As a composer, some of her pieces were: Amar y callar, Misterio y canción, Pa’Dumesnil. You are enjoying a memorable concert by Nelly Omar at the mythical Luna Park Stadium, featuring the following pieces: “Parece mentira”, “Era en otro Buenos aires”, “Día de la verdad”, “La maleva”, “Jacinto Chiclana”, “Nobleza de arrabal”, “Tu vuelta”, “Mano blanca”, “El adiós de Gabino Ezeiza”, “Sur”, “Amar y callar”, and “Desde el alma”.

Part of the tango scene since the 1970’s, a precocious and media-exposed child, Guillermo Fernández grew up surrounded by and under the wing of tango old-timers. In 1969, he made his first appearance on the TV program “Grandes Valores del Tango”. As a young singer, he performed in the mythical Caño 14. In 1986, he moved to the United States, where he worked as a producer and distanced himself from tango in order to take up pop and Latino music. Towards the end of the 1990’s, he returned to Argentina and to his musical roots. Accompanied by Jose Colangelo, he went on a tour in Japan. In 2002, he performed Astor Piazzolla and Horacio Ferrer’s opera “María de Buenos Aires” several times in France. He also took part in theatrical productions such as “Bocca Tango” (2001) and “El romance de Romeo y Julieta” (2002). You are enjoying a concert by Guillermo Fernández, who is performing with some of the most renowned players in today’s tango scene: Cristian Zárate (piano), Pablo Agri (violin), Horacio Romo (bandoneon), and Horacio Cabarcos (double bass).

Made in Buenos Aires, Gustavo Mozzi's music shows the prints of the diversity of traditions that, through the centuries, whirlpooled on the shores of the Rio de la Plata. Tango, milonga, murga, native genres and from the European heritage –a palette on which local colors and the cosmopolitan spirit mix as in the port- are subtle presences in the work of Mozzi. In his reelaboration of these traditions, he illuminates and locates them (with their almost cinematographic images) in a suggestively indeterminated time and on a precise scenario, the austral landscape of a sleepless Buenos Aires.

In 2007, at the age of 80 and after six decades of a brilliant professional career, Leopoldo Federico comes back to the recording studio. There follows the making of his solo bandoneon record in the privacy of a recording studio.

The Color Tango orchestra, created in 1989, has a special place among the many ensembles that pay tribute to the legendary Pugliese style. The current orchestra is conducted by bandoneon player and composer Roberto Alvarez, who belonged, for around twenty five years, to the orchestra of the creator of "La Yumba". Color Tango toured around the world with Pugliese's repertoire. Here: "Wiskhy", "Sueño Querido", "Malandraca", "Emancipación", "Chacabuqueando", "Acquaforte", "Noches de Luna". This show has Eduardo Espinosa and Abel Córdoba (historical voice of the Pugliese ensemble), as guest singers, and Julio and Corina as guest dancers.

Singer, guitarist and composer, Javier Calamaro came to tango after a well known career in local rock and pop, reaching peaks like playing as warmup for Guns and Roses and The Cult. His style integrates, precisely, this pop background with a solid tango tradition with Roberto Goyeneche and Julio Sosa as referents. Part II.

The Sexteto Mayor, created in 1972 by some of the most remarkable soloists in the Buenos Aires musical scene, toured around the world several times with their international shows “Tango Argentino” and “Tango Pasión”. This concert was part of the 30th anniversary celebration, when the two historical leaders, bandoneon player José Libertella (who died in 2004 and Luis Stazo (currently living in Germany and leading a trio), were still at the head of the sextet. Mario Abramovich and Eduardo Walckzak (violins), Oscar Palermo (piano), Osvaldo Aulicino (double bass), Juan Carlos Zunini (keyboards) and Jorge Orlando (drums) complete the line-up

Nicolás Ledesma is one of the most notable tango pianists in the current tango scene and the conductor of his own groups. He was part of the junior band Sexteto Sur and, in 1992 he joined bandoneon player Leopoldo Federico’s orchestra, in which he still performs. He was also part of the Orquesta del Tango de Buenos Aires; was invited by Julio Pane to join his trio; and is part of Fernando Suárez Paz’s Quintet, devoted to playing Astor Piazzolla’s music. He recorded with vibraphonist Gary Burton, Japanese bandoneon player Ryota Komatsu, and took part in the award-winning production “Café de los Maestros”. He is part of projects such as Gran Orquesta TangoVía (which marked his debut as a director in 2003) and the Selección Nacional del Tango. He became known as a composer through his work as the leader of his own quartet and as a soloist, as well. In this session, held in the mythical ION recording studios, in Buenos Aires, Ledesma recorded his pieces: “Sueño de Tango” (by Ledesma-Leopoldo Federico), “De tango somos”, “Buena vida” and “Sugestivo”, specially for 10tango.

The Sexteto Mayor, created in 1972 by some of the most remarkable soloists in the Buenos Aires musical scene, toured around the world several times with their international shows “Tango Argentino” and “Tango Pasión”. This concert was part of the 30th anniversary celebration, when the two historical leaders, bandoneon player José Libertella (who died in 2004 and Luis Stazo (currently living in Germany and leading a trio), were still at the head of the sextet. Mario Abramovich and Eduardo Walckzak (violins), Oscar Palermo (piano), Osvaldo Aulicino (double bass), Juan Carlos Zunini (keyboards) and Jorge Orlando (drums) complete the line-up. Part II