Monday, February 1, 2016

The Crypt milonga, Glasgow 2015-01-30, 1920 - 2220

Alfredo De Angelis
Pregonera, 1945 singers Carlos Dante, Julio Martel
Déjame así, 1943 singer Floreal Ruiz
Jiron porteño, 1946 singer Julio Martel, 
Para qué te quiero tanto, 1945 singer Carlos Dante

Cortina

Enríque Rodríguez, singer Armando Moreno
No te quiero más, 1940
Cómo has cambiado pebeta, 1942
Suerte loca, 1941
Nyanzas y malevos, 1941

Cortina

Ángel D'Agostino, singer Ángel Vargas -  vals
Esquinas porteñas, 1942
Yo tengo una novia, 1942
Tristeza criolla, 1945

 Cortina

 Juan D'Arienzo
El flete,1936
Comme il faut, 1936
Qué noche, 1937
Retintin,1936

Cortina

Miguel Caló singer Alberto Podestá
Si tú quisieras, 1943
Yo soy el tango, 1941
Percal, 1943
Dos fracasos, 1941

 Cortina

Francisco Canaro - milonga
Milonga del novecientos, 1933, singer Ernesto Famá
Milonga criolla, 1936, singer Roberto Maida
Largá las penas, 1935, singer Roberto Maida

Cortina
Pedro Laurenz
Orgullo criollo, 1941
De puro guapo, 1940 singer Juan Carlos Casas
Desconsuelo,1940, singer Juan Carlos Casas
Arrabal, 1937

 Cortina

Ricardo Tanturi
El buey solo, 1941
Comparsa criolla, 1941
Argañaraz, 1940
Una noche de garufa, 1941

 Cortina

 Lucio Demare - vals
No nos veremos más, 1943 singer Raúl Berón
Nunca supe por qué, 1942 singer Juan Carlos Miranda
Al pasar, 1943 singer Raúl Berón

 Cortina

Carlos Di Sarli
El recodo, 1941
Siete palabras, 1945
La trilla, 1940
El jaguar, 1940

Cortina

 Edgardo Donato 
El acomodo, 1933
Cantando bajito, 1938
El estagiario, 1938
Pasión criolla, 1939

Cortina

 Juan D’Arienzo – milonga
Milonga querida, 1938, Alberto Echagüe
Milonga del ochenta y tres, 1940, Alberto Reynal
La cicatriz, 1939, Alberto Echagüe

 Cortina

 Osvaldo Fresedo, singer Roberto Ray
Araca la cana, 1933
Angustia, 1938
Como aquella princesa, 1937
Telón, 1938

 Cortina

 Aníbal Troilo
Cachirulo, 1941
El tamango, 1941
Comme il faut, 1938
Cordón de oro, 1941

Cortina

 Francisco Lomuto - vals
Bajo un cielo de estrellas, 1941 singer Fernando Díaz
Idolatria, 1937, singer Jorge Omar
Lo que vieron mis ojos, 1933 singers Fernando Díaz, Mercedes Simone

 Cortina

 Ángel D'Agostino singer Ángel Vargas
Agua florida, 1941
Una pena, 1941
Traiga otra caña, 1941
Café Domínguez, 1955 reciter Julián Centeya

 Cortina

 Rodolfo Biagi
El recodo, 1952
A la gran muñeca, 1954
Cielito mío, 1954
Racing Club,1950

 Cortina

 Lucio Demare
No te apures, cara blanca, 1942 singer Juan Carlos Miranda
Pa' mí es igual, 1942 singer Juan Carlos Miranda
Solamente ella, 1944 singer Horacio Quintana
Igual que un bandoneon, 1945 singer Horacio Quintana

The cortinas were from Hang on Little Tomato by Pink Martini.
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3 comments:

  1. FelicityFebruary 1, 2016 at 9:06 PM

    This was my first time DJing since March last year so although I have a few times in the past made previous sets on the fly, I made this one ahead of time to reduce risk. It used to take me hours to make a set and I would agonise over it. Although this one was only three hours long and I am out of practice at making sets I made it without trouble the day before. Although I don’t feel that musically I know the tracks any less than previously, something has changed. The tracks come to me quite easily despite the gap in time, perhaps why the set was easier to make. I realise what a difference a year makes, even while not DJing but still with a sort of active attention to the music.

    I think the set was particularly mainstream because I wanted low-risk and to play tracks that a lot of people would dance. Also, I miss that music.

    Because the set was pre-made I was also able to dance. I miss dancing. I know this milonga well and the people who dance there though it is the first time I have DJd there. It has been running for a few months under a new host, my friend Bryan Laird..

    I realised during the milonga that I was going to be missing a vals tanda. Although it is what most do, laptop DJing is fraught with error. Many, many times I have heard very experienced DJs skip mid-track from one track to the next when moving tracks, or similar errors about so I prefer not to mess around with a laptop mid-milonga. If I DJ on the fly I use a Creative Zen MP3 player with tracks normalised for sound and regular gaps between tracks but also find (new) user error can play up here too. It has the advantage though over a laptop of being cheap and very portable. I also could not remember if I could add tracks directly into the laptop playlist (i.e. the real time copy in the “Now Playing” queue) from the pre-made set list. With great trepidation I added the Lomuto vals tracks during the end of the cortina and it went fine. I also realised I was going to be a tanda short so I added the Demare tanda at the end.

    With hindsight I would changed the D’Arienzo milongas. I didn’t dance them well with a new partner, especially Milonga querida. I felt they were too abrupt for that moment and though they were danced, I felt they were too fast for the majority there. The 1930s Canaro milongas I thought worked better. I might have swapped the Tanturi instrumentlas I also felt were possibly a bit strong for that night. I realised afterwards I had two instances of Comme Il faut (Troilo and D’Arienzo). Major error! Not uncommon though, by many DJs. I never want to knock anyone who publishes a set, no matter what the music is like because publishing is so helpful. One reason it is so helpful is illustratively, so here, a sample set with Canaro’s Poema played twice. Many steer clear of playing these even once due to hearing this soft but very strong track overplayed. This is a sample set provided on Carablanca’s home page. Carablanca is a Friday night London club playing traditional music.

    I dislike driving tanda after tanda that relentlessly chivvy people to get up. While I don’t think that is the case here I wondered if the set was possibly more on the rhythmic side. But I have sometimes seen this milonga really struggle to get going before, people sitting and not dancing with each other. This was not the case yesterday, the atmosphere was warm and happy. People danced a lot, the floor was busy, I don’t think people left early - the new people in particular stayed til the end - so I was happy.

    There was no Cumparsita because the firm caretaker said it was time to go!

    ReplyDelete
  2. FelicityFebruary 1, 2016 at 9:10 PM

    The Carablanca link http://www.carablanca.co.uk/music_17_jan_14.pdf

    ReplyDelete
  3. ChrisNovember 9, 2016 at 2:25 AM

    Felicity wrote: "I realised afterwards I had two instances of Comme Il faut (Troilo and D’Arienzo). Major error!"

    I think the same composition by two orchestras is rarely a problem, esp. where (as here) the interpretations are so different.

    But...

    "here, a sample set with Canaro’s Poema played twice"

    ...I think that repeating the exact same recording is something for which there's no good reason.

    And the most frequent no good reason :-) is to make an impression.

    ReplyDelete

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