TS 1.05 - Pugliese 1951-52 Completo
Tags: Pugliese, CollectionSamples
Social unrest and technological advancement are the nourishment of culture and the arts. As the 1950s began, Osvaldo Pugliese was entering what would become its most iconic and widely recognized phase—defined by a more theatrical, breathable, and subtly relaxed tempo in its interpretations; a newly added viola also added flavor to the texture. This stylistic shift was not solely the result of evolving arrangements and artistic choices; it was also strongly enabled by advancements in recording technology and a gradual shifting to a more attentive listening audience. These factors gave the orchestra new confidence to explore a wider range of dynamics and expressive details.
This period produced countless classics. Among the instrumental masterpieces are "Bien Milonga," "Entrador," "Para Dos," a renewed recording of "La Yumba," "Mala Junta," "La Tupungatina" and etc. Vocally, the grand Alberto Morán reached his artistic peak with legendary performances such as "Barro" and "Pasional".
TS 1.05 presents the complete collection of Pugliese’s 1951–52 studio recordings, fully restored from the best available sources. With meticulous attention to sonic clarity and warmth, this release offers a definitive listening experience for fans of the maestro. Don’t miss it.
To begin with the topic of master recording technology: the most reasonable assumption is that Odeón abandoned lacquer intermediates in 1951, temporarily reverting to the mature direct-to-disc 78 rpm coarse-groove system, while awaiting the broader adoption of magnetic tape mastering by the year end.
Pugliese first experimented with tape-based recording in October 1952, as proved by an audible tape splicing mark in "Si Sos Brujo", which evidenced a new level of audio technology improvement. Consequently, the “whistling version” of La Tupungatina, recorded in June 1952, became Pugliese’s final direct-cut recording. The series of tape sessions from November to December of that year were clearly intended to support the release of his first LP album.
Experienced tango enthusiasts and DJs are well aware that there exist two different versions from this period of "La Tupungatina," "La noche que me esperes," "Pasional" and "Barro". While the later versions undoubtedly offer superior sound quality, subtle differences in arrangement and Morán’s vocal delivery have led to varying degrees of popularity and circulation between the versions over time.
In short, the sonic quality of recordings from this period is a clear step up from the previous two years, yet the often rushed handling by later studios has left considerable room for improvement. This restoration project closes that gap, presenting the music in its most refined and elevated form to listeners today.
Frank Jin
| Date | Track | Genre | Singer | Label | Matrix No. | Pitch | Length |
|---|---|---|---|---|---|---|---|
| 1951-05-22 | Barro | Tango | Alberto Morán | Odeón | 18024 | 440 | 3:12 |
| 1951-05-22 | De Vuelta Al Bulín | Tango | Alberto Morán | Odeón | 18025 | 440 | 2:47 |
| 1951-06-27 | Don Atilio | Tango | Instrumental | Odeón | 18084 | 440 | 3:08 |
| 1951-06-27 | El Mate Amargo | Tango | Alberto Morán | Odeón | 18085 | 440 | 3:20 |
| 1951-07-31 | Bien Milonga | Tango | Instrumental | Odeón | 18136 | 440 | 3:18 |
| 1951-07-31 | Pasional | Tango | Alberto Morán | Odeón | 18137 | 440 | 3:29 |
| 1951-10-02 | El Refrán | Tango | Instrumental | Odeón | 18215 | 440 | 3:15 |
| 1951-10-02 | El Cielo En Las Manos | Tango | Alberto Morán | Odeón | 18216 | 440 | 3:01 |
| 1951-12-06 | Que Nunca Me Falte | Tango | Alberto Morán | Odeón | 18291 | 440 | 2:52 |
| 1951-12-10 | Olivero | Tango | Instrumental | Odeón | 18300 | 440 | 3:01 |
| 1952-01-28 | La Noche Que Me Esperes | Vals | Alberto Morán | Odeón | 18339 | 440 | 2:25 |
| 1952-01-28 | Cualquier Cosa | Tango | Alberto Morán | Odeón | 18340 | 440 | 3:01 |
| 1952-05-06 | Para Dos | Tango | Instrumental | Odeón | 18380 | 440 | 2:52 |
| 1952-05-06 | Entrador | Tango | Instrumental | Odeón | 18381 | 440 | 3:09 |
| 1952-06-27 | La Tupungatina | Tango | Instrumental | Odeón | 18452 | 440 | 4:08 |
| 1952-06-27 | Ahora No Me Conocés | Tango | Alberto Morán | Odeón | 18453 | 440 | 2:33 |
| 1952-10-09 | Si Sos Brujo | Tango | Instrumental | Odeón | 18647 | 440 | 3:25 |
| 1952-10-09 | Por Pecadora | Tango | Alberto Morán | Odeón | 18648 | 440 | 3:09 |
| 1952-11-13 | La Yumba | Tango | Instrumental | Odeón | 18758/1 | 440 | 2:47 |
| 1952-11-13 | La Tupungatina | Tango | Instrumental | Odeón | 18452/1 | 440 | 3:40 |
| 1952-11-13 | El Embrollo | Tango | Instrumental | Odeón | 18705 | 440 | 3:15 |
| 1952-11-13 | N.N. | Tango | Instrumental | Odeón | 16421/1 | 440 | 2:32 |
| 1952-11-18 | Manos Adoradas | Vals | Alberto Morán | Odeón | 18714 | 440 | 2:20 |
| 1952-11-24 | La Cachila | Tango | Instrumental | Odeón | 14937/1 | 440 | 2:37 |
| 1952-11-24 | Pasional | Tango | Alberto Morán | Odeón | 18137 | 440 | 3:22 |
| 1952-11-29 | Mala Junta | Tango | Instrumental | Odeón | 13082/1 | 440 | 3:36 |
| 1952-12-03 | La Noche Que Me Esperes | Vals | Alberto Morán | Odeón | 18399/1 | 440 | 2:22 |
| 1952-12-03 | Barro | Tango | Alberto Morán | Odeón | 18024/1 | 440 | 3:13 |
