TS 1.06 - Instrumental 1951-52
Tags: Pugliese, InstrumentalSamples
Social unrest and technological advancement are the nourishment of culture and the arts. As the 1950s began, allowed in the studio, 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 shift 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", etc.
TS 1.06 presents the Pugliese's complete instrumental recordings in 1951-52, fully restored from the best available sources. With meticulous attention to sonic clarity and warmth, this release offers a definitive listening experience for maestro fans.
With no documentation available, 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.
The first, "whistling" version of La Tupungatina, recorded in June 1952, was Pugliese’s last direct-cut recording. 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. The series of tape sessions from November to December of that year were clearly intended to support the release of his first LP album. La Tupungatina got recorded again, in better fidelity and updated arrangement.
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 |
|---|---|---|---|---|---|---|---|
| 1951-06-27 | Don Atilio | Tango | Instrumental | Odeón | 18084 | 440 | 3:08 |
| 1951-07-31 | Bien Milonga | Tango | Instrumental | Odeón | 18136 | 440 | 3:18 |
| 1951-10-02 | El Refrán | Tango | Instrumental | Odeón | 18215 | 440 | 3:15 |
| 1951-12-10 | Olivero | Tango | Instrumental | Odeón | 18300 | 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 |
| 1952-10-09 | Si Sos Brujo | Tango | Instrumental | Odeón | 18647 | 440 | 3:25 |
| 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 |
| 1952-11-24 | La Cachila | Tango | Instrumental | Odeón | 14937/1 | 440 | 2:37 |
| 1952-11-29 | Mala Junta | Tango | Instrumental | Odeón | 13082/1 | 440 | 3:36 |
