TS 1.07 - Alberto Morán 1951-52

Tags: Osvaldo Pugliese, Singer

Category: Album

Samples

Release Note Producer's Note Full Track Info

“The Great Alberto Morán at his sublime, aglow with immortal brilliance.“ — Tango Sparks, 2025

After Vidal left Pugliese’s orchestra to pursue a solo career, Alberto Morán remained the orquesta's sole vocalist for a full two years. Although they were allowed to record in the studio, the orquesta was still banned from performing in radio stations, with public appearances heavily restricted. In other words, the chains had not yet been fully broken. The political and economic climate made it nearly impossible for the orchestra to afford a second singer.

From an artistic perspective, however, the story was entirely different. The orchestra, at the height of its creative powers, found itself in sync with the advances in recording technology. A wider dynamic range and improved microphone fidelity gave Morán’s voice and technique much greater expressive room. In "Pasional" and "Barro," we hear a strikingly dramatic vocal performance: extreme intensity, delicate softness, subtle crescendos and decrescendos. The Odeón studio had become Teatro Colón.

Some songs in this album (TS 1.07) were recorded twice using different techniques, offering a fascinating opportunity to compare the interpretive and sonic details. Another notable is "El cielo en las manos," the theme song of a drama, which marked Pugliese's first recording of a Piazzolla composition.

This period not only demonstrated the remarkable sonic potential of mature direct-to-disc 78 rpm recording, but also marked the beginning of a new era in fidelity through the adoption of tape masters, what could be considered truly high fidelity.

Interestingly, the three tracks that were recorded twice during this time have different fates in terms of which versions were chosen for later LP releases.

The second take of "Pasional," recorded in Nov. 1952, features an dramatic orchestral prelude and a more impassioned vocal delivery from Morán. Compared to the first take recorded the year before, which retains more of a 1940s aesthetic, the newer version is far more intense and expressive. Notably, the earlier take was never selected for LP release.

In contrast, the second takes of "Barro" and "La noche que me esperes," which date from the Dec. 1952 session, were included on Pugliese’s first LP, LDS 103, but were never reissued in later LPs. Upon careful listening, it becomes clear that the earlier takes of both songs, particularly Morán vocal and emotional conditions, are arguably superior. It’s likely that later producers decided to choose the earlier versions as the canon.

These recordings capture Alberto Morán at the peak of his artistry with Pugliese’s orquesta. We hope the release of TS 1.07 will allow these extraordinary performances with sound quality that leaves nothing on the floor, to reach both the acoustics of the listener’s room and the milonga under DJs' ears.

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	El Mate Amargo	Tango	Alberto Morán	Odeón	18085	440	3:20
1951-07-31	Pasional	Tango	Alberto Morán	Odeón	18137	440	3:29
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
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
1952-06-27	Ahora No Me Conocés	Tango	Alberto Morán	Odeón	18453	440	2:33
1952-10-09	Por Pecadora	Tango	Alberto Morán	Odeón	18648	440	3:09
1952-11-18	Manos Adoradas	Vals	Alberto Morán	Odeón	18714	440	2:20
1952-11-24	Pasional	Tango	Alberto Morán	Odeón	18137/1	440	3:22
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