TS 1.07 - Alberto Morán 1951-52

Album
Written By Frank Jin
Tags: Pugliese, Singer
 

Samples

 
 
“The Great Alberto Morán at his most glorious, 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
1951-05-22BarroTangoAlberto MoránOdeón180244403:12
1951-05-22De Vuelta Al BulínTangoAlberto MoránOdeón180254402:47
1951-06-27El Mate AmargoTangoAlberto MoránOdeón180854403:20
1951-07-31PasionalTangoAlberto MoránOdeón181374403:29
1951-10-02El Cielo En Las ManosTangoAlberto MoránOdeón182164403:01
1951-12-06Que Nunca Me FalteTangoAlberto MoránOdeón182914402:52
1952-01-28La Noche Que Me EsperesValsAlberto MoránOdeón183394402:25
1952-01-28Cualquier CosaTangoAlberto MoránOdeón183404403:01
1952-06-27Ahora No Me ConocésTangoAlberto MoránOdeón184534402:33
1952-10-09Por PecadoraTangoAlberto MoránOdeón186484403:09
1952-11-18Manos AdoradasValsAlberto MoránOdeón187144402:20
1952-11-24PasionalTangoAlberto MoránOdeón181374403:22
1952-12-03La Noche Que Me EsperesValsAlberto MoránOdeón18399/14402:22
1952-12-03BarroTangoAlberto MoránOdeón18024/14403:13
 
Frank Jin
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TS 1.06 - Instrumental 1951-52