TS 1.26 - Pugliese & Maciel 1960-62
Tags: Osvaldo Pugliese, SingerCategory: AlbumSamples
As Pugliese stepped across the threshold into a new decade, the orquesta underwent a period of frequent vocal changes. Singers came and went: Montero, Redina, Guido, and eventually Belusi, but through it all, Jorge Maciel remained unwavering, a constant presence alongside the Maestro.
Maciel’s repertoire during this period stayed true to his essence: sentimental songs and the arrabal, delivered with the same consistently high artistic standard as in the 1950s. Un Lamento marks the end of both Maciel’s and Pugliese’s (temporarily) Odeón era.
The three recordings made for Stentor—La Vieja Vale Más, Melenita de Oro, and Muchachita del Amanecer—were long overlooked due to the scarcity of high-quality source materials. The six recordings for Philips are equally accomplished; among them, La Vi Llegar, Senda del Amor, and Por Qué la Quise Tanto explore themes perfectly suited to Maciel’s territory.
The collection also includes three duos shared by Maciel and Belusi: the folk-derived Coplas, the classic Pregonera, and the pastoral narrative Vamos Tropilla.
TS 1.26 documents Jorge Maciel standing firmly beside Pugliese at the very moment the orquesta crossed into a new chapter. Spanning three record labels, this album unifies these recordings through meticulous restoration, presenting them at the highest possible sonic standard. For lovers of Maciel, this release is essential.
Maciel’s powerful, penetrating voice posed a formidable challenge to the microphone. In the Stentor and Philips sessions, considerable effort was required to address overloaded signals and manage their impact on the recordings. By contrast, the earliest Odeón recording, Un Lamento, stands out as the strongest in terms of overall sound quality.
Taken as a whole, this period captures Maciel and Pugliese’s orchestra in a state of profound artistic harmony. Following the departure of the great Enrique Camerano, the band began moving toward a darker, more ambiguous sonic landscape under Herrero’s style—an inward, shadowed quality that found its perfect counterbalance in the bright, forceful energy of the “Tango Caruso.” Together, they achieved a rare balance.
TS 1.26 captures a journey taken during the complex overlap of the 1950s and 1960s: one of tango’s greatest voices walking alongside one of tango’s greatest orquestas at a decisive moment in history.
Frank Jin
| Date | Track | Genre | Singer | Label | Pitch | Length |
|---|---|---|---|---|---|---|
| 1960-07-15 | Un Lamento | Tango | Jorge Maciel | Odeón | 442 | 02:41 |
| 1960-09-20 | La Vieja Vale Más | Tango | Jorge Maciel | Stentor | 442 | 03:21 |
| 1960-10-10 | Vamos Tropilla | Tango | Maciel y Belusi | Stentor | 442 | 03:22 |
| 1960-11-18 | Melenita De Oro | Tango | Jorge Maciel | Stentor | 442 | 03:10 |
| 1960-12-02 | Muchachita Del Amanecer | Tango | Jorge Maciel | Stentor | 442 | 02:51 |
| 1961-08 | La Vi Llegar | Tango | Jorge Maciel | Philips | 442 | 03:00 |
| 1961-09 | Coplas | Tango | Maciel y Belusi | Philips | 442 | 03:25 |
| 1961-10 | Pregonera | Tango | Maciel y Belusi | Philips | 442 | 03:05 |
| 1961-10 | Senda Del Amor | Tango | Jorge Maciel | Philips | 442 | 03:19 |
| 1961-11 | Dos Amores | Tango | Jorge Maciel | Philips | 442 | 02:57 |
| 1962-05 | Llevame Carretero | Tango | Jorge Maciel | Philips | 442 | 03:08 |
| 1962-07 | Por Qué La Quise Tanto | Tango | Jorge Maciel | Philips | 442 | 03:04 |
| 1962-09 | De Mi Ciudad | Tango | Jorge Maciel | Philips | 442 | 03:04 |
