TS 1.51 - De Caro Instrumental 1939-41
Tags: Julio De Caro, IntrumentalCategory: CompilationSamples
When the ambitious symphonic experiment of Orquesta Melódica Internacional with woodwinds, brass, and percussion failed to receive the recognition De Caro had envisioned, he returned to the standard OT format, and resumed recording in 1938. By then, Juan D’Arienzo had already ignited a rhythmic revolution. The pulse accelerated. The dance floor filled with youth carried by relentless marcato. De Caro had no intention of being left behind, yet he refused to sacrifice musical depth.
The years 1939–1941 marked one of the most accelerated periods in tango history. Tempi surged across the milieu. De Caro was no exception. The ensemble during this phase featured violins Julio De Caro and Cayetano Puglisi (until early 1940), piano Francisco De Caro, and bandoneón leading by the formidable Carlos Marcucci.
TS 1.51 gathers twelve recordings that capture De Caro’s response to this explosive era. These are established classics from his repertoire, now driven at breathtaking speed (often exceeding 130 bpm), packed with virtuosic solo passages, e.g. Boedo, La Rayuela, and infused with unmistakable De Caro yeites that retain deep tango identity.
In retrospect, these recordings foreshadow the emergence of Osvaldo Pugliese.
This album (TS 1.51) documents within De Caro’s career a unique stylistic moment that exists neither before nor after. De Caro was clearly experimenting. Beyond accelerating the tempo and reinforcing the accents, he integrated plenty soloistic phrases, particularly through Marcucci’s bandoneón, and these elements are most clearly revealed in the instrumental recordings. From today’s perspective, this direction unmistakably exerted a decisive influence on the later styles of the Pugliese orquesta.
TS 1.51 includes all instrumental tangos recorded between 1939 and 1941 (except Puro Corte). Although Boedo and Copacabana contain brief voices by Héctor Farrel, they remain fundamentally instrumental works. Mala Junta (1938-11-16) and El Pensamiento (1942-01-13) are also included, marking the beginning and end of this era.
Among the 78 rpms and early LP pressings, we have selected the highest-quality available sources. Through meticulous restoration, these recordings now achieve remarkable clarity, in some cases rivaling early 1950s production standards. Piano tuning is set at 440hz as we can clearly identify in the recordings.
Frank Jin
| Date | Track | Genre | Singer | Label | Matrix No. | Pitch | Length |
|---|---|---|---|---|---|---|---|
| 1938-11-16 | Mala Junta | Tango | Instrumental | Odeón | 9716 | 440 | 3:19 |
| 1939-05-23 | El Monito | Tango | Instrumental | Odeón | 9952 | 440 | 2:25 |
| 1939-07-07 | El Espiante | Tango | Instrumental | Odeón | 10010 | 440 | 2:18 |
| 1939-07-07 | Boedo | Tango | Héctor Farrel | Odeón | 10011 | 440 | 3:05 |
| 1940-04-05 | Catamarca | Tango | Instrumental | Odeón | 10390 | 440 | 2:32 |
| 1940-12-03 | Tierra Negra | Tango | Instrumental | Odeón | 10893 | 440 | 2:32 |
| 1941-03-27 | Copacabana | Tango | Héctor Farrel | Odeón | 11114 | 440 | 2:55 |
| 1941-03-27 | La Rayuela | Tango | Instrumental | Odeón | 11115 | 440 | 3:05 |
| 1941-05-29 | El Baqueano | Tango | Instrumental | Odeón | 11219 | 440 | 2:27 |
| 1941-05-29 | Moulin Rouge | Tango | Instrumental | Odeón | 11220 | 440 | 2:57 |
| 1941-09-02 | Maipo | Tango | Instrumental | Odeón | 11406 | 440 | 2:58 |
| 1942-01-13 | El Pensamiento | Tango | Instrumental | Odeón | 11714 | 440 | 2:36 |
