Varios: Que Bonboncito - Tangos Instrum.

Varios: Que Bonboncito - Tangos Instrum.

Published in: 2002

Playtime: 54 min

Order-Number: dz003008

Price: 17.99 €

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Die vorliegende CD stellt drei Orchester vor, die zur Zeit der Goldenen Ära des Tango Argentino in Buenos Aires sehr beliebt waren, später allerdings fast vollkommen in Vergessenheit gerieten. Julio de Caro war gemeinsam mit dem Bandoneonisten Pedro Maffia der erste Orchesterleiter, der einen ganz typischen Personalstil hatte. Außerdem finden sich wahre Raritäten des "Hausorchesters" der Schallplattenfirma Brunswick. El pillete Batida nocturna Arreando Pelele Muchachito lindo Tiempo pasado Fruta prohibida Se fini Jueves El buey solo De rompe y raja Largalo Anoche en el club Chique! Angustia Mi pena Que bonboncito La cancion del pirata

A. Romero says about:

Que Bonboncito is a recording of beautifully- restored tracks from 1929 to 1932. The album, released by Germany's Danza y Movimento label, is a valuable asset to those who love the tango. By the mid-1920s Buenos Aires was divided into two camps concerning the tango - traditionalists and the evolutionists. Julio De Caro and Pedro Maffia defined the evolutionary style. In fact, the great classical composer Manual de Falla wrote at the time, "From what I have heard in Argentina, De Caro's music is the most precious and points the way ahead." These men enriched the tango, as it then existed, with exaggerated melodic phrasing, romantic treatment of the violins and the orchestrally-arranged individual parts. De Caro's group was formed in 1924 and lasting, through personnel changes, all the way up to 1952. Pedro Maffia was the bandoneon player in De Caro's group until 1927 then founded his own orchestra around 1929. Today, the Orquesta Tipica Brunswick is relatively unknown. Like many other labels (RCA Victor, for example) Brunswick employed an in-house tango band. But Brunswick was done by 1932, so these recordings are rare indeed. (found on www.worldmusiccentral.org)

Raffi Meneshian / GLOBAL RHYTHM says about:

This is a charming set of historical Argentinean tango recordings from 1929 - 1932. As with an historical recording, the sound is faded and a bit harsh. However, fear not - this collection has been digitally remastered, giving it a nice boost. Much like the recordings from Trditional Crossroads, Danza y Movimiento has moticulously researched and presented us with an important sound document. The recordings features two main personalities: Pedro Maffia and his backup ensemble, Orquesta Tipica Brunswick. According to published accounts, Pedro Maffia ushered in a new sound for tango recordings by being more expressive and loose with his bandoneon playing. Indeed Maffia was an innovator and these recordings are considered by many to be the turning point in tango. Like other bandoneon innovators such as Astor Piazzolla and Dino Saluzzi, the exitement and innovation that Maffia creates on this collection is infectious. The Toranzo and Rossi composed piece, "Jueves", is a standout. Sonic quality aside, Tangos Instrumentales Vol. 2 is a welcome addition to the library of significant recordings remastered and reissued on CD. Raffi Meneshian in GLOBAL RHYTHM

F. Koeppel / The Comercial Appeal says about:

“Danza y Movimiento, a recording company in Hamburg, Germany, offers an astonishing 800 albums devoted to the tango. One could safely say to tangoistas everywhere that if Danza y Movimiento doesn’t have it, they don't need it. The album in question is Que Bonboncito, Tangos Instrumentales, Vol. 2, a compilation of 18 tangos recorded in Buenos Aires between 1929 and 1932. In the album notes, Klaus Johns tells us briefly about the history of the tango in that era and about the groups presented here: Sexteto Julio De Caro, Orquesta Pedro Maffia and Orquesta Tipica Brunswick, the last so named because it served as the tango band for the Brunswick record label. We'll leave it to aficionados to elucidate the subtleties among these groups and their approaches to the tango. Suffice to say that one does not have to be fleet of feet and soulful of glance to be swept away by these tunes and arrangements. The sound is a little tinny but gracefully so, the syncopated rhythm peculiar to the tango is infectious, and the energy is irresistible. These are not the smoky, passionate, death-in-desire latter-day tangos of Astor Piazzolla; the mood here is more clubby, more formally organized and upbeat, but tremendous fun. I don't know that I would listen to 799 other tango albums immediately, but I'm glad I heard this one.” (Fredric Koeppel aus Memphis / Tenesee, “The Comercial Appeal”)