My Old Annotated List of Tandas

by Stephen Brown

I recorded the preset tandas listed below—each on a cassette tape with a cortina at the end. I now use compact discs. In the process of switching from cassettes to compact discs, I made a number of changes to make each tanda more coherent and to better capture what I consider the best music of each orchestra. The older list below may still serve as a reference. Return to An Annotated List of Tandas.

(Organized by Epoch and Style)

Old Guard — Orquesta Tipica Victor, Carabelli, Lomuto
Early Golden Age — De Caro, Fresedo, Canaro
Golden Age Harder Rhythmic — D'Arienzo, Biagi, Rodriquez
Golden Age Softer Rhythmic — Tanturi, Caló, Laurenz, D'Agostino, Troilo, Di Sarli
Golden Age Smooth — Di Sarli, Canaro, Fresedo, Troilo
Golden Age Lyrical — Caló, Di Sarli, Canaro, Fresedo, Tanturi, Demare, De Angelis
Golden Age Dramatic — De Angelis, Pugliese
Transitional and New Tangos
Modern Dance Orquestas
Milongas
Valses
La Cumparsita — The Finale

Old Guard — Orquesta Tipica Victor, Carabelli, Lomuto

The tangos of the old guard generally had less complex arrangements and simpler rhythms in comparison to tangos played during golden age and later eras. These tandas can be used sparingly in early in the evening when simple rhythms will help the dancers find the beat of the music. They can also be used in the morning—as a postscript or cup of coffee after to a full evening of dancing.

Los Tubatango
(This tanda consists of novelty recordings that are fun when used sparingly.)
    Caminito
    Rodriguez Pena
    Zorro Gris
    – all from Una Noche de Garufa (Music Hall 10044-2)

Orquesta Tipica Victor
(On the newer versions of this CD, the tracks are mislabeled. The tangos below are found on tracks 1, 3, 8 and 14)
    Negro
    Pato
    Re Fa Si
    Che Papusa Oi
    – all from 1926-1940 (El Bandoneon EBCD 85)

Adolfo Carabelli
    Felicia
    Mi Refugio
    El Cabure
    Cuatro Palabras
    – all from Cuatro Palabras (El Bandoneon EBCD 87)

Early Golden Age — De Caro, Fresedo, Canaro

Tangos from the early golden age represent a transition from the old guard to the golden age of tango. They have clear, simple rhythms but show signs of the stronger orchestration that characterizes golden age tangos. These tandas can be used early in the evening to help educate the dancers to the beat.

Julio De Caro – Golden Age
    El Monito
    Colombina
    Derecho Viejo
    Boedo
    – all from Instrumental Tangos of the Golden Age (Harlequin compilation HQCD 45)

Osvaldo Fresedo – Tigre Viejo
    Derecho Viejo (1941 version)
    Arrabalero
    Poliya
    Tigre Viejo
    – all from Tigre Viejo (privately mastered CD-R)

Francisco Canaro y su Quinteto Pirincho
    Viento en Popa
    Don Esteban
    Champagne Tango
    – all from Nobleza de Arrabal (El Bandoneon EBCD 90)

Francisco Canaro – La Melodia de Nuestro Adios
(This tanda is a classic set of tracks to help dancers find the beat of tango music)
    La Melodia de Nuestro Adios
    Pampa
    Retintin
    – all from La Melodia de Nuestro Adios (El Bandoneon EBCD 30)

Mixed Tanda
(Although some purists would object to this mix of orchestras, dancers seem to enjoy it. It works well early in the evening.)
    La Melodia de Nuestra Adios – Francisco Canaro,
    – from La Melodia de Nuestra Adios (El Bandoneon EBCD 30)
    Yo Soy El Tango – Miguel Caló,
    – from Yo Soy el Tango (El Bandoneon EBCD 34)
    El Once – Osvaldo Fresedo,
    – from El Pibe de la Paternal (El Bandoneon EBCD 48)
    Mano a Mano – Francisco Lomuto
    – from Great Bands of Tango’s "Golden Age" 1936-47 (Harlequin HQCD 89)

Golden Age Harder Rhythmic — D'Arienzo, Biagi, Rodriguez

In the 1930s, Juan D'Arienzo and Rodolfo Biagi joined together to revolutionize tango by returning to strong staccato rhythms in 2x4 time while using more modern arrangements and instrumentation. After leaving D'Arienzo's orchestra, Biagi formed his own orchestra and added more striking and challenging rhythmic elements to the music. For the tangos in this style that have vocals, the singer stayed relatively close to the orchestra's rhythm, and an occasional mixing of vocals with instrumentals in the same tanda is possible (if not advised). The strong ric-tic-tic rhythms of the music played by either orchestra seems to insist on milonguero- or club-style dancing. The simpler rhythms of D'Arienzo's music helps the dancers find the rhythm for milonguero-style dancing. Once the dancers find the rhythm for milonguero-style dancing, Biagi's music is a wonderful challenge.

Juan D'Arienzo – El Flete
    El Flete
    – from The Tango Lesson (Sony movie soundtrack)
    Pensalo Bien
    – from The Tango Lesson (Sony movie soundtrack)
    Union Civica
    – from El Rey del Compas (El Bandoneon)
    Canaro en Paris
    – from La Puñalada (Blue Moon)

Juan D'Arienzo – El Rey del Compas
    Retintin
    Don Esteban
    El Irresistible
    La Morocha
    – all from El Rey del Compas (El Bandoneon EBCD 43)

Juan D'Arienzo – Felicia
    El Internado
    Felicia
    Viejo Smoking
    Independencia
    – all from La Puñalada (Blue Moon BMT 011)

Juan D'Arienzo – Vol. 21
    El Pollo Ricardo
    – from Vol. 21 (Club Tango Argentino CTA 321)
    Che Negrito
    – from Vol. 21 (Club Tango Argentino CTA 321)
    Jueves
    – from La Puñalada (Blue Moon BMT 011)
    Tucuman
    – from La Puñalada (Blue Moon BMT 011)

Juan D'Arienzo con Mario Bustos
    Justo El 31
    Si Soy Asi
    No Te Quiero Mas
    Susanita
    – all from Tangos Orilleros (Tango Argentino BMG-RCA)

Orquesta Juan D'Arienzo
(These tracks are newer recordings in classic D'Arienzo style, but the orchestra is led by a former D'Arienzo side man.)
    Derecho Viejo
    Organito de la Tarde
    Don Juan
    Pampa
    – all from La Cumparsita (Phillips)

Rodolfo Biagi – Campo Afuera
    La Maleva
    Union Civica
    A Mi No Me Interesa
    Zaraza
     – all from Campo Afuera (El Bandoneon EBCD 40)

Rodolfo Biagi con Jorge Ortiz
    Humillacion
    Guapo y Varon
    Señor, Señor
    Pajaro Ciego
    – all from Sus Exitos con Jorge Ortiz (EMI, Reliquias)

Rodolfo Biagi con Alberto Amor
(The music in this tanda is played relatively close to the softer rhythmic style and has a wonderful romantic feel.)
    Nada
    Si La Llegaran A Ver
    Tus Labios Me Diran
    Seamos Amigos
    – all from Sus Exitos con Alberto Amor (EMI, Reliquias)

Enrique Rodriquez con Roberto Flores y Armando Moreno
    Son Cosas del Bandoneon
    A Media Luz
    Como Se Pianta la Vida
    En la Buena y en la Mala
    – all from 27 Tangos 1939-1952 (EMI)

Golden Age Softer Rhythmic — Troilo, Tanturi, Caló, Laurenz, D'Agostino, Troilo, Di Sarli

Pedro Laurenz, Ricardo Tanturi, Anibal Troilo, Miguel Caló, and Angel D'Agostino played with softer rhythmic accents than typified the music of Juan D'Arienzo and Rodolfo Biagi. The softer rhythmic accents give the music a more romantic feel and the music supports dancing of either salon- or milonguero-style tango. For the tangos in this style that have vocals, the singer stayed relatively close to the orchestra's rhythm, and an occasional mixing of vocals with instrumentals in the same tanda is possible (if not advised). These tandas are useful throughout the evening, and some of the music—particularly that recorded by Miguel Caló—is quite romantic.

Anibal Troilo – Pichuco
(I have listed these instrumental tangos as played in the softer rhythmic style, but some are close to the harder rhythmic style.)
    Cachirulo
    Milongueando en el 40
    Guapeando
    Cordon de Oro
    – all from Instrumental (Tango Argentino BMG RCA)

Anibal Troilo con Francisco Fiorentino – Tinta Roja
(Francisco Fiorentino with the Anibal Troilo Orquesta is one of the classic matches of singer with a tango orchestra. They recorded in both a softer rhythmic style and a lyrical style. I have listed these tangos as softer rhythmic, but some have elements of the lyrical style.)
    Tinta Roja
    El Bulin de la Calle Ayacucho
    Toda Mi Vida
    Tabernero
    – all from Troilo/Fiorentino (Solo Tango BMG RCA)

Ricardo Tanturi con Alberto Castillo
    Ese Sos Vos
    – from Cuatro Compases (El Bandoneon EBCD 48)
    Una Noche de Garufa (Instrumental)
    – from Great Bands of Tango's Golden Age (Harlequin)
    Recuerdo Malevo
    – from Cuatro Compases (El Bandoneon EBCD 48)
    Cuatro Compases
    – from Cuatro Compases (El Bandoneon EBCD 48)

Miguel Caló – Sans Souci
    Sans Souci
    Lejos de Buenos Aires
    La Cantina
    Yo Soy el Tango
    – all from Yo Soy el Tango (El Bandoneon EBCD 34)

Miguel Caló – Stock Privado
    Tedio
    – from Stock Privado (EMI)
    Tarde Gris
    – from Stock Privado (EMI)
    La Maleva
    – from Compilation, Pa’ Que Bailen Los Muchachos (Blue Moon BMT 001/002)
    Saludos
    – from Compilation, Pa’ Que Bailen Los Muchachos (Blue Moon BMT 001/002)

Pedro Laurenz
    Arrabal
    De Puro Guapo
    Amurado
    Orgullo Criollo
    Nunca Tuvo Novio
    – all from Milonga de Mis Amores (El Bandoneon EBCD 82)

Angel D'Agostino y Angel Vargas – Hotel Victoria
    A Pan y Agua
    Esta Noche en Buenos Aires
    Mano Blanca
    Hotel Victoria
    – all from Tangos de Los Angeles, Vol. 2 (BMG RCA)

Angel D'Agostino y Angel Vargas – Pero Yo Se
    Pero Yo Se
    – from Tangos de Los Angeles, Vol. 1 (BMG RCA)
    Una Pena
    – from Tangos de Los Angeles, Vol. 1 (BMG RCA)
    Mi Viejo Barrio
    – from Tangos de Los Angeles, Vol. 4 (BMG RCA)
    Caricias
    – from Tangos de Los Angeles, Vol. 4 (BMG RCA)

Angel D'Agostino y Angel Vargas – Cafe Dominguez
(this tanda opens with the classic Cafe Dominguez)
    Cafe Dominguez
    – from Tangos de Los Angeles, Vol. 4 (BMG RCA)
    Me Llaman Tango
    – from Tangos de Los Angeles, Vol. 4 (BMG RCA)
    Tomo y Obligo
    – from Tangos de Los Angeles, Vol. 4 (BMG RCA)
    El Aristocrata
    – from Tangos de Los Angeles, Vol. 4 (BMG RCA)

Carlos Di Sarli – Shusheta
(Although Di Sarli is most associated with the smooth style, the music in this tanda was recorded early in Di Sarli's career when he played in the softer rhythmic style. It is suitable for dancing milonguero- or salon-style tango.)
    Shusheta
    El Recodo
    La Cachila
    La Torcacita
    – all from Instrumental, vol. 2 (BMG-RCA Tango Argentino)

Golden Age Smooth — Di Sarli, Canaro, Fresedo, Troilo

Carlos Di Sarli, Francisco Canaro, Osvaldo Fresedo and Anibal Troilo all recorded smooth-sounding music during the golden age of tango. The music in this category generally lacks the rhythmic accents that help support milonguero-style dancing, but salon-style dancers find it quite enjoyable for dancing.

Carlos Di Sarli developed clean sounding arrangements, and his orchestra played the walking beat of salon tango that epitomizes golden age smooth. His music helps educate dancers to the rhythm of salon-style tango and is useful early in the evening or whenever the DJ thinks the dancers need a refreshing change of pace or help in finding the rhythm. It is also useful in the resolution to the evening's dancing. Other than tracks found on Instrumental, vol. 2, most of DiSarli's music lacks the rhythmic accents used to support milonguero-style dancing.

Francisco Canaro contributed many recordings during the golden age of tango, but only a few are enjoyable to modern ears. His lyrical recordings with singers wear much better. Osvaldo Fresedo is associated with the early golden age, but he also contributed a smooth-sounding and lyrical recordings during the golden age. Some of Fresedo's golden-age recordings have the rhythmic elements that help support milonguero-style dancing, but most dancers tend to treat the music as smooth.

Over his career, Troilo gradually made a shift from a softer rhythmic sound to a concert sound. In the process of the transition, he recorded many well-regarded tangos with a smooth sound.

Carlos Di Sarli – Milonguero Viejo
(A tanda with a classic set of tracks. Fresedo's version of "El Once" fits the tanda so perfectly that only experts, who are also likely to know that Fresedo and Di Sarli once shared an orchestra, will notice.)
    A La Gran Muñeca
    – from Milonguero Viejo (Music Hall 10018-2)
    El Cabure
    – from Milonguero Viejo (Music Hall 10018-2)
    El Once
    – from Osvaldo Fresedo, El Pibe de la Paternal (El Bandoneon)
    Milonguero Viejo
    – from Milonguero Viejo (Music Hall 10018-2)

Carlos Di Sarli – El Choclo
    La Morocha
    Duelo Criollo
    El Choclo
    Mi Refugio
    – all from Milonguero Viejo (Music Hall 10018-2)

Carlos Di Sarli – Don Juan
    Don Juan
    Tinta Verde
    Germaine
    Comme Il Faut
    – all from Instrumental (BMG-RCA Tango Argentino)

Carlos Di Sarli – El Ingeniero
    Organito de la Tarde
    Champagne Tango
    El Pollo Ricardo
    El Ingeniero
    – all from Instrumental (BMG-RCA Tango Argentino)

Carlos Di Sarli – Bahia Blanca
    Bahia Blanca
    – from The Tango Lesson (Sony movie soundtrack)
    El Pollito
    – from Instrumental (BMG-RCA Tango Argentino)
    El Amanecer
    – from Instrumental (BMG-RCA Tango Argentino)
    El Once
    – from Instrumental (BMG-RCA Tango Argentino)

Anibal Troilo – Quejas de Bandoneon
    Quejas de Bandoneon
    El Marne
    El Pollo Ricardo
    Don Juan
    – all from Su Mejores Momentos (Music Hall)

Golden Age Lyrical — Caló, Troilo, Di Sarli, Canaro, Fresedo, Tanturi, Demare, De Angelis

During the golden age, sometimes the singer sang with orchestra, sometimes the orchestra played for the singer. Many of the major orchestras that played in the softer rhythmic or smooth styles also recorded music in which they played for the singer. Done right, the result was a compelling, lyrical sound. These tandas have a wonderfully romantic and seductive feel that can help build the mood of the evening.

Miguel Caló con Raul Beron
(This tanda has wonderfully romantic tangos for dancing with that special someone late in the evening.)
    Al Compas del Corazon
    Trasnochando
    Que Te Importa Que Te Llore
    Tristezas de le Calle Corrientes
    – all from Al Compás del Corazón (EMI Reliquias)

Anibal Troilo con Francisco Fiorentino – Malena
(Francisco Fiorentino with the Anibal Troilo Orquesta is one of the classic matches of a singer with a tango orchestra. They recorded in both a softer rhythmic style and a lyrical style. This tanda has lyrical tangos and ends with the classic Malena.)
    En Esta Tarde Gris
    Sencillo y Compadre
    Pajaro Ciego
    Malena
     – all from Troilo/Fiorentino (Solo Tango BMG RCA)

Carlos Di Sarli – El Señor del Tango
(This tanda contains three great vocal tracks from Jorge Duran and closes with a classic sung by Roberto Rufino)
    Porteno y Bailarin
    Un Tango y Nada Mas
    Vieja Luna
    Verdemar
    – all from El Señor del Tango (El Bandoneon EBCD 38)

Francisco Canaro – Uno
(This tanda consists of wonderfully romantic tangos for dancing with that special someone.)
    Uno
    – from Desde al Alma (EMI Reliquias)
    Nido Gaucho
    – from Desde al Alma (EMI Reliquias)
    Como Dos Extraños
    – from Tangos Inolvidables del ‘40 (EMI Reliquias)
    Cada Vez Que Me Recuerdes
    – from Desde al Alma (EMI Reliquias)

Osvaldo Fresedo con Roberto Ray – Vida Mia
(This tanda has wonderfully romantic tangos for dancing with that special someone either late in the evening as the drama builds or during the resolution or denouement of the evening's dancing. The rhythmic accents that support milonguero-style dancing are present in the music to some extent, but the overall impression is smooth, and most dancers respond that way.)
    Vida Mia
    Niebla del Riachuelo
    Pampero
    Sollozos
    – all from Tangos de Salon (BMG-RCA Tango Argentino)

Ricardo Tanturi con Enrique Campos
    Muchachos Comienza la Ronda
    Asi Se Canta
    Una Emocion
    Malvon
    – all from Una Emoción (El Bandoneon EBCD 81)

Lucio Demare con Roberto Arrieta
    Al Compas de un Tango
    Cancion de Rango
    Tango Guapo
    Malena
    – all from Tango Guapo (El Bandoneon)

Alfredo De Angelis – Adiós Marinero
(From an orchestra that is better known for its dramatic tangos and lyrical valses, this tanda opens and closes with lyrical tangos and has two smooth instrumentals in the middle.)
    Pura Maña
    Compadrón
    El Entrerriano
    Adiós Marinero
    – all from Adiós Marinero (El Bandoneon)

Golden Age Dramatic — De Angelis, Pugliese

Alfredo De Angelis and Osvaldo Pugliese played dramatic music that is best used to increase tension and build to the height of the evening. As the evening builds to a climax, more Pugliese and De Angelis is included in the mix. The music on the De Angelis tanda and the first three Pugliese tandas have simpler rhythms and might be used ahead of the next two Pugliese tandas. Of the tandas in this section, only the Pugliese tanda that I have called "De Caro por Pugliese" is suitable for early evening play.

Alfredo De Angelis – Pavadita
(This dramatic tanda closes with the must-be-played classic Pavadita.)
    El Tango Club
    – from Instrumentales Inolvidables (EMI Reliquias)
    El Pial
    – from From Argentina to the World (EMI)
    Guardia Vieja
    – from From Argentina to the World (EMI)
    Pavadita
    – from From Argentina to the World (EMI)

Osvaldo Pugliese – De Caro por Pugliese
(This tanda is of early Pugliese music which is wonderful for dancing but does not have the heavy thumping "La Yumba" beat that people associate with Pugliese.)
    Tierra Querida
    Mala Junta
    Orgullo Criollo
    Boedo
    – all from DeCaro por Pugliese (EMI)

Osvaldo Pugliese – Tiny
(This tanda is primarily of early Pugliese music which is wonderful for dancing but does not have the heavy thumping "La Yumba" beat that people associate with Pugliese.)
    Tiny
    Mala Estampa
    Raza Criolla
    El Remate
    – all from Instrumentales Inolvidables (EMI Reliquias)

Osvaldo Pugliese – Fuimos
(This tanda is of music in which Pugliese made the transistion to the heavy thumping "La Yumba" beat.)
    Farol
    – from Ausencia (EMI Odeon # 8 35886 2)
    Fuimos
    – from Ausencia (EMI Odeon # 8 35886 2)
    El Paladin
    – from Instrumentales Inolvidables (EMI Reliquias)
    Recuerdo
    – from Instrumentales Inolvidables (EMI Reliquias)

Osvaldo Pugliese – Remembranza
(This tanda contains three incredibly passionate vocals and the classic instrumental "Chique.")
    Pasional
    Chique
    Cascabelito
    Remembranza
    – all from Ausencia (EMI Odeon # 8 35886 2)

Osvaldo Pugliese – La Yumba
(This tanda opens with the must-be-played classic "La Yumba." The others are also classics.)
    La Yumba
    – from The Tango Lesson (Sony movie soundtrack)
    Gallo Ciego
    – from The Tango Lesson (Sony movie soundtrack)
    Corrientes y Esmeralda
    – from Recuerdo (El Bandoneon EBCD 71)
    Emancipacion
    – from Ausencia (EMI Odeon # 8 35886 2)

Osvaldo Pugliese – Nochero Soy
(This tanda opens with the classic "Nochero Soy" and closes with the classic "La Mariposa.")
    Nochero Soy
    – from Ausencia (EMI Odeon # 8 35886 2)
    Pelele
    – from Instrumentales Inolvidables (EMI Reliquias)
    Derecho Viejo
    – from Instrumentales Inolvidables (EMI Reliquias)
    La Mariposa
    – from Ausencia (EMI Odeon # 8 35886 2)

Osvaldo Pugliese – Tinta Roja
(The music in this tanda is from the transitional era when the Pugliese orchestra played dramatic concert music. It can be used for social dancing, but do not be surprised if some dancers engage in theatrics.)
    Tinta Roja
    A Los Amigos
    Arrabal
    El Andariego
    – all from From Argentina to the World (EMI)

Transitional and New Tangos

In the late 1940s and early 1950s, tango orchestras began to shift away from dance music toward a concert sound that culminated in the new tango of Astor Piazzolla. The music from these eras is well recorded but is generally less well suited for social dancing than music from the golden age. I have pulled together a few tandas of music that are played with a dance beat and have the dramatic and lyrical qualities of tangos from the transitional and new-tango eras. Tandas from these eras should be used sparingly, and care should be used in selecting music for the tandas and in positioning them during the evening's mix of music.

Mixed Tanda – Carlos Garcia and Others
(Dancers seem to enjoy this tanda of dramatic and lyrical tangos which can be used to help build toward the climax of the evening, but do not be surprised if some dancers engage in theatrics. Opening the tanda with La Cumparsita may fool some dancers into thinking the evening is coming to a close.)
    Carlos Garcia and Tango All Stars – La Cumparsita
    – from Tango II (JVC)
    Carlos Garcia and Tango All Stars – Adios Nonino
    – from Tango II (JVC)
    Raul Garello – Verano Porteño
    – from Compilation, Buenos Aires by Night (EMI)
    Franicini/Pontier – A Media Luz
    – from Tango I (JVC)

Litto Nebbia Quinteto
(This tanda of lyrical music can be used during the resolution or denouement of the evening's dancing. It can also be used to refresh the dancers as the drama is building toward the height of the evening. Although the music has a simple, clear beat, it does not seem to inspire dancers when it is played early in the evening.)
    Tango Canyengue
    Maladandra
    Nostalgias
    – all from Tangos Argentinos de Enrique Cadicamo (Iris 980)

New York Tango Trio
(This is a tanda of dramatic music that stirs fond memories for those who have seen the New York Tango Trio live.)
    El Entrerriano
    Yuyito
    9 de Julio
    – all from Cabarute (Lyrichord 7428)

Mixed Tanda – Oblivion
(Languid describes the music in this tanda. As such, the tanda is only useful during the denouement of the evening's dancing, when the dancers are contemplating oblivion themselves. Use at any other time could send the DJ to oblivion in short order.)
    Trio Pantango – Silbando
    – from Tango Argentino (ARC EUCD 1257)
    Hugo Diaz (harmonica) – Milonga Triste
    – from The Tango Lesson (Sony movie soundtrack)
    Daniel Barenboim – Mi Buenos Aires Querido
    – from Tangos Among Friends
    Gidon Kremer – Oblivion
    – from Hommage à Piazzolla

Modern Dance Orquestas

Some modern tango orchestras, most notably Orquesta Color Tango, have returned to the dance beat that characterized the golden era of tango dance music. The recordings made by modern dance orchestras typically have more intricate arrangements with a little more of a dramatic concert feel than those made during the golden era, but the dance beat is prominent and the fidelity is much better than on the old recordings.

Orquesta Color Tango
    Emancipacion
    – Con Estilo de Bailar Vol. 2 (Techno Disc)
    Recuerdo
    – Con Estilo de Bailar Vol. 2 (Techno Disc)
    Festejando
    – Con Estilo de Bailar (Techno Disc)
    A Evaristo Carriego
    – Con Estilo de Bailar Vol. 2 (Techno Disc)

Milongas

The fast pace of milonga music can help give a lift to everyone's energy. It can also be used to exhaust the dancers and send them off the dance floor for a break.

Pedro Laurenz – Milongas
    Milonga Compadre
    – from Milonga de Mis Amores (El Bandoneon)
    Yo Soy de San Telmo
    – from Milonga de Mis Amores (El Bandoneon)
    Milonga de Mis Amores
    – from Milonga de Mis Amores (El Bandoneon)

Francisco Canaro – Milongas
(This tanda opens with two very slow milongas and closes with one that is moderately paced. Some dancers may have difficulty with the slow rhythms of the first two pieces.)
    Milonga Sentimental
    – from La Melodia de Nuestro Adios (El Bandoneon)
    Silueta Porteña
    – from La Melodia de Nuestro Adios (El Bandoneon)
    Cuando un Viejo Se Enamore
    – from Milongas: Canaro to Firpo

Francisco Canaro – Milongas
(Although Canaro's orchestra recorded many slow milongas, this tanda has moderately paced milongas that can be used for a variety of milonga dance styles.)
    Reliquias Porteñas
    – from La Melodia de Nuestro Adios (El Bandoneon)
    Milonga Brava
    – from Las Grandes Orquestas del Tango (Blue Moon)
    No Hay Tierra Como La Mia
    – from Las Grandes Orquestas del Tango (Blue Moon)

Miguel Caló – Milongas
(This tanda closes with the great candombe, Azabache.)
    Milonga Antigua
    – from Al Compás del Corazón (EMI Reliquias)
    Milonga Que Peina Canas
    – from Sus Exitos con Podesta, Ortiz y Beron (EMI Reliquias)
    Azabache
    – from Al Compás del Corazón (EMI Reliquias)

Rodolfo Biagi – Milongas
    Campo Afuera
    – from Campo Afuera (El Bandoneon EBCD 40)
    Picante
    – from Campo Afuera (El Bandoneon EBCD 40)
    Cantado Se Van Las Penas
    – from Sus Exitos con Jorge Ortiz, Vol. 2 (EMI Reliquias)
    Flor de Montserrat
    – from Sus Exitos con Alberto Amor (EMI Reliquias)

Juan D'Arienzo – Milongas
    La Puñalada
    – from 16 Grandes Tangos (RCA compilation)
    El Esquinazo
    – from Sus Primeros Exitos, Vol. 2 (BMG-RCA Tango Argentino)
    Milonga Vieja Milonga
    – from La Cumparsita (El Bandoneon)
    El Comandante
    – from Vol. 21 (CTA-321)

Juan D'Arienzo – Milongas
    Milonga Que Peina Canas
    – from La Puñalada (Blue Moon)
    El Temblor
    – from El Rey del Compas (El Bandoneon EBCD 43)
    Milonga Querida
    – from El Rey del Compas (El Bandoneon EBCD 43)
    Milonga del Corazon
    – from La Cumparsita (El Bandoneon)

Juan D'Arienzo – Milongas
    La Espuela
    Por Dos Caminos
    El Paisanito
    Calandria Pampa
    – all from Mario CD #8

Ricardo Tanturi con Alberto Castillo – Milongas
    Mi Morocha
    Asi Es la Milonga
    Mozo Guapo
    – all from Tangos de Mi Ciudad (BMG-RCA Tango Argentino)

Anibal Troilo – Milongas
    Ficha de Oro
    – from Del Tiempo Guapo (El Bandoneon)
    Del Tiempo Guapo
    – from Troilo/Fiorentino Vol. 2 (Solo Tango BMG RCA)
    Mano Brava
     – from Troilo/Fiorentino (Solo Tango BMG RCA)

Carlos Di Sarli – Milongas
(A tanda of playful, lyrical, relatively light and delightfully danceable milongas.)
    Rosa Morena
    – from Sus Primeros Exitos, Vol 3. (Tango Argentino BMG-RCA)
    Zorzal
    – from Sus Primeros Exitos, Vol 3. (Tango Argentino BMG-RCA)
    La Mulateada
    – from Sus Primeros Exitos, Vol 3. (Tango Argentino BMG-RCA)
    Pena Mulata
    – from Sus Primeros Exitos, Vol 1. (Tango Argentino BMG-RCA)

Valses

Tango waltz music is delightfully lyrical and romantic. Playing it usually lifts everyone's spirits.

Alfredo De Angelis – Valses
(All of these valses are absolutely delightful. A four vals tanda may seem a little long, but to quote Mae West, "Too much of a good thing can be wonderful.")
    Pobre Flor
    Soñar Y Nada Mas
    Flores del Alma
    A Magaldi
    – all from Adios Marinero (El Bandoneon)

Pedro Laurenz – Valses
(Pedro Laurenz played unbeatable vals music.)
    Mascarita
    Paisaje
    Mendocina
    – all from Milonga de Mis Amores (El Bandoneon)

Miguel Caló – Valses
(Miguel Caló played incredibly romantic vals music.)
    Bajo un Cielo de Estrellas
    – from Yo Soy el Tango (El Bandoneon EBCD 34)
    Pedacito de Cielo
    – from Yo Soy el Tango (El Bandoneon EBCD 34)
    El Vals Soñador
    – from Al Compás del Corazón (EMI Reliquias)

Ricardo Tanturi con Alberto Castillo – Valses
    Con Los Amigos
    Mi Romance
    Recuerdo
    – all from Tangos de Mi Ciudad (BMG-RCA Tango Argentino)

Carlos Di Sarli – Valses
    Cortando Camino (1941 w/ Rufino)
    – Sus Primeros Exitos vol 3 (Tango Argentino DBN-RCA)
    Rosamel (1940 w/ Rufino)
    – Sus Primeros Exitos vol 1 (Tango Argentino DBN-RCA)
    Ausencia (1940 w/ Volpe)
    – Anthologies Valses et Milongas du Carlos Di Sarli (Privately Released by SCAQC)

Carlos Di Sarli – Valses
    De Vuelta (1947 w/ Podesta)
    – Porteño y Bailarin (Maestros del Tango Blue Moon)
    Estampa Federal (1942 w/ Podesta)
    – Sus Primeros Exitos vol 3 (Tango Argentino DBN-RCA)
    Acuerdate de Mi (1946 w/ Duran)
    – El Señor del Tango (El Bandoneon)

Rodolfo Biagi – Valses
(This tanda closes with Biagi's incredible instrumental rendition of "Lagrimas y Sonrisas.")
    Paloma
    – from Sus Exitos con Alberto Amor (EMI Reliquias)
    Por Un Beso de Amor
    – from Sus Exitos con Jorge Ortiz, Vol. 2 (EMI Reliquias)
    Cuatro Palabras
    – from Sus Exitos con Jorge Ortiz, Vol. 2 (EMI Reliquias)
    Lagrimas y Sonrisas
    – from Sus Exitos con Jorge Ortiz (EMI Reliquias)

Dan Diaz and the Tango Camerata – Valses
    Palomita Blanca
    Romance de Barrio
    Desde el Alma
    – all from Live at Stanford University (Rio Plata Institute)

Mixed Tanda – Valses
(This tanda opens with the vals used in a Volkswagen commercial and contains the incredible and dramatic Desde el Alma.)
    Hector Varela – Palomita Blanca
    – from Buenos Aires de Noche (EMI compilation)
    Lalo Schifrin Orquesta – Corazon de Oro
    – from Tango, movie soundtrack
    Osvaldo Pugliese – Desde el Alma
    – from Ausencia (EMI)
    Orquesta Color Tango – Ilusion de Mi Vida
    – from Con Estilo Para Bailar (Techno Disc)

La Cumparsita — The Finale

When the DJ plays the classic "La Cumparsita," dancers know the milonga is ending and the evening is coming to a close. At milongas in Buenos Aires, DJs typically play at least two versions of "La Cumparsita" to end the evening. Dancers often dance the first version with whoever is nearby and reserve the second for someone special. Sometimes DJs will play more than two versions of "La Cumparsita."

La Cumparsita for Milonguero-Style Dancing
(The following recordings are best for milonguero-style dancing.)
    Francisco Lomuto – from Great Orchestras of Tango’s Golden Age (Harlequin)
    Angel D'Agostino y Angel Vargas – from Tangos de Los Angeles, Vol. 2 (BMG-RCA Tango Argentino)
    Juan D'Arienzo – from 16 Grandes Tangos (RCA compilation)
    Rodolfo Biagi con Jorge Ortiz, Vol. 2 (EMI Reliquias)
    Francisco Canaro – Tangos (EPM Musique)

La Cumparsita for Salon-Style Dancing
(The following recordings are best for salon-style dancing.)
    Carlos Di Sarli – from Instrumental (BMG-RCA Tango Argentino)
    Alfredo De Angelis – from From Argentina to the World (EMI)
    Carlos Garcia – from Tangos II (JVC)
    Tango X 2 Orquesta – from Una Noche de Tango
    Francini/Pontier – from Tangos I (JVC)
    Los Porteños – from Tangos de Siempre (Seyer)

Other recordings of La Cumparsita
(The following recordings are of jazz tango but can be used for salon-style dancing on rare occasion.)
Quinteto Francisco Canaro (Melopea Discos)
New York Buenos Aires Connection – The New Tango (VAI Audio)

Tango Argentino de Tejas

Home Video Resources Tango Music Other Topics Dallas Tango Links