Tango Masters: Anibal Troilo Michael Lavocah 3® milonga press Tango Masters: Anibal Troilo Published in Great Britain by milonga press Copyright © Michael Lavocah 2014, 2016 Michael Lavocah has asserted his right under the Copyright, Designs and Patents Act 1998 to be identified as the author of this work This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out, or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condi­ tion being imposed on the subsequent purchaser. All rights reserved First edition 2014 Revised 2016 1234567890 milonga press 33 Britannia Road Norwich NR1 4HP England www.milonga.co.uk Paperback: ISBN 978-0-9573276-5-8 Series editor: Mike Stocks Cover design: Nigel Orme Cover photograph: Fred S Schiffer FRPS set in Garamond 11/14 The important thing is not to be a poet- it is to live life in a state of poetry Anibal Troilo - Preface Anibal Troilo: 100 years of friendship It’s 2014, one hundred years since the birth of one of tango’s great­ est and best loved musicians, Anibal Troilo, known as “el ban- doneon mayor de Buenos Aires” - the greatest bandoneon player in Buenos Aires. It’s a title that no-one disputes - no mean feat in this city. Entering the office of Centenario Anibal Troilo one immediately feels a special atmosphere. Francisco Torne (Troilo’s nephew), and Celeste Alvero are working flat out. Whilst Celeste continues to explore the archive, Francisco is busy arranging and co-ordinating the schedule; and there is an event almost every day. They have no financial motive for their work. I’m struck by the atmosphere of warmth, humility and affection that permeates this office. Uniquely amongst the leaders of the great tango orchestras, Troilo is loved by everybody. D’Arienzo, the progenitor of the dance revolu­ tion of 1935, continues to divide opinion now as he did then (be­ cause of the lack of sophistication of his music). Di Sarli, famously, was a difficult and demanding personality; Pugliese, with great integ­ rity, positioned himself on one side of a political divide that mankind seems fated never to heal. But Troilo, on the other hand, is loved by everybody because he loved everybody. He extended the hand of friendship to everyone, placing himself in the midst of humanity. He is everyman; and his music speaks to, and for, everyman. And so it is that this centenary is not that of the abandoned lover, sitting alone with only a whisky for comfort. It’s the centenary of warmth and friendship. Michael Lavocah Buenos Aires April, 2014 vn Contents Part 1: The Sound 1. Introduction 2. The first orchestra (1937) 3. Troilo - Goni - Diaz (1938) 4. Orlando Goni: marcamn bordoneada 5. Fiorentino: el cantor de orquesta 6. Anibal Troilo, bandoneon Part 2: The Repertoire 7. An introduction to the repertoire 8. The first recordings (1938) 9. Astor Piazzolla (December 1939) 10. On the radio (1940) 11. 1940: The lost recordings 12. Troilo-Fiorentino 1941 13. A change of pace (1942) 14. Gricel 15. Alberto Marino, the golden voice (1943) 16. The death of Orlando Goni 17. The Arrangers 18. Jose Basso (1943) 19. Adios, Fiore 20. Marino solo (1944) 21. Floreal Ruiz (1944) 22. Recuerdos de bohemio (1945) 23. Edmundo Rivero (1947) 24. Aldo Calderon (1949) 25. Chau, Rivero (1950) 26. The 1950s 27. Responso (1951) vui 28. The Troilo-Grela quartet (1953) 29. La ültima curda (1956) 30. Roberto Goyeneche (1956) 31. Troilo for export (1963) 32. Nocturno a mi barrio (1968) 33. Troilo in 10 tangos Part 3: The Man & the Myth 34. A short biography 35. If only they could speak 36. Troilo on Troilo Appendices A. Troilo on CD B. Troilo discography C. Orchestra formations Bibliography Index of Tides Glossary Acknowledgements