Tango 1929: Adios Muchachos - Orquesta Argentina Salvador Pizzaro

Qrquesta Argentina Salvador Pizzaro – Adios muchachos (Vodari & Sanders) Tango with singing, Regal 1929 (Spanish product. Originally recolrded for French "Columbia").

NOTE: In the years 1910-20, Paris was flooded with a veritable wave of Argentine tango orchestras. Among them were orchestras from Bueinos Aires and Montevideo playing in Parisian cabarets and dance halls, and numerous sought-after gramophone records. Often entire family clans of tango performers appeared in Europe, such as Francisco and Raphael Canaro, Manuel and Salvador Pizzaro, Eduardo and Manuel Bianco, Augustin Irusta and Annibal Troilo. Tango also reached New York around 1911, brought from South America by foreign dockers. It was an erotic dance, a mixture of Argentine milonga, Cuban habanera and Uruguayan candombe, designed to be performed mainly in dives and port night bars, to entertain undemanding guests. Therefore, its acceptance in the USA and Europe was initially met with resistance from prudish and picky audiences, but a few years later tango triumphed in the best restaurants of Paris and London, and then an avalanche of tangos in Berlin, Warsaw, Vienna, Moscow.

Combining hot Argentine style with local air, European tango became mostly a French version - sentimental and rhythmic, with the dominant accordion, there was also a German version performed mainly by Russian-Jewish or Romanian-Jewish musicians, characterized by a dark, "suicidal" tone, and a Polish version, in which a specific, nostalgic aura was acquired by outstanding Polish composers such as Jerzy Petersburski (O Donna Clara, To ostatnia niedziela), Artur Gold (Twoje czarne oczy) or Zygmunt Białostocki (Rebecca). In American and English tangos, the typical ballroom dance performance was often mixed with a jazz tempo, such as a foxtrot, which did not arouse the enthusiasm of many lovers of real tango. After World War II, the great tango declined, and outstanding compositions were rarely written, usually old pieces were arranged by new ballroom orchestras. An exception was Poland, entangled in the post-war Stalinist regime, where the progress of jazz or modern dance music was blocked by an "anti-bourgeois" ideology, so new but still brilliant tangos were released until the 1960s.