TT-blog D’Arienzo 1935–1939 – information by Jens-Ingo Brodesser

On 24th June 1935, Carlos Gardel, the most popular tango star at that time, died tragically. Such was Gardel’s prominence in Tango music that his sudden death left a void, but that was to change. Precisely 8 days after this sad event, Juan D’Arienzo reentered the recording studio, signing an initially short contract with the Victor label for a series of instrumental themes. This time, D’Arienzo would put aside his violin and take the lead as conductor for his ensemble. The first record he produced with Victor included the vals « Desde El Alma » on the A-side and the tango « Hotel Victoria » on the B-side. As it turned out, he would remain faithful to the same record label for the rest of his long career, laying the foundations that would revolutionise the tango genre forever, and open the door to the Golden Age of tango!

D’Arienzo constructed his new arrangements around four accented beats per bar, creating the impression of a more sustained rhythm where the beat is over the melody. The new « D’Arienzo sound » was characterised by a faster tempo that suggested more action and movement, it subconsciously recalled fundamentally natural rhythms, like that of a heartbeat. This new music had a great impact on all the major bands of the time and by the end of the 1930s most of the orchestras had adopted a faster pace and stronger accentuation of the beat. Everybody got caught up by the D’Arienzomania and tried to catch up with its success.

Soon after a couple of recordings, D’Arienzo replaced Lidio Fasioli with Rodolfo Biagi on the piano. The first recording session with Biagi was on 31st December 1935 for the tracks « Nueve de Julio » and « Orillas Del Plata ». On « Nueve de Julio » the tempo is again accelerated and Biagi brings in brilliant connecting transitions between the phrases. The execution becomes more nervous and aggressively rhythmical letting ancient tango themes sparkle once again.

In 1936, D’Arienzo signed a contract with the major radio station of the time, Radio El Mundo. At this time he added two more bandoneons and one violin to his ensemble. Rhythmic patterns and accents dominated his style, blending the melody into the rhythmic structure. The bandoneon took centre stage and the piano formed the backbone of his orchestra. Nevertheless, there is a constant detail which characterises D’Arienzo’s music throughout time: The « cuarta cuerda », a violin played on the fourth chord in glissando sounding like a viola or cello, which comes in every now and then to present a sentimental counter-melody.

The D’Arienzo-Biagi partnership remained intact until 22nd June 1938 when they recorded « Champagne Tango » and « Pensalo Bien ». Then Biagi left to form his own orchestra and was replaced by Juan Polito. To the initial instrumental project three singers were added: The first was Walter Cabral with whom D’Arienzo made four recordings in 1936, then Enrique Carbel for one single recording of the tango « Paciencia » composed by D’Arienzo himself. On 4th January 1938, the third singer Alberto Echagüe delivered the lyrics of « Indiferencia » composed by Biagi as his debut with the band. What was supposed to be a short recording contract turned out to be a very successful enterprise producing some 116 recordings between 1935 and 1939 (117 when counting « take two » of Don Esteban). All of these 116 recordings are perfectly enjoyable in a modern milonga, all hits, no flops! At the time, they actually sold like hot cakes. Unfortunately, the quality of some of the reissued titles is very poor and sometimes has added reverb. The present series restores the original sound giving access to some of the most remarkable repertoire in the history of tango!