Juan D'Arienzo, el Rey del Compás

How much fun is to dance to D'Arienzo/Echague tangos... What is your favorite one? I go through phases, I always loved Paciencia, but "Ansiedad" gets me going!

Comment if you are inclined in which one is your favorite D'Arienzo Echague  tango please...

In addition, please watch the following videos.

1) You can see the singer Alberto Echague and director Juan D'Arienzo, el Rey del Compás playing "Paciencia"  http://dai.ly/x6j05m

2) "Amorroto" by Juan D'Arienzo: http://youtu.be/u8GG5edNtkc

3) "Ansiedad" by Juan D'Arienzo and singer Alberto Echagüe. http://youtu.be/VxbFIdGxfVE

Juan d'Arienzo (December 14, 1900 – January 14, 1976) was an Argentine tango musician, also known as "El Rey del Compás" (King of the Beat). He was son of Italian immigrants and used more modern arrangements and instrumentation; his popular group produced hundreds of recordings.

His music is played often at milongas in Buenos Aires, and the instrumentals are the classic harder rhythmic tangos with a strong staccato dance rhythm. He also recorded many great milongas and fast valses.

His recordings were accompanied by singers such as Alberto Echagüe, Armando Laborde, and Héctor Maure, among others.

Upon his death in 1976, his body was interred in the La Chacarita Cemetery in Buenos Aires, Argentina.

http://en.wikipedia.org/wiki/Juan_d'Arienzo

Interesting info here : https://tango.info/JuanaDarie

Today is "el dia del maestro" in Argentina (Teacher's day). I feel gratitude for all my teachers, in particular I remember my first dance teacher Maria Teresa at the National School of Ballet in Argentina. She was so sweet to me. And in tango, I pay may respects to el maestro Carlos Di Sarli. Do you know who Carlos Di Sarli is?

Di Sarli's musical style[edit]

In the beginning, his music had a simple structure, but over time it matured into a more lyrical, richer, playful and more subtle style which remained popular with tango dancers as it continued to have a clear dancing beat. This clean compás made him a favorite of beginning social tango dancers, while more advanced ones could enjoy the complexity and variations of his music. Because of this, di Sarli's orchestra was among the most popular ones during Carnival balls of his age and can still be heard at milongas in Buenos Aires and around the world today.[3]

Di Sarli moved beyond the style of the guardia vieja of tango and Julio de Caro's avant-garde, preferring to forge his own style without concession to the fashions of the day. While being influenced by Fresedo early on, he soon established his own way. A talented piano player, he directed his orchestra from behind his own instrument. His recordings do not feature significant instrumental solos; the bandoneóns at times carry the melody but essentially play a rhythmical, milonguero role. Only the violins stand out, playing a short solo or a counterpoint melody. He recorded many tracks more than once over the years, often with different singers. Di Sarli's creativity was mostly limited to the left hand piano part, filling in, modulating and accenting his delicate and elegant dancing beat. His reputation for musical elegance got him his nickname El Señor del Tango (The gentleman of tango).

Some examples of his discography http://mp3.li/index.php?q=Carlos%20Di%20Sarli#.VBIPKksmVM4

http://en.wikipedia.org/wiki/Carlos_di_Sarli

The Bandoneon: the tango instrument

THE BANDONEON IN TANGO

What is the bandoneon?

The bandoneon, shown below, is a type of concertina, played by holding the instrument between both hands and pushing in or pulling out, while pressing the buttons with the fingers. It has an essential role in the tango orchestra (orquesta tipica), and in fact has become almost the symbol of tango. Its beauty is in its power; it provides a somber, sensual sound.

The bandoneon history

The bandoneon was invented about 1846 by Heinrich Band, in Krefeld Germany under the name 'bandonion' - where it was intended to play church music. It is unknown exactly when it arrived in Buenos Aires (estimated at 1870), but it became very popular at about 1890 when it was found to be extremely conducive to the sounds of tango. Its name was changed from the German 'bandonion' to the Spanish 'bandoneon'. 

The exponent of the bandoneon

Ástor Piazzolla, the late Argentinean tango composer and performer, was the leading exponent of the bandoneon in the 20th century. His 1969 'Fugata' showcases the instrument. Below is an example of the Fugata played by Black Tango Pro - with no less than three bandoneons!

The complexity of the bandoneon

The bandoneon is a most complex instrument because most of the buttons produce a DIFFERENT note when played pushing in than when played pulling out. This means that each keyboard has two layouts - one for pushing and one for pulling. Additionally, since the bandoneon is asymmetrical - the right and left hand keyboards are different - it means that four different keyboard layouts must be learned. 

Here is Astor Piazzolla giving an interview on the bandoneon:

https://www.youtube.com/watch?v=7z40MBS5gFk#t=99