I prepared two tandas this week and one of them is from Miguel Caló milongas. I usually don’t play his milongas at milongas, but sometime I and people seek for changes. For these times I think Caló is a useful alternative.
I hope you will enjoy his milongas too.
About Miguel Caló (from todotango.com)
In the artistic history of maestro Miguel Caló we see two stages well differentiated that reveal his musical evolution and his gifts as great orchestra leader.
Even though his most transcendental success is related to tango in the forties, his work starts in the late twenties and is consolidated during the thirties.
His first stage began with the 1934 orchestra, in which we can appreciate a style familiar to Fresedo´s and a sound that reminds us of Di Sarli. Although he had put together other outfits before, these were reunited for certain occasions and were of little importance.
The orchestra in 1934 had Miguel Nijensohn on piano, who was to leave an indelible impression on the style of it forever, even after the forties. This instrument will have the responsibility of linking the musical phrases, with a timing and an ideal beat for the dancers.
During this time we can highlight the vocal participation of Carlos Dante, with whom he recorded 18 numbers of a noticeable beauty.
Alberto Morel and his brother Roberto Caló were as well singers in this first part of his history that lasted until the year 1939.
The forties reveal us the maturity of this great director, capable of assembling an outfit of young musicians of extraordinary capacity and professionalism, and all of them later organized their own groups..
At this second stage, Caló carried out and developed a style that connects traditional tango with the innovations of the age, without stridence, with a highlighted presence of the violins, a rhythmic bandoneon section and a spectacular piano, played by Osmar Maderna the first year, who was later replaced by Miguel Nijensohn, on his comeback to the orchestra.