You can’t DJ without tango music, and you can’t structure a milonga without a good amount of tango music. Therefore, tango DJs need to collect music. Furthermore, a tango DJ needs a solid knowledge base of tango music history, and especially of the major orchestras of the EDO (Epoca De Oro).
Tango music is played by orchestras ranging from small to large. Minimalist interpretations, such as solo bandoneon or the sung songs of Gardel, can be true musical gems, but are extremely rare at milongas. The same applies to some duos like Troilo/Grela or Ziegler/Sinesi. The traditional tango orchestra is a sextet (2 violins, 2 bandoneons, piano, bass) and expanded to enormous sizes of 10-20 musicians during the EDO (European Tango Orchestra). These large orchestras have been used for dancing since around 1930. Tango music can be historically classified into several phases. The currently accepted classification system is by H. Ferrer.[1]and looks like this:
– Origins of Tango (1865-1895)
– Guardia vieja (1895 -1925)
– – Origin (1895-1925)
– – Formalization (1910-1925)
– New Guard (1925-1955)
– – Transformation (1925-1940)
– – The Forties: The heyday (1940-1955)
– Modernization (1955-1970)
– Modern Tango (1970-2000)
– – Globalization (1970-1985)
– – Perduration (1985 – 2000)
– Current period (2000-present)
This is a useful classification when considering tango as a whole. However, attempting to classify a tango orchestra into one of these categories proves difficult, as orchestras have often evolved and adapted to different historical periods.
Tango had its golden age during the 1940s, a period known as the Epoca de Oro (Golden Age, abbreviated EDO) or simply as the Cuarentas (or El Cuarenta). This term is not used in the classification mentioned above; it was deliberately avoided and, under Guardia Nueva, classified as “Guardia Nueva: El Cuarenta: la exaltacion.” Furthermore, it is important to note that there was a transitional period (approximately 1925–1940) between the Guardia Vieja and the Cuarentas. During this time, orchestras were formed, and the necessary tools for arrangement and performance practice were developed.
- Old Guard (until 1925)
- Transition period to the EDO (1920s to 1930s)
- EDO (late 1935 to 1955)
- Post EDO (50s)
- Tango Nuevo (60s to 70s)
- Renaissance of Tango (80s and 90s)
- Modern Tango (2000 to present)
A tango DJ can play music from all these phases, but there are limitations regarding practicality. There are only a few recordings from the Guardia Vieja, and these are mostly of poor quality (e.g., Juan Maglio “Pacho,” Eduardo Arolas). Their danceability is limited. This means they are rarely heard at milongas, and DJs will only play them occasionally; they are not a constant part of typical milonga music. Very early EDO music from the transitional period, however, can be played, especially because both its acoustic and danceability are significantly better. Examples include Julio de Caro, early works by Canaro and Firpo, as well as label orchestras like OT Victor or OT Brunswick. These early tango interpretations are particularly popular in Europe; they are not commonly found at milongas in Argentina. The music of the central EDO is played at milongas all over the world, and we will discuss its orchestras in a later article. Towards the end of the EDO in 1955 and afterwards, the orchestras changed their style again, playing less for the dancers and more for the listeners. Orchestras from this period (such as Hector Varela or Julio Sosa) are available in good sound quality (stereo was introduced around 1958), but their danceability is usually limited. A DJ must therefore choose very carefully. Another genre is Astor Piazzolla’s Tango Nuevo, which is exclusively for listening (Piazzolla himself asked that his music not be danced to). Nevertheless, there are many early works by Piazzolla that are very danceable. After the reintroduction of democracy in Argentina, tango experienced a renaissance, both internationally and nationally. New orchestras were formed and presented tango with a fresh, reworked sound (e.g., Sexteto Mayor, Rodolfo Mederos, or Horacio Salgán). Here, too, danceability is limited, and a DJ must choose very carefully and tastefully.
Contemporary tango music can be classified in two directions. On the one hand, there are orchestras that follow the style of the old masters, such as OT Gente de Tango (Di Sarli), Color Tango (Pugliese), or many orchestras that are inspired by Piazzolla. On the other hand, there are groups that play tango fusion as a synthesis of tango and modern electronic rhythms (e.g., Gotan Project, Otros Aires, Bajofondo).
A tango DJ therefore needs profound knowledge of the musical history of tango, good taste and dancing skills (to judge the danceability) and of course knowledge of the great EDO orchestras.
We will discuss this in the next chapter.
Abrazos,
-Richard (DJ Ricardo)
1 http://es.wikipedia.org/wiki/Tango#Per.C3.ADodo_contempor.C3.A1neo
2 http://www.todotango.com/english/home.aspx