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Well-known and less well-known tango orchestras from the late 20s to the late 40s are presented on a total of four albums entitled „Con Saludos desde Europa“. All titles were recorded in Europe. In addition to orchestras based in Europe, there are others who have only toured Europe for a short time. Some of them have been completely forgotten these days. This article provides background information on the orchestras and the musicians of the four albums. This music is also suitable for DJs when putting together tandas on a milonga.

The first album of the small series includes recordings by the orchestras of Quintin Verdu, Jose M. Lucchesi, Francisco Alongi and Rafael Canaro.

Quintin Verdu was born to Spanish parents in Algeria and came to Paris at the age of 10, where he attended the conservatory. At 21, he met Rafael Canaro and Miguel Orlando, who hired him as a pianist. He went on a European tour with Rafael Canaro until 1935 and later accompanied Tino Rossi, whom he soon left to form his own orchestra.

With their distinctive style, they were very successful until the outbreak of war. He was captured and released in 1941. His orchestra later became the house band of the famous “Olympia” in Paris. There are four tracks on this album that present the distinctive style of this orchestra.

*José Marcos *Lucchesi came to Paris from Brazil as the son of a Corsican family and, following the zeitgeist, also fell in love with the tango in the 1930s. After the war he switched to popular dance music with his works.

*Francisco Alongi *came to France from Tunisia in 1921 and became a pianist for Manuel Pizarro and later for Tano Genaro. He often accompanied the famous tango singer Rosita Barrios. In 1932 he founded his own orchestra.

Rafael Canaro, the little brother of the great Francisco, was also known as Argentina‘s tango ambassador to Europe. The recordings with Luis Scalon are from 1938 and were taken in Paris. Due to the outbreak of war, Rafael Canaro then returned to his native Argentina.

What did it sound like when a tango was recorded in the 30s or 40s of the last century? For several years Matthias Kroll has been dedicating a lot of time to  get closer and closer to the original recording in his sound restorations.Recently he has founded his own label. “Matthias Kroll Records” (MKR), which is distributed exclusively by Danza y Movimiento. In the following text Matthias Kroll himself tells how he became a tango restorer:
The Argentine Tango has a distinctive charm and once you have succumbed to it, you can usually never get away from it again. Like many, I first came into contact with it in the 90s when the Gotan Project started in Paris and hybrids like Tanghetto were played in the clubs. The free way of dancing to this music fascinated my wife and me and we had to learn it. After a longer break we got back into the milonga scene and I became more and more involved with the tango music of the past. I started to search for old recordings and to translate the lyrics. Once you are immersed in the world of the 20s/30s and 40s, there are so many forgotten tangos/texts and people to discover. Our dance style changed quite fast and we actually only dance in close embrace, where both partners feel and dance the music together as an inseparable unity.

Sometimes music and dancing also have something to do with politics. This is rare, but music can only be created if the social conditions are in place. And this includes musicians, authors, producers, publishers and many others who create music getting something for their work. These days the waves are boiling, because the vote is about a new copyright law in the EU. Let me start by saying that I can only congratulate any Member who dares, in view of the mobilisation against this reform, to give his vote to this draft law!

I run a small music label myself. Since the turn of the millennium my income has gone down the drain. A major reason for this was the use of music on the Internet. Since there were (and still are) no legal regulations in the field of copyright adapted to the digital age, the large Internet platforms¹⁾ on which you can listen to music have dictated their own rules for the use of music. On many platforms this meant that for a long time nothing (!) was paid to those who created this music. Until today, minimal amounts are paid with several zeros behind the comma for streaming. No musician can live on it, no music label can live on it.

The CD Tango 9 is the n.9 in the Tango production of the Hyperion ensemble. The project of this new release is strictly following the two previous CDs, Epoca de oro (2011) and Remembranzas (2014) wishing to bring to a new life the music of the historical orchestras of the 40s and 50s; it contains a lot of great hits in the classical Tango repertoire, as Los Mareados, Cachirulo, Esta noche de luna, famous milongas as La Punalada and Mano brava, refined valses as Temo, etc.

The recording has been done 50% live and 50% in studio, with the two bandoneonists Josè Luis Betancor and Antonio Ippolito. Actually this CD is an adequate photo of the Hyperion ensemble in this moment of its life and activity, developing itself mainly in Festivals or in Shows with dancers, moving hundreds of people with the rhythm of the music by D’Arienzo, Pugliese, Biagi etc. reinterpretated with a modern concept of sound and orchestration. The CD contains also a new interpretation of the milonga Morena by Esteban Morgado and of the foxtrot Por las calles de Estambul, and a special arrangement of the Modugno’s song Le donne belle, featuring a Trio of female voices: Creartis Trio.