{"id":176,"date":"2013-06-07T15:00:13","date_gmt":"2013-06-07T14:00:13","guid":{"rendered":"http:\/\/www.stafforini.com\/tango\/?p=176"},"modified":"2014-05-06T17:07:41","modified_gmt":"2014-05-06T16:07:41","slug":"tanda-of-the-week-pugliese-vieja-recova","status":"publish","type":"post","link":"https:\/\/www.stafforini.com\/tango\/tanda-of-the-week-pugliese-vieja-recova\/","title":{"rendered":"My favorite tandas: Pugliese \u2013 \u2018Vieja recova\u2019"},"content":{"rendered":"

I am admittedly not a big fan of Pugliese. \u00a0There is an exception to my reservations about his orchestra, however: his collaboration with Jorge Vidal. \u00a0Unfortunately, Pugliese and Vidal recorded only seven tangos together (plus one milonga), so the options for a DJ are very limited. \u00a0To spice things up and challenge seasoned dancers, I sometimes substitute ‘Testamento de arrabal’ with Argentino Galv\u00e1n’s ‘Pa’ m\u00ed es igual<\/a>‘ (1951), which also features Vidal on vocals. \u00a0(Galv\u00e1n arranged some songs for Pugliese in the mid-40’s, and his orchestra, while clearly distinct in style, shares some similarities with that of the celebrated pianist from Villa Crespo.) Another possible substitution is Galvan’s ‘Cuando yo me vaya’ for ‘La cieguita’: while musically the song doesn’t fit as nicely, the lyrics<\/a> are evocative of both ‘Testamento de arrabal’ (“Tan s\u00f3lo una cosa pido, que me llore un bandone\u00f3n”) and ‘Puente Alsina’ (“A la barra de Boedo, Caballito y Puente Alsina”).<\/p>\n