1928-1929    1935-1939    1940-1944    1945-1949    1950-1954    1955-1959    1960-1964    1965-1969    1970-1975

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1928-1929 Juan D'Arienzo was born December 14, 1900 in Buenos Aires as a son of Italian immigrants. Violinist with a conservatory education, D'Arienzo is best known as an orchestra director. Already at the age of 15, he started performing, together with his friend, the pianist Angel D'Agostino, in a youth orchestra. From 1921 on, he played jazz (accompanying silent movies), an activity in which he would meet Lucio Demare. But D'Arienzo returned to tango, being part of several formations (Orquesta Paramount - with Luis Visca and Angel D'Agostino, Los Ases del Tango, Orquesta D'Arienzo-Visca, Orquesta Polito-D'Arienzo). None of the orquestas left recordings. But, as was common in those days, references to live performances can be found on music score covers. Eventually they will evolve into the orchestra, his orchestra, with which D'Arienzo started recording for the label Electra in 1928. One of the bandoneonists at that time was no one other than Ciriaco Ortíz.

"Nene" En el Palais de Glace por la orquesta POLITO-D'ARIENZO...	"Mina Bacana" Ejecutado con gran éxito por la orquesta D'Arienzo-Visca en el Cine Hindú Palace...	"Mala" Estrenado en el Palais de Glace por la tipica D'Arienzo-Visca-Mazzeo en el Carnaval 1930. What's in a name ? In the year 1930 (if correct), pianist Luis Visca and violinist Alfredo Mazzeo still included...

Style, recording date and record number	Singer(s)	Title and authors
Tango 1928 (769)	Carlos Dante	Callejas Solo (J. D'Arienzo, L. Rubistein)	Dedicated to Alfredo Callejas. The music will later be reused with other lyrics: "Nada Más"
Tango 1928 (770)	Carlos Dante	Puro Grupo (C. Ortiz, J.J. Garrón)
Tango 1928 (770)	Carlos Dante	Quejas Del Suburbio (A. Polito, S. Polito)
Tango 1928 (769)	Carlos Dante	Juguete (S. Grupillo, N. Primiani)
Tango 1928 (768)	Carlos Dante	Funyi Claro (N. Vaccaro, E.E. Méndez)
Tango 1928 (768)	Carlos Dante	Esta Noche Me Emborracho (E.S. Discépolo)
Tango 1928 (772)		Pebetita (S. Polito)
Tango 1928 (772)	Carlos Dante	La Otra Noche (A. Romano)
Tango 1928 (767)	Carlos Dante	Sandía Calada (A. Aieta)
Tango 1928 (773)	Carlos Dante	Chorra (E.S. Discépolo)
Tango 1928 (773)	Carlos Dante	Era Un Rincón De Alegría (L.N. Visca)
Tango 1928 (767)	Carlos Dante	Siga La Farra (P. De Luca)
Tango 1928 (776)	Carlos Dante	Pobre Cieguita (J.C. Sanders, C.F. Védani)
Tango 1928 (776)	Carlos Dante	Por Ella Ten Piedad (A. Polito)
Tango 1928 (777)	Carlos Dante	La Muchacha Del Circo (G.H. Matos Rodríguez)
Tango 1928 (777)	Carlos Dante	Engominado (F. Montoni)
Tango 1928 (778)	Carlos Dante	Volvé Al Cotorro (A. Scarpino, C.C. Du Herme)	"Carlos Du Herme" as written on the music sheet cover, elsewhere "Duerme" is mentioned
Tango 1928 (778)	Carlos Dante	Medianoche (A. Tavarozzi, E.E. Méndez)
Tango 1928 (785)	Carlos Dante	Máscaras (P.P. Vilella, L. Rubistein)
Tango 1928 (788)	Carlos Dante	Fueye Querido (A. Polito)
Tango 1928 (785)	Carlos Dante	Acordate Lo Que Fuiste (P. Toscano)
Tango 1928 (788)	Carlos Dante	Muchachas Cuidado (A. Polito)
Tango 1928 (784)	Carlos Dante	Qué Vachaché (E.S. Discépolo)
Tango 1928 (784)	Carlos Dante	Por Mishé (L. Moresco)
Tango 1928 (789)	Carlos Dante	Ilusiones (G. Clemensi)
Tango 1928 (789)	Carlos Dante	Reite Mujercita (J. Rodríguez)
Tango 1928 (790)	Carlos Dante	Pa'Que Pensás (A. González)
Tango 1928 (791)	Carlos Dante	La Cumparsita (G.H. Matos Rodríguez)	The estribillo ("Mis amigos ya no vienen...") comes from the lyrics by Contursi and Maroni ("Si supieras...")
Tango 1928 (790)	Carlos Dante	Pálida Silueta (N. Primiani)
Tango 1928 (791)	Carlos Dante	No Te Engañes Corazón (R. Sciammarella)
Tango 1928 (794)	Carlos Dante	Chirusa (J. D'Arienzo, N. López)	The estribillo seems to be different from the lyrics used in later recordings and also from the version by Carlos Dante (with guitar accompaniment) of that same year. "Chirusa" was also played by the D'Arienzo orchestra in "Tango" (1933), the first Argentinian feature-length sound film. We can see D'Arienzo (left) still playing the violin. Watch the fragment on Youtube.
Tango 1928 (794)	Carlos Dante	Llevátelo Todo (R. Sciammarella)
Tango 1929 (799)	Francisco Fiorentino	Victoria (E.S. Discépolo)
Ranchera 1929 (799)	Francisco Fiorentino	Maíz Frito (M.V. Cabral, A. Villader)	Voice over by Martín V. Cabral
Tango 1929 (801)	Francisco Fiorentino	Noche Silenciosa (F. Lauro)
Ranchera 1929 (801)	Francisco Fiorentino	Fiesta, Asao Y Cimarrón (F. Lauro, M.V. Cabral)	Voice over by Martín V. Cabral
Tango 1929 (802)	Francisco Fiorentino	Soy Un Arlequin (E.S. Discépolo)
Ranchera 1929 (800)	Francisco Fiorentino	Al Tranquito (M.V. Cabral)	Voice over by Martín V. Cabral
Tango 1929 (800)	Francisco Fiorentino	Pilchas Fuleras (A.B. Fernández, F. de Gregorio)
Ranchera 1929 (802)	Francisco Fiorentino	La Correntina (M.V. Cabral)	Voice over by Martín V. Cabral
Tango 1929 (807)	Francisco Fiorentino ? see note	Ché Careta (S. Pabrio, D. Renis)	In his Francisco Fiorentino discography, R.G. Miglio claims that these 2 tangos (Ché, Careta - Mala) are often ascribed to Francisco Fiorentino whereas the singer is in fact unknown ("cantor sin identificar").
Tango 1929 (807)	Francisco Fiorentino ? see note	Mala (J.J. Visciglio, L. Rubistein)

According to R.G. Miglio - in his Carlos Dante discography - 4  of the titles already mentioned (with Dante as estribillista) were also recorded by Carlos Dante as cantor solista and accompanied by the D'Arienzo orchestra.
These recordings are hard to find (and therefore unconfirmed) with one exception: "Quejas del suburbio" which appears on a long play record "Los Heroes del Tango (colección Héctor Lucci - 1990)". In spite of all the discographical details in the comments on the record cover, D'Arienzo is NOT mentioned as the accompanying orchestra.
This is not really surprising and conforms to the editing habits of that time: on records with an estribillista , his name was often not mentioned on the record label (literally being considered as just another member of the orchestra) whereas on solista recordings the accompanying orchestra remained often unidentified (the record labels had only very generic accompaniment indications: con orquesta, con tres guitarras etc...)
The reference given by Lucci - 154-810 - very likely must be read as record number 154 (which makes sense in the Electra numbering system for solista recordings) and master number 810 (which makes sense chronologically).

Finally, two records by another solista: Raquel Notar. The accompaniment by D'Arienzo on her version of La Cumparsita does not seem to be disputed (although - as usual - his contribution is not mentioned on the record label). The B-side is an instrumental - "por la típica D'Arienzo" . The other record has also been attributed to D'Arienzo. I never heard "Maíz Frito" but the accompaniment on "Amor Pagano" sounds more like a trio to me, rather than an orchestra - reason why it was not included in the previous version. This has caused more than one remark, so I finally decided that it was better to mention it - with some reserve - than to ommit it completely. Update 2013-12: Based on the edition chronology of the movie "The Pagan" and other recordings of this movie theme (Canaro, Charlo, Gardel), Christoph Lanner has suggested that "Amor Pagano" was very likely recorded in 1929 (instead of 1928). More importantly, Christoph Lanner also indicates that the B-side of the second record might be a version of "Maíz Frito" by Francisco Fiorentino, NOT Raquel Notar. If this is the case, accompanying data strongly suggests that this would be a reedition of the earlier recording (on record nr. 799), not a new recording... At least, this would explain why, unlike for other D'Arienzo recordings from this period, nobody ever succeeded in obtaining an audio sample of this alledged Notar recording.

1928-1929    1935-1939    1940-1944    1945-1949    1950-1954    1955-1959    1960-1964    1965-1969    1970-1975

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