Orquesta típica José GarcíaJosé García*22. Juli 1908 - + 5. April 2000 Number of recordings:40 To buywww.tangotunes.com. CD BATC |
Esta noche de luna - 1943 - Alfredo Rojas
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Stylerhythmic, melodic, playful Typicalsnappy violin riffs, beautiful violin solos, the voice of Alfredo Rojas |
Biggest hitsJunto a tu corazón (1943, Rojas) Esta noche de luna (1943, Rojas) |
Important singer-Alfredo Rojas (1943-1945) Important musiciansCarlos Figari (Piano) |
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Hundreds of famous and less famous orquesta típica existed at the time of the tango boom around and after 1940, but only 15 to 20 of these orchestras are played regularly today because they are actually better or more independent in style. But there are also lesser-known combos from which only a few hits or a single typical tanda have found their way to us. Among these are, for example, Antonio Rodio, Manuel Buzón, Ricardo Malerba or - most characterful - José García y sus Zorros grises. As a dance orchestra, the Foxes also played many other genres such as foxtrot, polka or rancheras, and as a dance orchestra, the Foxes always paid attention to a clear compás and comprehensible melodies, therefore most of the pieces are very appealing to dancers. 40 titles were recorded by the orchestra between 1942 and 1945. The style is somewhere between Tanturi (clear rhythm), Demare (precise violin riffs) and Caló (musicality), but easily recognizable by the violin tone and the voice of the main singer, Alfredo Rojas. |
Zorro Plateado - 1943 - Rojas
Fea - 1942 - Rojas |
Motivo Sentimental - 1944 - Rojas |
García was born in the Barracas neighborhood on July 22, 1908. Early the musically gifted child discovered his passion for the violin. Soon he became a virtuos master of the instrument. While still a teenager, García founded a music school to pass on his skills. In 1926, at age of eighteen, he was already conducting a youth orchestra. Some of its members later played in his famous orchestra. The gifted young man was not only interested in classical composers such as Beethoven and Schubert, but was also a talented painter. In the thirties, he put together his own orchestra of young, enthusiastic musicians that performed at the San Martín Theater. "Zorros grises" (Gray Foxes) was the name of his young gang because of the gray suits that García had bought cheaply for a first performance. They appropriately opened their shows with the tango Zorro Gris. Around 1940, the first singer was Carlos Alberti. However, the most important singer was Alfredo Rojas. In 1941, when the tango was booming like never before, García also managed to get a recording contract with Odeon. The first recording, Fea, was made in January 1941, and by 1945 García had recorded 40 titles. |
The musicSimilar to Caló, the arrangements of this orchestra combine rhythmic stability with constantly varying orchestration and beautiful melodies. While the musicians are not quite as virtuosic as the stars in Caló's line up, their interpretations are precise, sensitive, varied and full of musicality, with many small accents, slightly swelling and falling runs and jagged arrastres. The instrumental El retirao (1942) lives from this musicality, here the role of the piano can be heard well, it connects the different phrases with small fills. The first work, Fea, is also bursting with musical ideas. Over the melodía rítmica of the opening phrase, played in staccato, similar to Demare's sharpness, lie beautiful melodies, once legato, once plucked in pizzicato, later intoned by the piano. The stable compás is realized with great variety. It is this rhythmically stable playfulness that inspires dancers in a wonderful way. García's bandoneon section plays a special role in this. His young musicians bildt a colorful rhythmical foundation wealth of variations, at times melodically sensitive, at times jaggedly riff-like. In addition Alfredo Rojas intones characterfully with a clear, on the one hand pithy masculine, on the other hand often quite high voice. His phrasing is mostly rhythm-oriented, his rubatos are much more inspiring than confusing. By dedicating his singing to the dancers he is another refreshing element of this wonderful dance orchestra. We don't hear famale vocalist Nilda Wilson in tangos, but in a vals as well as in recordings of other rhythms. |
Farolito del Papel - 1944 - Rojas
El once - 1943 - instrumental
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TangosA suggestion for a tanda:
Junto a tu corazón is among Carlos Di Sarli's greatest hits. And García's interpretation, with its lovely combination of steadiness and playfulness is a relaxed start into this tanda without being boring. Tristeza Marina, characterized by longer musical phrases, continues in the same way. Zorro Plateado, with more striking effects, already leads into the finale, the faster, more energetic Fea. This tanda is well suited in many places within a milonga. It is a good choice for transitioning from a calmer to a more energetic phase of a milonga. Tristeza Marina - 1944 - Rojas
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Junto a tu Corazón - 1943 - RojasRoxana Suarez & Sebastián Achaval en la Baldosa, Buenso Aires - 2009
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Esta noche de luna (1943) Lloran las campanas (1944) Motivo sentimental (1944) Qué no sepan las estrellas (1945)
Similarly wonderful tangos that can be combined in different ways are Farolito de Papel, Lloran las Campanas, Motivo Sentimental and Esta noche de luna, a composition by García with a beautiful piano solo by Carlos Figari, who later became Troilo's pianist in the late forties, while Qué No Sepan Las Estrellas (1945) as one of the later recordings is arranged even softer over a characteristic rhythmic motif.
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Lloran las campanas - 1944 - RojasAdrian Ferreyra & Dana Frigoli - Lisbon International Tango Festival 2016 |
El retirao 1942
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InstrumentaleA nice mixed tanda results with instrumentals by Demare, who's general sound is quite similar to GarcÍa. El retirao (1942) or El Corte Antiguo El Once (1943) La racha (Demare, 1942) Florcita (Demare, 1945) Lucio Demare: La racha 1942Fausto Carpino - Veronica Taumanova |
ValsSi alguna vez (1943), María Trinia (1942) and the swinging Préstame tu pañuelo (1942) can be combined to a good-humored vals tanda. Lagarterana (1942), with the voices of Alfredo Rojas and Nilda Wilson, comes across as very simple and fairground-like, similiar to the rather simple valses of Rodriguez or Donato. Lagarterana - 1942 - Nilda Wilson/Alfredo Rojas |
Presta me tu pañuelo - 1942 - Rojas
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MilongasGarcía's milongas, quite typical of the years after 1940, are much influenced by candombe. While Felicita (1942, 104 BPM) and Para negros solamente (1943, 108 BPM) can find their place in a good-humored milonga tanda, Hula La Misteriosa, at 122 BPM, might be difficult to dance. |
Felicita - 1942
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Source: El-Recodo.com
Date |
Title |
Singer |
Genre |
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23.01.42 |
El mentiroso |
Alfredo Rojas y Nilda Wilson |
CORRIDO |
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23.01.42 |
Fea |
Alfredo Rojas |
TANGO |
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17.03.42 |
Lagarterana |
Alfredo Rojas y Nilda Wilson |
VALS |
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17.03.42 |
Retirao (El retirao) |
TANGO |
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17.04.42 |
Batallón de solteros |
Alfredo Rojas |
CORRIDO |
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17.04.42 |
El distinguido ciudadano |
TANGO |
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17.04.42 |
Préstame tu pañuelo |
Alfredo Rojas |
VALS |
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17.04.42 |
Solo compasión |
Alfredo Rojas |
TANGO |
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27.07.42 |
Junto a tu corazón |
Alfredo Rojas |
TANGO |
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27.07.42 |
Verde luna |
Nilda Wilson |
RUMBA BOLERO |
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17.09.42 |
En un bosque de la china |
Alfredo Rojas |
RUMBA |
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17.09.42 |
No pudo ser |
Alfredo Rojas |
TANGO |
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27.10.42 |
A lo mejor quién te dice |
Alfredo Rojas |
TANGO |
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27.10.42 |
Zorzal |
Alfredo Rojas |
MILONGA |
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04.11.42 |
Adiós adiós corazón |
Alfredo Rojas |
TANGO |
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04.11.42 |
Felicita |
Alfredo Rojas |
MILONGA |
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13.01.43 |
El once (A divertirse) |
TANGO |
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13.01.43 |
Zorro plateado |
Alfredo Rojas |
TANGO |
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13.01.43 |
Nocturno de tango |
Alfredo Rojas |
TANGO |
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13.01.43 |
Para negros solamente |
Alfredo Rojas |
MILONGA |
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13.05.43 |
María Trinia |
Alfredo Rojas |
VALS |
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15.05.43 |
Tristeza marina |
Alfredo Rojas |
TANGO |
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22.06.43 |
Hula la misteriosa |
Alfredo Rojas |
MILONGA |
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22.06.43 |
No creas |
Alfredo Rojas |
TANGO |
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13.08.43 |
Anselmo Acuña el resero |
Alfredo Rojas |
TANGO |
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13.08.43 |
Candombe rioplatense |
Alfredo Rojas |
CANDOMBE |
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13.08.43 |
Esta noche de luna |
Alfredo Rojas |
TANGO |
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11.12.43 |
Si alguna vez |
Alfredo Rojas |
VALS |
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17.01.44 |
Cuna de tango |
Alfredo Rojas |
TANGO |
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17.01.44 |
Farolito de papel |
Alfredo Rojas |
TANGO |
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07.04.44 |
Aguántalo si podés (De corte antiguo) |
TANGO |
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07.04.44 |
Calla bandoneón |
Alfredo Rojas |
TANGO |
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01.06.44 |
Lloran las campanas |
Alfredo Rojas |
TANGO |
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01.06.44 |
Quien no tuvo un amor |
Alfredo Rojas |
TANGO |
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09.08.44 |
No estamos solos |
Alfredo Rojas |
TANGO |
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09.08.44 |
Si escucharas mis amores |
Alfredo Rojas |
TANGO |
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10.02.44 |
Motivo sentimental |
Alfredo Rojas |
TANGO |
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10.02.44 |
Turbión de recuerdos |
Alfredo Rojas |
TANGO |
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16.04.45 |
Nadie ha de saber |
Alfredo Rojas |
TANGO |
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16.04.45 |
Que no sepan las estrellas |
Alfredo Rojas |
TANGO |