(…) CACERES’s new CD Tango Negro Trio is particularly revealing, a fine introduction to his poetics, beginning with its title and the track “Viva el candombe negro”, a clear homage to tango’s African roots. The poignancy of his rough-edged voice announces a musical quest for that blackness often ignored by historians of tango, and which here finds full expression. (…)
from tangodata.com.ar

A sample:

La Cumparsita: Mixing everybody’s favorite tango with a cool bass riff from Jesus Christ Superstar

from: Mandragoratango.com

His show on Radio Belgrano meant for him achieving the nickname “Manos Brujas” (Spellbinding Hands), which was the title of a foxtrot by José María Aguilar that he played at the beginning of each show with his orchestra. His first singer was Teófilo Ibáñez, successful interpreter of the tangos “Gólgota”, “La novena” and the milonga “Campo afuera”. Later came Andrés Falgás who was a boom with “Queja indiana”, “Griseta”, “La chacarera” and “Cicatrices”.
Subsequently, the singer Jorge Ortiz, probably the most successful in the orchestra, joined them, he later joined Miguel Caló, but soon he came back to Biagi with whom he felt more at ease. His biggest hits were “Yuyo verde”, “Indiferencia”, “Pájaro ciego”, “Misa de once” and “Soledad la de Barracas”.
from: todotango.com

via buenosairestango.com

In 1952 Roberto Goyeneche is convoked to sing in Horacio Salgán’s orchestra where he sang with Angel “Paya” Díaz. Among his records with Salgán were “Alma de loca” (“Soul of crazy woman”) and “Un cielo para los dos” (“A sky for the both of us”), which he sang with Díaz. Later on he is convoked by Troilo’s orchestra, and he forms a vocal duet with Angel Cárdenas. At first Troilo did not like the idea of Goyeneche singing in his orchestra because he thought the singer looked “like a cowboy” (“tenía pinta de cowboy”) but, in the end, they became good friends. It was Troilo himself who encouraged Goyeneche to pursue a soloist career, which the singer started in 1963. He was one of th best singers of that time.
from elportaldeltango.com

via tangomiami.com

Francisco Lomuto’s (…) orchestra, even if does not truly belong to the first rank, was an important and popular dance orchestra in its day and left some wonderful recordings. You can get an idea of his popularity from the number of recordings that he left: over 950 titles between 1922 and his death in 1950. That’s more than double what D’Arienzo managed in the same period.
(from milonga.co.uk)

(via buenosairestango.com)