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ORQUESTA TÍPICA CANARO
This quintet made the recordings in Porto Alegre. See Francisco Canaro, Mis memorias, Ed. Corregidor, 1999, 134 and 135:
"Más tarde, don Alfredo Améndola, principal accionista de los discos "Atlanta", me contrató para ir a Porto Alegre (Brasil) a grabar una remesa de discos, pues en Buenos Aires no había equipo para grabar, ni fábrica. La única casa que a la sazón tenía equipo y fábrica era la de Max Glücksmann, propietario del "Disco Nacional Odeón" para cuyo sello grababa únicamente Roberto Firpo, que usufructuaba ese privilegio en razón de tener contrato de exclusividad.
En virtud de tal contrato con el señor Améndola, nos embarcamos para Porto Alegre en un pequeño vapor de carga, "El Toro", que más tarde fue echado a pique por los alemanes. En ese viaje me acompañaron Pedro Polito, bandoneón, y Leopoldo Thompson, contrabajo; los demás músicos por razones de economía en los gastos, fueron contratados en Porto Alegre; la empresa tenía, al efecto, ajustado un presupuesto limitado.
La fábrica de Porto Alegre era de propiedad de un señor llamado Saverio Leonetti, y se grababa por sistema mecánico y por medio de unas bocinas largas y muy incómodas."
(Later, Don Alfredo Améndola, main shareholder of "Atlanta" Records, contracted me to go to Porto Alegre (Brazil) to make recordings for a shipment of records as in Buenos Aires there was no recording equipment or factory. The only house which at that time had equipment and a factory was that of Max Glücksmann, owner of "Disco Nacional Odeón" for whose label only Roberto Firpo recorded, who enjoyed that privilege because he had an exclusive contract.
By virtue of such a contract with Mr. Améndola, we embarked for Porto Alegre on a small cargo steamer, "El Toro", which was later sunk by the Germans. On that trip I was accompanied by Pedro Polito, bandoneon, and Leopoldo Thompson, double bass; the other musicians, for reasons of economy in expenses, were contracted in Porto Alegre; the company had, for that purpose, adjusted a limited budget.
The Porto Alegre factory was owned by a gentleman called Saverio Leonetti, and the recordings were made using the mechanical system and by means of some large and very uncomfortable horns.)
Standing from left to right: N.N. (violin), N.N. (flute), Francisco Canaro (violin), Leopoldo Thompson (guitar); sitting on the left: Pedro Polito (bandoneon). The other persons from left to right: Francisco Schultz (technician), Alfredo Améndola, Savério Leonetti.
(Photo courtesy of Todo Tango)
Due to the considerable amount of missing matrix numbers, the ATLANTA recordings are sorted by catalogue number.
The discographical sources only allow an approximate periodization of the first recordings of the Orquesta Típica Canaro. However, it is certain that records № 3013 to 3042 belonging to the so-called "Serie Canaro" (Canaro Series) are listed in supplement № 1 to the ATLANTA catalogue of September 1916, which announces new releases. This indicates that the respective recordings were made in 1916.1 As records № 3015 to 3019 contain four compositions by Francisco Canaro himself and two by José Martínez, a member of his orchestra, it is very probable that these are the first recordings of the Orquesta Típica Canaro and that the recording of the tango CHARAMUSCA (matrix № 30) is the very first of all.2 This means that the periodization of the first recordings of the Orquesta Típica Canaro with 1915 by some discographies is probably incorrect.
According to a folded card with an advertisement by the ATLANTA label of August 1917, the recordings released on records № 3043 to 3047, 3074 and 3075 were made in June 1917.
1 It cannot be ruled out that some records belonging to the "Serie Canaro" had already been released before September 1916. However, there are currently no known original documents by the ATLANTA label or other primary sources that indicate or prove this. In any case, on a folded card with an ATLANTA label advertisement of November 1915, none of these records appear in the "new list of recently received records" which only contains records № 3000 to 3009.
2 See Francisco Canaro, ibid., 67 and 69: "Al independizarme de Vicente Greco, formé un terceto con José Martínez como pianista y Pedro Polito en el bandoneón. Con este flamante conjunto debuté en el teatro Olimpo... Durante nuestra estada en el teatro Olimpo ya había compuesto "Charamusca", que estrené con mucho éxito; y el amigo José Martínez hizo el tango "Canaro", que me dedicó como testimonio de gran amistad y tuvo mucho suceso a fines del año 1915;..." (When I became independent from Vicente Greco I formed a trio with José Martínez as pianist and Pedro Polito on bandoneon. With this brand new ensemble I made my debut at the Olimpo theatre ... During our stay at the Olimpo theatre I had already composed "Charamusca" which I premiered very successfully; and my friend José Martínez wrote the tango "Canaro" which he dedicated to me as a testimony of great friendship and which was a great success at the end of the year 1915; ...). The two works were legally deposited in December and August 1915, respectively.
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