Episode 9

Sparkling Milongas

In the last two episodes, we explored the variety of styles in tango and vals recordings. Today, we’ll continue this journey by looking at milongas—specifically, how some share a near-identical essence, while others showcase striking differences.

Some milongas have been recorded in versions so similar that they offer dancers a consistent yet subtly distinct experience. A prime example is 𝑵𝒐 𝒉𝒂𝒚 𝒕𝒊𝒆𝒓𝒓𝒂 𝒄𝒐𝒎𝒐 𝒍𝒂 𝒎í𝒂, recorded in 1939 by three major orquestas:

At first listen, all three versions may seem identical, but if you pay close attention, subtle differences emerge. Canaro’s version has a stronger, more pronounced beat, while Lomuto’s interpretation is smoother and more rounded, staying true to his signature style of refining Canaro’s approach. De Caro’s version sits somewhere in between, offering a balanced blend of the two.

Interestingly, each orquesta highlights different instruments to emphasize the melody—Canaro leans on violins, Lomuto brings the piano to the forefront, while Julio De Caro’s version offers a perfect balance of violins, piano, and bandoneons.

On the other hand, the milonga 𝑪𝒐𝒏 𝒎𝒊 𝒑𝒆𝒓𝒓𝒐 demonstrates how the same track can take on completely different personalities depending on the orquesta:

Troilo’s version is rich and expressive, Biagi’s is vibrant and syncopated, and Lomuto’s provides a smoother, more fluid interpretation.

Unlike tango, where DJs have an abundance of recordings to choose from, the number of milonga tracks is much smaller. This means that building a strong milonga tanda requires both knowledge and creativity. DJs often mix milongas from different orquestas rather than sticking to just one, selecting tracks based on their personal preferences and the energy they want to create on the dance floor.

In future episodes, we’ll dive deeper into how to mix milongas from different orquestas to craft tandas that keep the dance floor alive.

#tango, #TangoArgentino, #tangodancer, #milonga, #milonguero, #tangodj