Friday, February 11, 2011

Tanda of the Week 07 / 2011 -
Osvaldo Fresedo

Download or listen Tanda of the Week 07/2011 - Fresedo

1. Osvaldo Fresedo / Roberto Ray - "No quiero verte llorar" 1937
2. Osvaldo Fresedo / Roberto Ray - "Isla de Capri" 1935
3. Osvaldo Fresedo / Roberto Ray - "Como aquella princesa" 1937
4. Osvaldo Fresedo / Roberto Ray - "En la huella del dolor" 1934

This weeks tanda comes from Dj Sevin Egemen from İstanbul, Turkey. She also prepared a nice introduction to Fresedo and the tanda... enjoy!

"Overall, it's very traditional sounding, but there are some interesting rhythmic variations, that make his music a pleasure to dance to and interpret. Fresedo also incorporates unique tonal variations that make his music recognizable, such as extensive use of harps and an occasional vibraphone."

Osvaldo Fresedo

In the 1920s, Fresedo worked feverishly as a composer and conductor. Although his style evolved somewhat in the following decades, its essence remained the same: his performing group always displayed true elegance! Fresedo was one of the innovators of tango in the early 1920s, along with such other young musicians of the time as Julio de Caro and Juan Carlos Cobian. All of them brought a high level of musicianly technique and were thus able to bring about the more refined musical style that characterized the what later became known as the tango of the Guardia Nueva ("New Guard"). There would have been no Di Sarli without Fresedo!

Roberto Ray

This tanda features Roberto Ray, a classic and highly influential vocalist that became closely associated with Fresedo's music since joining his orchestra in 1931.
And in the list of many associations that Ray had with different famous orquestas that reached a perfect balance as for accentuations, divisions, ways, temper and nuances to express tango, one that has achieved archetypal rank is the one that the voice of Roberto Ray and the Osvaldo Fresedo orchestra formed. All the expressive finesse of that outfit would not find a better vocal response than Ray´s. When he joined Fresedo's group in 1931, Roberto Ray was the first to establish the standards of style for the singers in the orchestra -diction, timbre, repertory, finesse and emphasis deprived of the impudence of an outskirter-, that would be later the Fresedian constant vocal feature in all the singers that after Ray passed through the ranks of that orchestra.

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