Wednesday, January 21, 2015

Tanda of the Week 04/2015 - Di Sarli con Pomar, Duran, Casares y Florio 1950's

Hello all and a happy New Year! Sorry for taking my time to start the new year here at Tanda of the Week but I've been extremely busy with a couple of things. One of them being playing at and greatly enjoying the Tango Remolino DJ Festival in L'viv Ukraine just after Christmas. The festival was 12 days long (!!!) but I only had the chance to play the opening night and stay for two more days/nights of dancing. Highly recommended.

The main thing I was busy with however was the directing of a new show for my fire circus and dance company Walkea. A full month of rehearsals and a lot more time taken for producing the show ended with the 10 shows for a total amount of 28,000 people in the Lux Helsinki festival in Finland. I'm currently preparing our promotional videos and material... but for a sneak peak you can look at some amazing photographs from the performances.

And one of the things I'm busy with now is the promotion of my DJ career and looking for opportunities to play in milongas and festivals and everything in between in 2015 (and 2016 since many events book DJ's very early). So here's a reminder to you all that I am indeed a full time artist and I love to DJ as much as I can and I'm willing to travel a lot in order to do so. Any help in passing my CV (pdf) to the right people or recommending or requesting me to play goes a long way and is much appreciated! Greatly due to other tango fanatics and their help I've been very fortunate to play around the world and meet a lot of great people in doing so. And at least for the next few years I think I'll stay on the road. In fact I'm planning to put two of my passions together and do a few DJ tours on bicycle this year.

Here are some of my already public tour dates: 
  • 27.06. Midnight Light Tango Festival, Umeå, Sweden 
  • 06.06. Tango Alegria 10 year Anniversary, Kuopio Finland
  • 18.05. StudiLONGA, Halle
  • 19.04. La Luna, Antwerp
  • 18.04. La Roca, Amersfoort Netherlands
  • 16.04. Estar Bien, Antwerp
  • 14.04. Los Locos, Amsterdam
  • 12.04. La Tangueria, Brussels 
  • 24.02. Teerenpeli, Tampere, Finland
  • 19.-22.02. Tango Frostbite Festival, Helsinki
  • 14.02. Balta Pirts, Riga, Latvia
  • 13.02. Milonga Tipica, Vilnius, Lithuania
  • 24.01. Bailongo, Berlin   

Hope to see you at a milonga!
All the best,

DJ Antti Suniala


1. Carlos Di Sarli / Mario Pomar - "Domani" 1952
2. Carlos Di SarliJorge Durán - "Nubes de humo" 1958
3. Carlos Di Sarli / Horacio Casares - "Hasta siempre, amor" 1958
4. Carlos Di Sarli / Roberto Florio - "Derrotado" 1956 hope you don't mind me sharing another Di Sarli tanda. This tanda is made not only to put beautiful songs together but also to showcase four of the finest singers Di Sarli recorded with in the 1950's. I also wanted to choose songs that are slightly more uptempo than a lot of the Di Sarli recordings from the 50's. Uptempo in this case basically means midtempo or slower midtempo but still uptempo compared to the majority of the recordings. Also these songs are on the shorter spectum of (1950's) song lenght as they are around the 2:45-2:55 mark. This should give the tanda a lot of energy on top of the beauty of the songs.

There's a bit of a time leap between the first two songs going from 1952 to 1958 but if you have "Domani" in good quality this should be no problem. Also, to my ears, this version on Spotify/Deezer sounds a little bit too fast. My version from the Tango Digital Archive shellacs is a bit slower.


Di Sarli, Carlos - TOTW - Todo - iTunes Store

7 kommenttia:

  1. Beginner DJs, before considering playing anything like this in a milonga, do understand that this kind of music is generally EXTREMELY unpopular with social tango dancers.

    A sure clue to the fact that this is not dance music is the extent of the singing. The singing last for most of the duration of the track, whereas in a dance music track it lasts for much less. One reason you'd never hear a tanda like this in a traditional Buenos Aires milonga is that the singing in tracks #3 and #4 begins just a few seconds into the track, thereby interrupting the dancers' chat that takes place at the start of every track except the first. For a DJ to do that to dancers would be considered extremely rude.

    Do not be mislead by the fact this kind of music is popular with show performers and dance class instructors. e.g. .

    1. Thanks Chris again for commenting from the further edge of traditional social dancing. While you have a point... especially with the vocals taking a large part of some of the songs... I'd like to say that I guess there are more types of social dancers than you'd care to admit. Sure I would not play this in a lot of the Bs As milongas but there are plenty of other milongas where I could. And these milongas are a lot closer to even your view of traditional milongas than you'd care to admit. Tandas like these are the exceptions of the milonga and tandas like these you play only once or twice during the set. And a lot of social dancers are generally EXTREMELY ok with that.

      This tanda goes quite far on the drama and even if one would like to play 50's vocal Di Sarli they could of course tone it down quite a few notches with choosing different songs. However... the clear beat is there, no tempo changes, amazing orchestra, great singers, beautiful songs and lyrics. And you can dance to these with out doing any performance tango. This kind of music is in fact popular with a lot more dancers than just the show performers and dance class instructors.

      However I don't mind your comment. Beginner DJ's need to play safe. But I will not add warning labels on every tanda I post on the blog.

    2. Antti wrote: "I'd guess are more types of social dancers than you'd care to admit"

      You'd guess wrong. I said "generally". I readily accept there are social dancers who are unhappy with the mix of music found in mainstream milongas. There's nothing wrong with that at all. For these people there are dance events labelled "alternative".

      " But I will not add warning labels on every tanda I post on the blog."

      Nor warning labels on any tanda you post on this blog, as far as I can see.

      I hope you'll reconsider. Especially as you have recently changed the intro wording to include non-traditional music, but left learners with no guidance on which of the tandas are trad and which are not.

    3. Ok let me be more precise. There are more types of traditional social dancers. You represent a very strict interpretation of this and I'm not going to say there's anything wrong with this or you clinging on to your definitions. But your view is black and white and anybody who likes for example, let's say 50's vocal Di Sarli, on top of their very traditional music, should go to an alternative milonga. Sure we can call any milonga that differs in the slightest from what you hear in "El Beso" or "Cachirulo" alternative but that's not really the general definition of an alternative milonga as I'm sure you know.

      For you this music is not inspiring to dance to and also you really want to hold on to your understanding of the traditional Buenos Aires milongas with the exception of playing some Canaro and Carabelli and whatnot. Many have the view that a good traditional milonga needs one or two tandas (but definitely not more) that bring such energy such as this one. Sure this might not be the best tanda for it and quite a bit less drama would do, but music like this brings great pleasure to many normal non-performing non-teaching dancers who would concider themselves very traditional and would agree 99% with you on what is good music to dance to. Even in Buenos Aires.

    4. Antti wrote: "your understanding of the traditional Buenos Aires milongas with the exception of playing some Canaro and Carabelli"

      Sorry Antti, but if you think Canaro and Carabelli are exceptions to the music played in BA milongas, then you are deeply mistaken.

      The typical BA milonga plays Canaro every night.

      And many play Carabelli, whether released as such, or as by the Carabelli-directed OT Victor.

  2. Oh dear. I guess I'm not serious enough, let alone sophisticated enough for this kind of music. But then I find a lot of even mainstream Di Sarli on the overblown & ostentatious side. What feeling does it give me? Not one I'd care to dance to. Great cortina though!

  3. I think this tanda is well-built, especially on instrumental level. Has good rythm, exceptional for late vocal Di Sarli. And playing it could save some hard time to some beginners experimenting with this period of the orquesta. I guess most of the dancers around world would dance it. And I think it is safer to play this one then e.g. Pugliese-Maciel which played everywhere (yeah I hate it ,don't dance it and I just have my beer and cigarette when on milonga).