“ bellows ” that breathed caressed by the hands of a teenager named Aníbal Troilo . They were too good to be commercial and their members took different directions . Don Osvaldo dreamed with a cooperativeorganized orchestra , where all its members would compose and make the arrangements , and based on the “ De Carean ” legacy , they would find their own style , evolutionist , and milonguero at the same time . After some failed experiences and others that enriched him musically , that orchestra was born in 1939 . And he was able to carry out his project with the contribution of Aniceto Rossi on the double bass , Osvaldo Ruggiero on the bandoneon , Enrique Camerano on the violin and the rest of the ensemble playing along . Later , enriched by Emilio Balcarce , Jorge Caldara , Oscar Herrero , Arturo Penón and many others who joined that beautiful journey of “ everyone ’ s orchestra ”; milongueros and tasters of well-executed tango ; with musicality and unquestionable authenticity . And from that “ Yumba ” that came from remote heel sounds , from deep drums that rise from wells of time ( where Don Osvaldo went to look for them ), the orchestra starts a new stage . From the “ DeCarism ” it develops into the most genuine “ Pugliesism ”. The Yumba is recorded in 1946 and the line already addressed is established with Negracha and Malandraca ( 1948 ). The impeccably sung versions of Roberto Chanel and Alberto Morán , in the orchestra ’ s purest style , were already recorded on the album . Jorge Vidal would arrive , as Miguel Montero , Jorge Maciel and Abel Córdoba , all with their personal style . And from Don Osvaldo , the poetry would affirm with deep recognition : “ They say he has a pact with Tango ./ A pact with the people , a pact with life . / And he gives life to Tango so that it serves the people ./ And he gives his life to the people to serve Tango ./ And much people to Tango to enlarge life ...”. With the aforementioned trilogy of tangos , Don Osvaldo had set the bases of the Prevanguard that announced the path of the Vanguard that would later take Astor Piazzolla acknowledging this background , recognizing him as a precursor in the use of syncopation and counterpoint . But behind and opening the way from Recuerdo , was Las marionetas , Adiós Bardi , La Beba ... And in that same path are the instrumental jewels of Gallo ciego ( Bardi ) and La mariposa ( Maffia ), which his orchestra recreated .
And an outstanding career that must be celebrated saying : “ To the Greatest , with affection …”
Héctor Negro
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