Miguel 's best recordings are what you find when you look up chemistry. He had the ring, the bounce, the push ... but - (he was a bandoneónist) - he also had the delicate touch that is refined Tango. Credit the players for this, of course, along with the arrangements and the recording producer. Listen to any one of his songs once, and you think you've heard it a hundred times before - because he nailed it. And he chose fabulous songs (several of which Tanturi also recorded. It's fascinating to compare them).
Tristezas De La Calle Corrientes; Jamas Retornaras; Al Compas Del Corazón; Que Te Importa Que Te Llora; Lejos De Buenos Aires; El Vals Soñador; Quatro Compaces; Un Crimen ... THIS IS TANGO! (See Domingo Federico).
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A young Miguel (bandoneon) with his band in 1936 (which included Pugliese, extreme right). | |
Caló's recordings with Raúl Berón singing are classic; just as pleasing to the ear because of better technical quality are those featuring Alberto Podestá. Many like singer Raúl Iriarte's recordings with Caló second-best after Berón's.
When his main singers and side-men (first pianist Héctor Stamponi and later Osmar Moderna, Francini and Pontier) left in 1945, his sound was never nearly as good again.
The best recordings of the Caló orchestra are outstanding. No Tango night is complete without Caló. What I wouldn't give to have
Miguel and his early-40's line-up alive today as young men in the studio!
There are 84 Miguel Caló ToTANGO Restorations.
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Reunion in 1961: Caló, Pontier, Federico, Francini.
