CARLOS DI SARLI   January 7, 1903 - January 12, 1960   don Carlos in 1957.   If any musician walked like a panther, one imagines it must have been Carlos Di Sarli. His originality is breath-taking; his beat so sexy. By all accounts exasperating to work for, he was such a perfectionist that three times (in 1931, 48 and 56) his entire orchestra walked-out on him. For that, we are the poorer, because it always took time for him to regroup. His recordings from the early 40's are rarely played - the quality of what you buy is thin and noisy. Perhaps also the music is somewhat difficult except for advanced dancers. But it is easier to hear when cleaned. While heavily influenced by Fresedo's melodic sense, it seems Di Sarli's exquisite rhythmic sound grew out of scoring the strings to mimic the fué's characteristics (hear this on the vals "Dejame"). When later employing three or more bandoneóns, he stuck with his unique string voicings. He moved from hometown Bahia Blanca to Buenos Aires when he was 17 and formed his first sexteto in 1925. His first recording was made in 1928, at the age of 25. The Di Sarli Sexteto made 50 records between November, 1925 and August, 1931. RCA Victor then dropped him from their roster. Di Sarli managed to get a contract with Brunswick backing singer Mercedes Carni. They made 22 recordings. But it was more than 8 years before he could record his own orquesta again. He will have 3 bandoneons, 3 violins, bass, himself, and new young singer Roberto Rufino. He will have his wicked new sound and feel. That momentous day in tango music history: December 11, 1939 . He records Corazon, one of his own rare compositions. Knowing how long it had been since he had made a record, one can hear the extra need and urgency in this stunningly original arrangement. (We are hearing the sweet violin solo by Roberto Guisado). Every CD version of this recording I have heard is way too fast. That's a particular shame as this song is already challenging enough to find how you want to dance it. His walking music, with almost boogie-woogie-ish fills as early as 1928, beckoned us to the dance floor. To me, Di Sarli is to tango like what Duke Ellington is to American popular music. They both explored sophisticated and complex simplicity - and encouraged every sensual inclination. When I want to impress a musician who knows nothing about Tango, I might play "Con Alma Y Vida" and ask the person to isolate the piano. Di Sarli was a wizard on the keyboard, and his arrangements magical. Many teachers around the world use Di Sarli's later music for teaching. It is an excellent assist for beginners who often have trouble hearing "the beat" of tango until they get acclimatized. Even today, when I meet a new person I am interested in dancing with, I pray they put on Di Sarli so I can get her to slow down, open up and know my way of moving. He really gives great places to go and things to say. (Particular favorites of the slow ones? El Once. Nuevo Puntos. Bahia Blanca. Comme Il Faut). Carlos Di Sarli (shades), with his singers (from left) Oscar Serpa, Alberto Podestá, Mario Pomar, Roberto Rufino & Jorge Durán.   It is a mark of his genius that, although perhaps his recordings on the whole might be heard at least as frequently as any other orchestra (because of teaching and practice use on the classic slow instrumentals), they last and last and never lose power and their inspiring sensuality. Early, Di Sarli's arrangements were slow, cool walking rhythms; then he went through a fast period. Again he slowed everything down in the 50's. He was also another victim of the outrageous planned fire that swept away the warehouse containing his, and other greats such as Troilo's, precious original master recordings. Consumers' scratchy 78's became the only source material. Record companies have routinely issued atrocious reproductions of his originals. Generations have never heard what he really sounded like. That's why I'm on the restoration odyssey. Many people just crank-up the noise reduction gear and call it restoration. They use technology to eliminate the crackle and clicks. By doing so, they destroy in large measure the musicality. That in turn takes all the emotional connection away from the song. Here is an example via MP3 of what I mean. I call it MURDER ON THE AUDIO EXPRESS. From a CD I purchased, here is one person's approach to rendering Di Sarli's "La Mulateada" ( from the 20th of November, 1941). Notice the strings and singer Rufino sound like they are on helium; the bass a mysterious and vague stranger lurking but not touching. And of course, it's up in speed and pitch from the original. Here is my restoration of La Mulateada. For me, what Carlos Di Sarli recorded is often the epitomy of taste, elegance and sensuality. He walks with distinction amongst the gods of tango. Still like a panther. There are 272 ToTANGO Di Sarli Restorations. At his casa de Olivos, 1959.