Let’s be honest! Alfredo Gobbi does not play in the highest league of best Tango orchestras ever. At least not in Europe and in the USA.
What might be the reason for this impression? Some possible answers:
- There is so much to explore from the “better” orchestras, so there is no need to focus on Gobbi.
- The recordings, especially 1947–1951 are rather bad.
- The singers apart from Jorge Maciel are not well-known.
So, it happened to us, too: We got the transfers from the sound engineers, sighed and thought: Okay, this job has to be done. Then we got to work.
And as it usually happens in life: When you start get to know something better, you start creating empathy and affection. Now we embrace Gobbi dearly!
The Gobbi recordings
In Todo de Gobbi, Alfredo Gobbi 1947–1953, the instrumentals are well balanced and perfectly danceable. Sometimes Gobbi is showing what he is capable of at the violin, but all in all he takes a subordinate role to his orchestra.
There is a known masterpiece with Jorge Maciel who had his first success with Remembranza in 1948.
But all recordings with Maciel are masterpieces! Have you ever thought you could create a vals tanda (even by 4) with the singer Jorge Maciel? Well, now you can! And your audience will love it.
We know there are two more recordings with Jorge Maciel, Canzoneta and Un regalo de reyes from 1954, which are part of Gobbi 2. Still, we are not sure to publish Gobbi 2 in the near future!
How many sung versions of Tierrita apart from the one with Maure/D’Arienzo do you know? Gobbi delivers one more – we love this interpretation of the completely unknown Héctor Maciel, who had his one and only appearance in the Tango world with this song.
Another interesting singer is Hugo Soler, who performed in only five recordings, four of them are duets (La entrerriana, Amor de forastero, Adoración and Amémonos). He later sang in the 50s and 60s in many orquestas and is well-known in Argentina.
Barcarola triste, the only tango he recorded as a soloist with Gobbi is a perfect candidate for a ronda de ases with the previously mentioned Tierrita.
Pablo Lozano‘s interpretation of Muchachos yo tengo un tango may be the third candidate, another one-shot on this compilation. Lozano later was chosen by Troilo to join his orchestra in the 50s.
The quality of the shellacs is mostly more than satisfying. Recorded under Golden Ear conditions.
In mastering stage, we used an enhancing filter to “excite” the tunes that sounded too dull. For the FLAC versions this filter was not applied. We applied it on the following tunes: Adoración, Amemonos, Aunque seas mujer, Barcarola triste, El andariego, Estrellita del sur, Independiente Club, La entrerriana, La número cinco, La vieja serenata, No la traigas, Nueve puntos, Remembranza and Si sos brujo.
We hope you will enjoy this compilation as much as we did!
Don Xello and the whole team of TangoTunes!