Miguel Caló (Buenos Aires 28th of October 1907, 24th of May 1972) was a bandoneonist, composer and Orchestra Director of Argentine Tango.
He was one of the stars of the golden age of Tango and became famous for his romantic and melodic tunes. He was born in the neighbourhood of Balvanera and, after studying violin and bandoneon since he was very young, he started working with important orchestras since 1926.
He formed his first orchestra in 1929, playing both in Argentina and in Europe.
Miguel Caló with Raúl Berón, Alberto Podestá, Jorge Ortiz and Raúl Iriarte
It was in 1941 that Caló became one of the major artist in the Argentine Tango scene, when singers Alberto Podestá and Raúl Berón joined his orchestra. The first very well known Tangos he played with his orchestra were Yo soy el Tango and Dos Fracasos, and since then his melodic and romantic style became one of the most appreciated in the Buenos Aires Milongas. Later on the singers were Jorge Ortiz and Raúl Iriarte.
Best Tangos with Alberto Podestá, Raúl Berón and Raúl Iriarte
Yo soy el Tango, Alberto Podestá
Dos Fracasos, Alberto Podestá
Al compas de un Corazon, Raúl Berón
Trasnochando, Raúl Berón
Tarareando, Raúl Berón
Lejos de Buenos Aires, Raúl Berón
Tristezas de la calle Corrientes, Raúl Berón
Jamás retornarás, Raúl Berón
A las siete en el café, Jorge Ortiz
Cuando tallan los recuerdos, Iriarte
A mi me llaman Juan Tango, Iriarte
Gime el viento, Iriarte
La vi llegar, Iriarte
La abandone y lo sabia, Iriarte
La noche que te fuiste, Iriarte
Cosas de Tango, Iriarte
Mañana no estaras, Iriarte
Miguel Caló, the second more experimental phase
As it happened for other orchestras, toward the end of the forties music changed and evolved. Everyone was looking for something more sophisticated, though if in some cases this produced many more tangos suitable for the milongas, in other cases orchestras stopped composing having in mind the feet of the dancer. Caló’s music from 1950 is still based on a romantic and melodic style, but the research of richness, nuances and new sounds perhaps drove him away from the dancers and there are not many Tangos of this era that we hear in today milongas. Listening to this period’s Tangos the compás is not always marked by the double bass, as it was in the past, but instead by more acute instruments, such as violins and bandoneon.
Miguel Caló: Valses and Milongas
Although Caló’s romantic style might not be very suitable for milongas, there are few very well known often played by most DJ’s.
Caló’s valses are among the best and are often played in nowadays milongas. Though less energetic than D’Arienzo’s or Biagi’s ones, they represent a great mix between melody, lyrics and rhythm and makes you want to gently turn eternally, softly embraced with your partner.
Caló’s best Milongas and Valses:
1942, Milonga que peina Cana, Raúl Berón
1942, Milonga antigua, Raúl Berón
1945, Cimarrón de ausencia, Roberto Arrieta
1941, Bajo un cielo de estrellas, Alberto Podestá
1942, El vals soñador, Raúl Berón
1942, Pedacito de cielo, Alberto Podestá