Carlos Di Sarli - Active Years As A Musician

Active Years As A Musician

There, with the help of Alberico Spatola, the composer of the tango El trece and the director of the Buenos Aires police orchestra, he was able to join the band of Anselmo Aieta. In early 1924, Carlos joined an orchestra directed by the violin player Juan Pedro Castillo, and later, the trio of Alejandro Scarpino (the composer of Canaro en Paris). He accompanied the actress and singer Olinda Bozán on her recordings for the Electra label and worked as part of a sextet in the cabaret Chantecler.

Thanks to a recommendation from José Pécora, a violin player, he joined Osvaldo Fresedo's orchestra in 1926 and played at the opening night of the Fénix theater in the Buenos Aires neighborhood of Flores. Fresedo became an important influence on di Sarli's music as well as a good friend. The tango Viejo milonguero, which di Sarli composed around 1927-28 was dedicated to Fresedo. It was around the same time that Juan "Pacho" Maglio and José María Rizzutti recorded the tango Meditación which di Sarli had composed around 1919 but never recorded himself.

In late 1927 he started to set up his own sextet or orchestra tipica (José Pécora and David Abramsky on violin, César Ginzo and Tito Landó on bandoneón and Adolfo Kraus on bass), directing it from behind the piano that he himself played. With the orchestra, di Sarli played live in clubs as well as radio shows in Radio Cultura and recorded for the label RCA Victor. In addition to instrumentals, he recorded with the vocalists Santiago Devincenzi (who later changed his last name to Devin), Ernesto Famá and Fernando Díaz. These singers were hired only to sing the short verses ("estribillos") during the performances and were not constant members of his orchestra, unlike the musicians. Between November 26, 1928 and August 14, 1931, he recorded 48 tracks including the tangos T.B.C. by Edgardo Donato, Maldita by Antonio Rodio and Celedonio Flores, and the Eduardo Arolas compositions La guitarrita and Una noche de garufa.

In 1930, during a performance in the café El Germinal, di Sarli had an argument with one of the café's owners who did not understand that he wore dark glasses on stage for medical reasons because of his accident at age 13. Di Sarli promptly moved with his orchestra to Bahía Blanca, where he performed at the La Central club. In 1932, Antonio Rodríguez Lesende joined the orchestra as a singer. In 1934, for unclear reasons, di Sarli left the orchestra and moved to Rosario in Santa Fe province where he joined a small band with the bandoneón player Juan Cambareri, the violin player Alberto Saikievich and the singer Roberto Pieri. His sextet continued to play without him, later changing its name to Orquesta Novel due to their performances at the club Novelty. At the request of the orchestra's members in 1935, di Sarli rejoined the band temporarily to replace the pianist Ricardo Canataro who was ill at the time.

In late 1938, di Sarli reorganized his orchestra and in January 1939 debuted in Radio El Mundo. His orchestra consisted of Roberto Guisado, Ángel Goicoechea and Adolfo Pérez on violin, Roberto Gianitelli, Domingo Sánchez and Roberto Mititieri on bandoneón and Domingo Capurro on bass. The singer was Ignacio Murillo, soon to be replaced by Roberto Rufino who was 16 years old at the time. On December 11, 1939, they recorded for RCA Victor the tangos Corazón (composed by di Sarli, with Hector Marco's lyrics) and Retirao by Carlos Posadas. He stayed with this recording label until 1949, when he withdrew from tango for commercial reasons.

In November 1951, he returned to the label Music Hall until April 1953 recording 84 tracks with the vocals of Mario Pomar and Oscar Serpa. From June 1954 until 1958 he returned to the RCA Victor label, leaving that year for Philips to record his last 14 tracks with Horacio Casares and Jorge Durán.