Hugo DIaz (Argentine-Harmonica) - 1970, MP3, 256 kbps torrent

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Hugo DIaz (Argentine-Harmonica)

Страна: Argentina
Жанр: Tango
Год выпуска: 1970
Формат: MP3
Битрейт аудио: 256 kbps
Продолжительность: 1:46
Трэклист:
Hugo Diaz En Buenos Aires 1:
01 - El Dia Que Me Quieras
02 - El Lloron
03 - La Ultima Curda
04 - Uno
05 - Inspiracion
06 - Palomita Blanca
07 - Milonga Triste
08 - Amurado
09 - Sur
10 - Malena
11 - Nostalgias
12 - Recuerdo
13 - Mi Noche Triste
14 - El Ultimo Organito
15 - Taquito Militar
16 - Slibando
17 - Yo Te Bendigo
18 - Sueño De Juventud

Hugo Diaz En Buenos Aires 2:
01 - Cafetin De Buenos Aires
02 - Sus Ojos Se Cerraron
03 - Pedacito De Cielo
04 - La Casita De Mis Viejos
05 - El Adios
06 - Rondando Tu Esquina
07 - La Mariposa
08 - Patotero Sentimental
09 - Fumando Espero
10 - Lejana Tierra Mia
11 - Alma De Bohemio
12 - La Cumparsita
13 - Adios Pampa Mia
14 - Pero Yo Se
15 - La Pulpera De Santa Lucia
16 - Siga El Corso
17 - Vida Mia
18 - Milonga Para Una Armonica
Доп. информация: Музыка в стиле танго, в качестве "первой скрипки" - губная гармонь. Удивительно что из такого неказистого инструмента товарищ выжал столько экспресии

Какой год не знаю, судя по всему где то в 70-х, запись явно с винила.

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Hugo Diaz was born on August 10th 1927 in Santiago de Estero. At the age of five he began to play the harmonica, and less than two years was already performing regulary for a local radio. All his life, in spite of a highly sucesfull career, the ex-child prodigy remained loyal to the compagnon of his youth like the Abalos brothers and the great percussionist Domingo Cura with whom Diaz recorded on many occassions. His debut in Buenis Aires around 1944 werre of course spectacular and resulted in a whole series of record contracts with Odeon, TK, Jockey and later, RCA. But we should contniualy bear in mind the deep rural roots of Hugo Diaz. If he made his name as a first class tangueros, yet the genius of Diaz was expressed above all in the provincial musiccs forms he had grown up with: Chacareras, zambas and Milongas. But such a musician could never really be confined in a single style.
In 1953 during an European tour, Hugo Diaz had the oppurtinity to meet two admired musicians, Larry Adler and Toots Thielemans. The admiration was mutual since Toots Thielemans never failled to pay hoamge to Hugo Diaz. On his return home, where the nuevo tango was revolutionising the music scene, his situation seemed more difficult. But Diaz was to record the most important part of his musical legacy during the 1970.