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Tangos And Pasadobles

Luis Tuebols and His Argentine Orchestra

Luis Tuebols and His Argentine Orchestra - Tangos And Pasadobles Luis Tuebols and His Argentine Orchestra - Tangos And Pasadobles
33ILuis Tebols1

Mercury Records...MG 20283...33 1/3 LP...High Fidelity

Side 1
1) My Steed (Mi Jaca) - J. Mostazo...3:05
2) Spirit Of Andalusia (Aime Andaluza) - L. Tuebols...2:55
3) Manolete - L. Tuebols...3:00
4) This Is Arruza (Este Es Arruza) - P. Bonet/San Pedro...3:10
5) Hey Little Gypsy (Ole Malena) - Dalvole Launez...3:20
6) Spanish Pride (Orgullo Espanol) - L. Marin...3:05

Side 2
1) Pick Up (Griseta) - Delfino...2:50
2) Inquietud - L. Tuebols...2:50
3) Rawson - E. Arolas...2:30
4) Neglige - Siaretta...2:35
5) Little Charley (Carlitos) - L. Tuebols...2:40
6) Street Walker (Pregonera) - A. De Angelio....2:40

Luis Tuebols and His Argentine Orchestra - Tangos And Pasadobles Label Luis Tuebols and His Argentine Orchestra - Tangos And Pasadobles Label


Luis Tuebols and the Banda Espanola

Tangos And Pasadobles

Every song and dance indigenous to any folk music, such as the scrdone or the fado, the so-called paso is capable of expressing a wide variety of sentiments.

According to the conventional conception of the paso. It is difficult to imagine it expressing any melancholy emotions; it would seem that its vigorous rhythms would deflect any such negative concepts. Both the paso and the sordane are danced with the whirlpool-like hustle and bustle calculated to dispel any troubled thoughts. Nevertheless, the poso at times is capable of expressing certain degrees of light and shade. Admittedly the shadows are observed rarely, since its principal expression is that of ardent happiness.

Luis Tuebols, directing the celebrated Band a Espanola, offers in this set a number of the best-known performances of their kind. His intentions may be clearly determined from a hearing of the first track. Mi Jaco (My Steed). Despite the minor-mode theme, there is a brisk rhythmic gaiety to the entire performance. This typical example paves the way for the other pasos, which show a striking melodic diversity despite their rhythmic unity; our observation that there is room for the expression of a wide variety of sentiments in this classic form is quickly borne out by a hearing of these sides. The tenderness of Spirit of Anduhsia is no less attractive, in a perceptibly different approach, than the dashing melodic sweep of Hey Littfe Gypsy (Ole Malena). Manolefe is a spirited evocation of the immortal bullfighter?s memory. This Is Arruza begins a little like a sardane; Hey Little Gypsy (Ole Malena) remains more faithful to the traditional style of the peso and develops some highly attractive melodic lines along the way.

Tuebols now makes a significant switch, both geographically and orchestrally, to offer, on the second side, six typical tangos. Clearly it would take 66 illustrations to do honor and justice to the famed Argentine dance form; but Tuebols, in these performances, manages to incorporate into a relatively small time allocation a remarkable variety of the moods and rhythms connoted by the word tango. Those who associate this dance with the silent screen and Rudolph Valentine may be surprised to know that the tango predates World War I and recently celebrated its 50th anniversary.

Despite the differences in style and melodic approach, despite the presence of tangos of yesterday alongside contemporary examples, there is a certain unity among the performances that seems to indicate the ability of the dance to maintain the integrity of its character while undergoing considerable modification in its melodic outlines. If some of the themes are those of a bygone era and may seem to belong to the "old guard," there is nevertheless neither need nor justification for considering them as museum pieces. Far from being relegated to a forgotten past, they must be accepted as melodies that have retained their warm vitality, their persuasive personality, in a reminder that there are still some things unaffected by the passage of time.

Let us not dwell on the age or youthfulness of any of these compositions: it is better to concentrate on the effectively typical matter and manner of the themes and their interpretation throughout this side, on the agitated movements of the concertina, the captivating sound of the piano, the gentle swaying of the strings, and all the other essential element of each dance with which Tuebols invests his every performance. Who, for instance, could fail to be fascinated by the ingratiating minor theme of Little Charley (Carlitos)? Composed by Tuebols himself (as is Inquietud, another of the attractive tangos in the set), here is a moving testimony to the musical ability, both as writer and performer, of this Argentine maestro.

This MERCURY LONG PLAYING 33 1/3 r.p.m. recording was made possible through the use of the MERCURY SOUND MARGIN CONTROL process - a technique - whereby it has become possible for MERCURY to produce for the record-buying public a disc of truly superior quality, especially with respect to brilliance clarity, dynamic range and reliable stylus tracking. This record can by played on any 33 1/3 r. p. m. turntable.

photo by Herman Leonard

Printed in U.S.A

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