There have been some antibodies against Maderna. Just the mention of the name brings up the most overplayed tango (is it really a tango?) of the moment – Merceditas. Just mention the name Maderna to some people and I have seen them saying they won’t go to an event where it is played.
There is more to Maderna than Merceditas, though. He was the piano behind Caló’s greatest years. Caló’s orchestra was characterised by technically very advanced individuals and after 1945 they started leaving to form their own orchestras. Maderna first, Francini together with Pontier, Domingo Federico after…
Straight after he left Caló, Raul Iriarte – the voice behind some of Caló’s nicest tangos – followed him for a short stint. The music sounds a lot like Caló (especially the piano!) but there is a little bit more complexity, the relentless rhythm of Caló is elongated in some parts and the music less predictable.
The antibodies come to the orchestra Simbolo Maderna, which is often amalgamated with Orquestra Maderna. There is an explanation. Maderna sadly died very young in a car accident, I believe in 1951. The members of the orchestra were so distraught they could not continue playing without him, so they hired a new pianist and renamed the orchestra Simbolo Maderna (Maderna Symbol). This is the orchestra who produced the infamous and loved Merceditas. By the way, Merceditas is not a tango, it is a popular canción (folk song) from the Argentinian coastline. It was adopted by many countries, in particular Brazil, and its lyrics translated to many languages.
Inutil is a track that I really really like. I had heard before but heard it properly when a performer asked me to play it and I didn’t have it! He produced it in a USB stick and it has been part of my portfolio ever since!