The quartet of tangos in this classic Tanda is brought to life by the exquisite sounds of Miguel Caló’s orchestra, adorned with the vocal prowess of Raúl Iriarte. Throughout all songs — “Los despojos,” “Rebeldía,” “Oyeme,” and “El penado catorce” — it’s Iriarte’s captivating voice that guides us through the vivid emotions each piece offers.
This particular orchestration combined with Iriarte’s melodic voice creates a timeless capsule of 1947, demonstrating a seamless harmony that only seasoned artists like Caló and Iriarte can deliver.
Analyzing the Tanda’s Musical Journey
As someone deeply entrenched in the rhythm of tango, a Caló tanda is pivotal; yet, discernment dictates playing it at just the right moment in a milonga, not too early to capture the room’s growing mood. There’s a sublime synchronization between Miguel Caló’s orchestra and Raúl Iriarte, giving form to a narrative told not just through lyrics but the very unity of their music.
The appealing coherence of “Los despojos,” “Rebeldía,” “Oyeme,” and “El penado catorce” evokes an undeniable urge to dance. Each tango, while unique, marries well into a danceable sequence, enriched by a deep mood, slight complexity, and enchanting melodies that resonate with the hearts of dancers.
This tanda concludes with “El despojos,” my personal favorite in this Tanda. Its intricate yet smoothly delivered melody makes it a standout, often remaining as an echo of grace in the dancers’ steps long after the music ceases. There’s poetry in its execution, and a lingering sweetness in its closure that makes every milonga memorable.