Osvaldo Fresedo - Virtual Class w/Makela 5/3/2020

Real name: Fresedo, Osvaldo Nicolás

Nicknames: El Pibe de La Paternal

Bandoneonist, director and composer. (5 May 1897 - 18 November 1984)

Place of birth: Buenos Aires Argentina

"I always followed my way: a music with a clean melody, full of shades, well balanced between bandoneons and violins… I want to touch people with the melody, reach their heart, but softly. [...] The first thing I use to do, is to convince each musician until they feel for real what they are going to play." Osvaldo FRESEDO

Beginnings He came from an affluent family. When he was 10 years old they moved to a working class neighborhood: La Paternal - this will get him into tango. From there it comes his nickname El Pibe de la Paternal as opposed to the other bandoneon player Pedro Maffia know as El Pibe de Flores. He could not buy his favorite instrument, so he starts with a concertina – kind of small bandoneon with about twenty notes on each side – and create a trio with his brother Emilio at violin and Martin Barreto at guitar. Despite his father’s hope, he skips class to play music and when he finally gathered 60 pesos, he finally buys his first bandoneon.

Innovator composer and performer he transitioned very skillfully from La guardia vieja to la guardia nueva along with Julio de Caro. He had a very long tango career: over 1250 recordings along 63 years. He played mainly melodic tango, and prioritize strings, even positioning the violins on from of the orchestra. He added unusual instruments like the harp, vibraphone and drums. His wealthy family origins influenced his art “refined” and aristocratic - favorite of the upper circles. They would always wear tuxedos.

1914 - El espiante . His first Tango which first notes are inspired by the police sirens that use to interrupt his bandoneon studies.

1920 - Fresedo travels to the US (New Jersey). They are introduced as “Argentine Jazz” and their orchestra was called “Típica Select” they record around 50 songs in New York.

1924 - El once Every year, hospital’s interns organized a dance with an invited orchestra that had to play a tango dedicated to this event. During the 6th edition, they called Fresedo who wrote El Sexto. For the 11th and last year, they called again Fresedo who wrote the famous El Once. Fresedo He composed the following tangos Vida mía 1933 Pimienta Arrabalero Tango mío El once (a divertirse) 1924 El espiante 1914 Aromas Volverás Sollozos 1937 Siempre es carnaval

1927 - With only 30 years old, he has so much success, that he creates 5 orchestras that would played simultaneously: the main one played at Tabarís (Corrientes 831). This one was considered the most elegant and distinguished of the city. Then, there was the one playing at Fenix Theatre in Flores, with pianist Carlos Di Sarli (who was very much influenced by Fresedo). The third, with Alfonso Lacueva, played at "Bar Fresedo" and the last was conducted by the pianist Nicolás Vaccaro. We don’t have information about the 5th one.

1933 - After few travels in Paris and New York and following label Brunswick closure, Fresedo records for RCA Victor: El Espiante, Araca la Cana (1933, and also played in the movie Los Tres Berretines), Tigre Viejo (1934). We recognize Fresedo's style – more romantic and delicate – on Vida Mia (1933) composed by himself and written by his brother Emilio Fresedo. Roberto Ray’s voice is probably the one that best fits the orchestra, especially on Canto de Amor (1934).

1939, - The singer Ricardo Ruiz replaces Roberto Ray and shares the place with Carlos Mayel, then Carlos Roldán. Tangos with Ricardo Ruiz: Volverás, Si no me engaña el corazón (1939), Alas (1940), Buscándote (1941).

How to identify Fresedo at the milonga? Unusual instruments: harp, vibraphone, drums. His style languid, romantic, delicate. Violins and melody at the forefront. The lack of solos in general, at the benefit of the whole orchestra. His slow tempo, with 2 strong beats per measure.

My favorite Fresedo’s tangos

Robert Ray (singer)

Angustia, 1938; Araca la cana, 1933; Cordobesita, 1933; Vida mía, 1933 (Fresedo composer); Recuerdos de bohemia, 1935; Adiós para siempre, 1936; Siempre es carnaval, 1937 (Fresedo composer) ;Sollozos, 1937 (Fresedo composer); Sueño azul, 1937; No quiero verte llorar , 1937; Niebla del riachuelo, 1937; Telón, 1938; Pampero, 1948 (Fresedo composer); Canto de amor, 1934 (Fresedo composer).

Instrumentals

Tigre Viejo, 1934, Isla de Capri 1934, Cumparsita, 1943

Ricardo Ruiz (singer)

Sólo tú, 1941; Vamos corazón, 1941; Hablemos claramente, 1941 (Fresedo composer); Buscándote, 1941; Volverás, 1939; Si no me engaña el corazón, 1939; Alas, 1940.

Oscar Serpa

Jamás retornarás, 1943; Corazón no le digas a nadie, 1944.

My top favorites Vida mía, Tigre viejo and Buscándote tangos are very high on my favorite lists of any tango orchestras!