The Birth and Development Music in the Americas

At approximately the same time, around 1900, two musical art forms were generated in the American continent: jazz in North America and tango in South America. These genres have come to be instantly recognisable and internationally acclaimed and are the definitive music of the countries where they developed.

Both forms grew in the poorest areas of the cities: New Orleans for jazz and Buenos Aires and Montevideo for tango. Both were initiated by the influx of immigrants. 

Immigration into North America was the result of the slave trade which started in 1501 and was only made illegal in 1833 in England and in 1865 in the USA. Over that period, countries such as Portugal, Spain and England transported an estimated total of 12 million negroes from all parts of Africa to the Caribbean and the southern States of America.  They were destined to be slaves working in the sugar industry (to satisfy the developing sweet tooth of Europeans) and to the southern states of the USA to work in cotton production - or simply to be slaves. The Creoles were the children of white Europeans and black women and so had lighter skin colour but were still classified as black by white supremacists. 

Immigration into Argentina and Uruguay was largely to satisfy the expansion of the food industry, especially beef production, as well as some heavy industries such as ship building. This was a movement, of mostly men, to the New World for a new life. European countries such as Spain, Italy and France provided most of the immigrants. Argentina had been colonised by the Spanish until 1816. This led, over time, to an ‘exotic’ mix of peoples and cultures: indigenous people, descendants of the Spanish invaders interbred with indigenous people, families from European countries, children born in Argentina and a significant number of black people. The word tango has its origins from the musical and dance gatherings of slaves, referred to as tango or tambo.

What similarities or parallels are there between jazz and tango? 

• Both genres of music gestated in the very poorest of districts and made their way from bars and brothels to the concert hall.

• Both musics were vilified by the Church and the authorities; but neither cared about that!

• Both had their heroes and their tragic figures.

• Both used singers that were key figures.

• While racism was a key factor in jazz, politics was a key influence in tango.

• Most important of all - both were the music of the people.

Let’s look in more detail at jazz and tango, starting with jazz music. 

The history of Jazz is beautifully described in the book Jazz A History of America’s Music by G C Ward with an accompanying four DVD set of a documentary by Ken Burns. Some aspects of what we learn from this include:

• Trumpeter Louis Armstrong’s playing was the key factor in elevating the music to the status of an art form. He was born in a district of New Orleans known as “the battlefield”, it was so rough. His mother gave birth at 16 and was a part-time prostitute. He worked for a Jewish family who made sure he had a cooked meal at the end of the day. At 7, he was delivering coal to the prostitutes. He was trusted with a $5 advance in his wages to buy a cornet in a pawn shop.

• Clarinettist and band leader Benny Goodman (a white man) was the 9th child born into an impoverished family. Often there was not enough food to eat – or just no food. Nevertheless, his father found 50 cents a week for his son to have clarinet lessons. Benjamin was a devoted student and practiced every day. At 14 he played in a local band and earned three times as much as his father. At 16 he was allowed to join a band in California and his earnings fed the entire family. Eventually he was running his own band, predominantly made up of white musicians but with some key black musicians too, notably Teddy Wilson on piano and Lionel Hamptonon vibraphone. Teddy was the first black musician to appear on stage with the white musicians, Benny Goodman and drummer Gene Krupa.

• Duke Ellington was born into a middle class black district and studied piano because girls were attracted to piano players! Unknown to his parents he spent a lot of time in pool halls and Burlesque theatres. He could afford smart clothes (hence the nick name Duke) and learnt piano by following the keys of a piano roll instrument. His big band was the core of jazz for decades but was failing financially in 1955 but was revived by a storming performance at the 1956 Newport Jazz Festival. Duke said that jazz was music and swing was business.

• Bix Beiderbecke was a wonderful trumpeter and followed a musical career in opposition to what his parents wanted. He was hired by the all-white Paul Whiteman orchestra and Louis Armstrong went and sat in the segregated seats to listen. They talked afterwards, but segregation laws prevented, possibly the two greatest trumpeters in the history of jazz, from playing in public or recording together. Bix sent copies of his recordings home but found out that his parents never listened to them. His mental health suffered and his physical health from drinking. He died at the age of 28 in 1929.

The Great Migration started about 1910 and some 5 million black people moved away from blatant segregation in the south to a somewhat better life in the north. Chicago and New York became the new hubs for jazz.

• Miles Davis regarded himself as a black man in a white world. His musical output is without parallel, involving so many advances, taking jazz along into new dimensions, finally into fusion with electronic rock music. He led a troubled life, being beaten up by the police, being condescending to fans and descending into violence to his partners. His addiction to alcohol, cocaine and opiate pain killers wrecked his mind and body. On being approached by a fan who was gushing with praise, Miles turned and said “So What”. This became the title of a track on the album Kind of Blue, the best selling jazz album of all time.

• In 1954, Dave Brubeck appeared on the cover of Time magazine. His quartet of himself on piano, Paul Desmond on alto saxophone with drum and double bass accompaniment toured America and then the world to packed audiences. He struck just the right chord with bold improvisation on many familiar tunes. He was touring with Duke Ellington at the time and Duke brought him a copy of that Time magazine. He was dutifully embarrassed, saying that it should have been the Duke on the front cover. (Later that did happen for the Duke)



What about the development of tango? Five of the best knownorchestras that best represent classic tango music were led by D’Arienzo, Di Sarli, Canaro, Troilo and Pugliese. These musicians are described in the books by Michael Lavocahand their significance is summarised here.

• Francisco Canaro (1888-1964) was born in Uruguay and when he was 10, the family moved to Buenos Aires and were so poor he had to work and had no education. He was so determined to become a musician that he built a make-shift violin. At 18, he bought a real violin. At 24 he composed his first tango (Pinta Brava). At 26, he was conducting and at 30 he was managing 3 orchestras! He was the most astute financially of the great orchestra leaders and was responsible for getting the higher levels of society to listen and appreciate tango. There was social segregation.

• Osvaldo Pugliese was perhaps the greatest of those great orchestra leaders. He stands as a pillar of musical integrity as Ellington does in the jazz world. Committed to his political views (he joined the communist party) his orchestra members were all paid the same, with bonuses for new arrangements and songs. He spent several short periods in prison as he insisted on his orchestra playing for the people against laws forbidding large gatherings. When asked about himself he said “I am just a musician from the people”.

• Carlos Gardel is the most romantic figure in tango history. Born in poverty in France, he became Argentina’s most famous singer. He was a sex symbol, perhaps the first heartthrob! His fame spread throughout Latin America and he died tragically in a plane crash.

Anibal Troilo was much loved. He loved everyone and they all loved him. He was possibly the greatest bandoneon player of all time. His orchestra is regarded by many authorities as the best for dancing tango salon. His version of Malena in 1942 reminded others that melody was important and that tango was not just about the D’Arienzo beat.

Carlos di Sarli had an accident as a youngster that affected his vision and he was always seen in dark glasses. His music is the most romantic and nostalgic because of his use of violins which dominate the sound of his orchestra. Bahia Blanca is his most popular track which pays homage to his birth town.

Just as Armstrong transformed jazz music with his trumpet playing and vocals, the advent of the bandoneon gave the sound that is tango. 

The bandoneon was produced in Germany to give an organ type of sound to be used in churches that could not afford a pipe organ. It is a squeeze box with buttons on both ends. Initially designed to play in the key of C to accompany hymns, it became extremely difficult to play when extra keys were added in almost random positions! In 1935, in an inspired decision, D’Arienzo decided to step up the tempo of his music and make the music so much better for dancing. Buenos Aires responded to the music and the City rocked! 

 

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Photo - The most iconic of the many dance halls that the author used in his 3 visits to Buenos Aires. At this one, there is a cake shop downstairs with a spiral staircase leading to the dancing, with the music getting louder with each step.

The gathering of people to dance tango is called a milonga (a ball or a freestyle in other dance forms), another African word. There are three types of dance - a regular tango which is played in 4 beats to the bar or 4/4 time - a tango waltz (vals), three beats to the bar or 3/4 time - a milonga (a second meaning to the same word) which is in 2/4 time and is much faster, involving more complex rhythms. 



Because of the limitations of amplification, dancing In the 1930s was to live bands. The best bands drew the biggest crowds and made the most money. There were at least 50 tango bands and many smaller ensembles in the city. D’Arienzo set a trend and this was the start of the Golden Age of tango music which was supported by the Peron Government and especially by Eva Peron. She had known poverty and supported tango as an expression of the people. She said “I am hated by the oligarchs and loved by the people”. She died in 1952 and fresh flowers are placed on her tomb to this day. 

In 1955, Juan Peron was deposed as President and replaced by a fascist government which was not at all keen on allowing the freedom associated with dancing to music of songs with lyrics that clearly set out the struggles of the working man, as well their problems with unfaithful women (really, well the men wrote the lyrics!). Tango organisers could not hire halls for public dancing or teaching because the Government forbade it. A generation of potential dancers was lost. 

The great milongueros continued to dance and practice and Carlos Segovia and Hector Orezzoli organised a show, Tango Argentino. They could not find a theatre that would host the show in Buenos Aires and toured Europe in 1983 to acclaim from every audience. They returned to Buenos Aires with tango established as a world favourite and the Dark Age of Tango was over. 

Astor Piazzola was a revolutionary figure in tango. After playing in the Troilo orchestra, he searched for something new. He had spent time in America and was influenced by jazz. He was dissatisfied with what he could achieve with his own orchestra and turned to classical music composition. He was advised to compose from what was in his soul, tango. About 1950 emerged Nuevo Tango! A division between this and those favouring the classic tango approach of the Golden Era orchestras, was formed and there remains a gulf that has not been resolved to this day!

Jazz was given a tremendous boost in the 1920s by the introduction of prohibition. A large number of “Speak-easy” clubs were set up. Jazz bands entertained the clientele who were there to drink illegal alcohol. Women drank in these clubs, less the case in pre-prohibition bars. Illegal drinking and crime flourished until prohibition was repealed in 1933.

The 1930s saw the growth of big band swing music. Orchestras were either black or white, audiences would be segregated. Paul Whiteman conducted a top class orchestra which many white commentators said was the foundation of jazz. Whiteman himself never claimed such an obvious lie and would have recruited black musicians but for the society of the day. His orchestra played carefully arranged music which lacked the spontaneity of the black orchestras, did not have the improvisation of black soloists and did not swing. Armstrong had joined the Fletcher Henderson band and taught them how to swing and the USA moved into an era of music that produced Lindy-hop and jitterbug dancing that was exciting and skilful. Dance Halls were filled and swing was the pop music of the era.

As a reaction against swing music in 1942, Charlie Parker(Bird or Yardbird) aided by Dizzy Gillespie started a new style of jazz, bebop. The music was of a different harmonic format, the playing fast and furious and required virtuosity performers. Yardbird died at the age of 34, having completely exhausted his body with drugs and alcohol. The coroner thought it was the body of a 60 year old.

Billie Holiday was for many years voted the best female jazz vocalist. Although the range of her voice was limited, the expression she put into every phrase epitomised jazz. Feelings that came from inside. She was forbidden to sing in New York because of her convictions for drug use. Eventually heroin destroyed her body.

While Americans jived, Argentinians danced tango. Tango is not just a dance; if you dance tango fully, you are stripped of any facade and your soul is exposed. In close embrace with a partner ( very different from a ballroom hold) a strong connection is formed to jointly interpret the music. Tango is spontaneous and about feelings not repeated steps. Cacho Dante said “feelings don’t have a choreography”.

In 2009 UNESCO declared the tango that originated around the River Plate but referred to as Argentine Tango, as an intangible cultural heritage of humanity. Tango being the dance, the music and the poetry. If any part is missing, it is not Argentine Tango.

 Photo - Teatro Colon, one of the great settings for Classical music and opera, where the Osvaldo Pugliese Orchestra played in 1985.

The dance

The present day dancer expects a sprung wooden floor and will have purchased special shoes. A pair of Comme  il Faut shoes are a status symbol for a woman and my 2x4 shoes come with three different soles that Velcro on. The perfect combination of floor surface and nature of the sole can be achieved! 

Early twentieth century men (perhaps in groups waiting for work) might find themselves dancing with other men with heavy boots on and on a cobbled street. There was strict control over who could attend milongas to dance with women. There was a period when men outnumbered women by 13 to 1. Meeting women other than prostitutes was worth a lot of effort! Practice sessions were men only and the new men would dance as a follower for several months until they were given permission to lead other men. After a couple of years they would be permitted to go to milongas and put into practice what they had learnt. 

In the Argentine tango we see on tv, there are a multitude of flicks and kicks (ganchos, boleos, volcadas). These were not taught and not permitted at milongas in the 1920s. If a dancer showed the sole of their shoe in some move, they would be asked to leave the milonga!

When Nuevo tango became popular, the physical dance was liberated and very expansive moves were popular. There is obvious danger in this bearing in mind that most women would be wearing 5” stiletto heels.

Nowadays, organisers are keen to enforce Floor Craft and publish rules.

Some dancers persist in using a social dance to exhibit their skills to the detriment of other couples nearby. In the old days when a couple was dancing to show off and be watched, the old Milongueros would toss a few small coins onto the floor as a sarcastic gesture of payment for their efforts. Tango is about feelings shared with partners not onlookers.

There is a great emphasis from the leading dancers of today to interpret the music and we are blessed with many great exponents. (Chicho Frumboli, Horacio Godoy).



Summary

Jazz and tango music forms have followed similar pathways. Both emerged from poor areas of cities which were populated by migrants. Louis Armstrong for jazz and D’Arienzo for tango (along with the acceptance of the bandoneon) increased the popularity of their respective genres. Both developed into the most popular music in their countries in the 1930s. 

Duke Ellington and Osvaldo Pugliese are core orchestras in their respective genres.

Dissatisfaction set in amongst musicians who wanted changes. Astor Piazzola created Nuevo Tango and Charlie Parker and Dizzy Gillespie started Bebop!

Miles Davis was a continuous force for progress in jazz, finally moving into electronic music and fusion with rock.

Further changes happened with free jazz and avant garde jazz appearing but elements were lost, notably musicians not listening to each other. 

Jazz needed the accolade of the Benny Goodman band playing at Carnegie Hall in 1938. 

Buenos Aires needed the Osvaldo Pugliese Orchestra to play in Teatro Colon in 1985. Tango had become international and its birth city had to recognise how important it was!

Alternative tango and Neo tango appeared but the link to the roots was lost and so was the essence of the dance.

Both genres are battle grounds for old and new approaches. Any art form must develop but random changes sacrifice too much. Arguments continue:

Is it jazz?

Is it tango?

Photo: The opulent interior of Teatro Colon - a contrast to the bars and brothels in which tango music was played in the early days.

 

 

References

Jazz A History of America’s Music by G C Ward and the accompanying four DVDs of the documentary by Ken Burns

Books by Michael Lavocah

• Tango Stories: Musical Secrets

• Tango Masters:  Anibal Troilo

o Osvaldo Pugliese

o Juan D’Arienzo

o Carlos Di Sarli

 

Selected Music

I have given only a single piece of music for each of the prolific artists in my essay. These can easily be found with any of the excellent streaming services. A wealth of music then awaits you!

Jazz

• Louis Armstrong - Muskrat Ramble - Louis Armstrong and his Hot Seven - Album Me, myself and Jazz Music,Vol 3

• Benny Goodman Orchestra - Sing Sing Sing - Album TheEssential Benny Goodman (1952)

• Benny Goodman Quartet - Avalon (Take 2) - Album TheComplete RCA Victor Small Group Recordings (1997)

• Duke Ellington- Take the A train - Album The Blanton-Webster band remastered (1992)

• Bix Beiderbecke - At the Jazz Band Ball - Album At the Jazz Band Ball Vol 2 (1990)

• Paul Whiteman - Rhapsody in Blue - Album It’s only a Paper Moon (2012)

• Miles Davis - So What - Album Kind of Blue (1959)

• Dave Brubeck Quartet - Balcony Rock - Album Jazz goes to College (1962)

• Fletcher Henderson Orchestra - Hot and Anxious - Album Selected Sessions (1922-1931) (2019)

• Charlie Parker and Dizzy Gillespie - Salt Peanuts - Album The Quintet - Live at Massey Hall (1953)

• Billie Holiday- Autumn in New York - Album Recital (1956)

Tango

• Juan D’Arienzo- Loca - Album Loca (1946-1947) (2018)

• Carlos Di Sarli - Bahia Blanca - Album The Masters of Tango: Carlos Di Sarli (2013)

• Anibal Troilo - Malena - Album The History of Tango: Anibal Troilo and Francisco Fiorentino Recordings (1939 - 1944) (2009)

• Francisco Canaro - La Cumparsita Album Nights in Buenos Aires (2011)

• Osvaldo Pugliese - La Yumba - Album Auscensia (1995)

• Carlos Gardel - Volver Album Sus 40 Tango’s mas Famosos (2006)

• Astor Piazzola - Libertango Album Libertango (1974)

• See a further selection of music listings I recommend in my blog.

About the Author Bob Murray

Photo: The author dancing with Flavia Cacace (of Strictly Come Dancing fame)

There were no records in my house, as I was growing up through 40s and into 50s, until I purchased Hi-Fi equipment; a Goldring turntable and arm and a Quad valve amplifier. As a family effort we built a folded horn speaker enclosure that used an 8’x4’sheet of 1” chipboard!

The first record I played was my brother’s 10” LP of the 1940 Ellington Orchestra. The sound of the orchestra, driven by Jimmy Blanton’s Bass, was so different from pre-1940. When I came home from school I played it while lighting a fire. Even now when I hear the Da Dah of muted trumpets in KoKo I can smell the fire getting hold!

The first record I bought was Fontessa by the Modern Jazz Quartet. All my vinyls are long gone as well as the Quad amplifier (that was a big mistake!) but when i recently streamed (Apple Music) the MJQ, I could remember every track as clearly as yesterday.

Then I bought some Dave Brubeck albums (Jazz goes to College, Jazz at Oberlin). Again after 60 years I can hum along to all their improvisations. I moved on to Miles Davis and was buying his albums as they appeared (Cookin’ Relaxin’ Workin’). I came unstuck with Bitches Brew (my problem not his).

Maybe about 35 years ago I was bought a recorder, for a joke but I took it seriously. Eventually my wife and I were playing with the local branch of the Society of Recorder Players. It was wonderful to make music in a group, playing Bach and Telemann and feeling part of the Early Music movement.

20 years ago I was a regular at Jazzsteps in Arnold, thoroughly enjoying fantastic musicians, live.

After being widowed I went jiving (Ceroc) to force myself to socialise. I found instead of just tapping my foot, I could move my entire body to the music. I could dance.

About 13 years ago, tango found me. The movement of the dancers, the sound of the music, the history of Argentina, all so intriguing and an infinite pathway to follow. There followed three trips (pilgrimages) to Buenos Aires to dance and plenty of sightseeing in that large and beautiful country.

Argentine tango is an intimate, sensual (not sexual) dance usually performed in a close embrace, making chest to chest contact and heads touching. Covid has made this impossible and the tango could be lost again with a more deadly opponent than the fascist governments in Argentina!8

My Blogs 

I have two blogs:

www.treboryarrum.blogspot.co.uk covers a lot of my holidays including 3 visits to Buenos Aires: Jan/Feb 2011, Jan/Feb 2012 and Sep/Oct 2013,  

and

www.milongabob.blogspot.co.ukcovers important aspects of tango, in particular the link to tai chi and its health benefits and how tango and jazz have developed in a similar way.

The Birth and Development of Music in the Americas                        Bob Murray