He, as nobody else, knew how to combine the rhythmic cadence of tango with a harmonic structure, apparently simple, but full of nuances and subtleties. He was not enrolled for any of the two streams of his time. His was neither a traditional orchestra, styled after Firpo or Canaro nor a follower of the De Caro renewal. Di Sarli imposed a seal of his own; a different musical profile, which remained, unaltered throughout his prolonged career. In the beginning, his sextet reveals us the influence of Osvaldo Fresedo. And certainly, I think there would have never been a Di Sarli had not existed a Fresedo. But, only as necessary forerunner of a style that, with time, would become a pure model with its own and differentiated nature. (Read more…)

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