Pampa, the MAI master series and
the history of the Odeon and Columbia labels
3. Pampa, Pathé, Parlophone, Columbia... and OdeonAlthough it is difficult to find more detailed information about the Pampa label (1950-1957), it seems established that it was a subsidiary of Odeon.
The very first Pampa record... (PS-1001, master numbers MAI-2 & MAI-1)
Música Argentina e Internacional S.R.L. - Bs Aires
The record label - which will remain in use until 1953 - is characterized by a pastoral scene with Odeon-like rays spreading out upward from the center of the record.
Distribuidores exclusivos Musica Argentino e Internacional
In the UK, Pathé and Odeon were merged into EMI already in 1931 which relates Pathé to Pampa (through Odeon).
It looks as if the production stage (the recording studio where the master numbers were assigned) and logistics (distribution) were shared and separate from the commercial stage (simplified: sticking the label on the record).
From 680 identified MAI-numbers - and notwithstanding a single exception - it appears that the MAI-numbered recordings form indeed one single series, used across labels and genres.
Distribuido por Musica Argentino e Internacional
Parlophone, just like Pathé, was merged into EMI (UK, 1931) so this should not come as a surprise (although it did for me).
Many Odeon ochestras, like Francisco Canaro and Alfredo de Angelis were edited in the U.K. under the Parlophone label. But never ever before have I seen or heard about tango related Argentinian editions on the Parlophone label. And indeed, in the MAI-series, Argentinian Parlophone editions found so far seem to be typical for folklore (and/or "international") music.
Unlike for Pathé, editions on both Pampa and Parlophone seem to exist - I found at least one example (without any details about their relative chronology). For the kind of music that appeared on the Parlophone label I don't have the necessary discographical background to discuss this further in detail.
|Columbia (or Columbia Odeon as it is often called)
The record label holds references to no less than 3 companies
USA top management changes in 1951 brought the cooperation with EMI to an end. It must have taken some time before the consequences of this decision reached Argentina. The history of the MAI master series suggests that this happened at the end of 1952. In that same period, the Peronist regime went through a crisis and the reasons for the change may have been more complex, economic austerity measures introduced in that year may also have played a role.
Although many artists got their first opportunity to enter the recording studios thanks to the Pampa label, those that were edited on Columbia were well known icons of the industry: Francisco Canaro (with his Quinteto Pirincho), Osvaldo Fresedo, Charlo, Lucio Demare. Their MAI-recordings were the only ones that were also edited by Odeon.
Remarkably, all 4 of them - and around the same time, end of 1952 - were, so to speak, rushing for the exit door, taking the masters with them, on the way out.
|According to Christoph Lanner, in his Canaro discography, all 12 Columbia records by the Quinteto Pirincho (recorded December 1950 to October 1952) have been edited by Odeon also, a continuously numbered series 55584 to 55595 (the record numbers suggest that this happened at the end of 1952 or later). After 1952, the Quinteto Pirincho continued recording for Odeon (as it had done before this Columbia episode).|
|All recordings made by Lucio
Demare (with his orchestra or piano solo) in 1951 and 1952 were edited
by Columbia, but the last 2 ones - from January 1953 - were edited by
|All recordings made by Charlo between 1951 and mid-1952 were edited by Columbia, some of them reedited by Odeon (presumably at a later date, as suggested by the record numbers in the 557xx range). But the last 4 ones - from November 1952 - were edited by Pampa. In 1953, Charlo continues recording for the Odeon label.|
|The trayectory of Osvaldo Fresedo is the most chaotic of all.
Most, but not all, MAI-recordings made between 1950 and October 1952 were edited on Columbia records, 15 of them. I have no knowledge of Odeon reeditions but cannot exclude them either.
In Lefcovich's "Estudio de la discografía de Osvaldo Fresedo" (Ed. 1993) there are some problems with the data for "Pampero" (MAI-767), as will be shown later. For the next entry "Vida Mia" (MAI-768), Lefcovich doesn't mention a Columbia 301xxx edition (as usual) but Odeon, similarly for the last MAI-series recordings by Fresedo from November (MAI-907 to 910) and December (MAI-941 to 942) of the year 1952.
Where these recordings ONLY edited by Odeon, as suggested by Lefcovich ? And not by Columbia ? This is my conviction, until proof of the contrary (°).
Odeon 55538 holds "Nostalgias" (MAI-907) and "Viejo Malevo" (MAI-908)
Odeon 55567 holds "Lo Han Visto Con Otra" (MAI-909) and "A Todo Trapo" (MAI-910)
These are the 4 November recordings.
Odeon 55560 holds "Adios Muchachos" (MAI-942) and "Vida Mia" (MAI-768)
Odeon 55633 holds "Pampero" (MAI-767) and "Mi Adorable Desconocida" (MAI-941)
The last 2 records mix very different MAI-numbers, which could be an indication for the recovery of left-overs (the 2 December recordings mixed with earlier ones).
Lefcovich's indication "Odeon 55567" for "Mi Adorable Desconocida" is just another error (3rd occurrence for this record number).
From 1953 on, Fresedo continues recording for Odeon, until 1957. In 1959 he returns to Columbia, but this time it is CBS-Columbia.
(°) Roberto G. Miglio in his discography of Héctor Pacheco ("El Tango y Sus Interpretes" - Tomo 1, 1992) lists all these recordings under the "para el sello Columbia" header, however without discographical details other than the recording date.
a few months later, in April 1953, Columbia Argentina restarts recording tangos,
with a new master number series, taking off at Cao-101 (an overview of this series can be found here).
No idea what the "Cao" stands for: Columbia Argentina and something... ? (There were also Co and HCO series).
Some of the first records carry the inscription "Grabado en los Estudios de Radio Splendid" . Should we conclude that Columbia Argentina - after its separation from the Pampa label - was left, at least temporarily, without recording studios of their own? It is highly speculative but it does make fall the pieces nicely together...
The first records were numbered C 150xx (I presume taking up an old Columbia habit to precede record numbers with C for "Central and South American (Spanish)" ). Very soon (from 15.012 on) the C is dropped and the record number format acquires a thousand separator (15.0xx instead of 150xx). Also the record labels reverts to dark lettering on a white background. The records now look very similar to those produced earlier in the MAI-series, of course except for record and master numbers and the fact that Odeon or Industrias Eléctricas y Musicales are no longer mentioned.
Columbia (still with "magic notes" and CBS "mike" logos)
But changes take time, and this can differ from country to country.
Therefore we can find a Brazilian edition of Cao-150 (recorded 01-10-1953) where Odeon is still mentioned (but not so on the original Argentinian edition).
||Went to...||Modern CD editions (private collections not included)
I recommend Bernhard's excellent searchable database for locating these musicians in - among others - various Japanese CD collections.
|Aida Luz||Pampa, 1953-1954
her 4 recordings, Patio Mio appears in a few compilation albums: Los
Clásicos Argentinos Vol.27, Sentir el Tango TA60 (Voces
Femeninas Vol.01), El Bandoneon n°113 (Las Damas del Tango-Vol.2)
|Alberto Morán (solista) acomp. Armando Cupo||Pampa, 1954-1957
||Odeon, 1954 - as a singer in the Pugliese orchestra
||Odeon, 1958 - continuing with Armando Cupo||Reliquias:
"Alberto Morán - En El Recuerdo", "Alberto Morán -
Bailemos", "Jorge Vidal y Alberto Morán - Recordando Sus
Éxitos" (some Odeon recordings are included)
|Alberto Podestá (solista)
||RCA Victor, with Francini-Pontier (1950)
||Odeon, with Miguel Caló (1954)||Except for the recording with Donato, no known editions
|Alfredo Attadia||Pathé, 1951-1953
||-||Reliquias: a single track on Orquestas Olvidadas Vol.1 (which also appears on The Story of Tango, Vol.2) and 2 more on Orquestas Olvidadas Vol.2|
|Ariel Pedernera||Pathé, 1951-1953||14
||Music Hall, 1954||No known editions|
||TK, 1959||Almost completely unedited, one track on The Story of Tango, Vol.2|
|Carlos Demaría||Pampa, 1950-1951||16
||Columbia, 1956, director of the orchestra that accompanied Héctor Mauré||Almost completely unedited. A single track on Reliquias - Orquestas Olvidadas Vol.1 (which also appears on The Story of Tango, Vol.2)|
||Odeon, 1940 (and a single Sondor recording in 1950)||Odeon, 1953||Some can be found on Sentir el Tango TA22 (Nostalgias), Reliquias (Charlo - Una voz inolvidable) and El Bandoneon n°77 (Nostalgias), in all cases mixed with Odeon recordings
|Edgardo Donato||Pampa, 1950-1957||64
||RCA Victor, 1945
||RCA Victor, 1961||The Archivo Odeon volume "Edgardo Donato en la década del 50" (EU-19017)
is dedicated to the Pampa recordings. A few more can be found on
Reliquias Orquestas Olvidadas Vol.1 (3), Vol.2 (5) and Vol.3 (3). Less
than half of the Pampa output is covered.
|Eduardo Del Piano||Pathé, 1951-1953
||RCA Victor, 1950 - director of the orchestra that accompanied Angel Vargas
||Music Hall, 1955||A few tracks on Reliquias Orquestas Olvidadas Vol.1 (2), Vol.2 (4) and Vol.3 (2), one of those also on The Story of Tango, Vol.2. The Buenos Aires Tango Club has a volume devoted to him (Eduardo Del Piano Años 50-80, ORQ213)|
|Emilio Orlando||Pampa, 1957
||No known editions|
||Odeon, 1947 - director of the orchestra that accompanied Alberto Castillo
||Odeon, 1962||The Buenos Aires Tango Club has a (half-)volume devoted to him (Enrique Alessio / Dante Puricelli, 1950-1953 - ORQ327)|
|Enrique Mora||Pampa, 1950-1956||64
Enrique Mora y su Cuarteto - Tangos del Arrabal, covering only a small
part of the recordings of one of the most prolific Pampa musicians.
Also a track on The Story of Tango, Vol.2.
the most completely reedited: on Reliquias (Sus éxitos con
Floreal Ruiz - Sus grandes éxitos con Julio Sosa y Enrique
Campos), Euro Records EU19018 (Para Recordarlo), El Bandoneon
n°56 (El Varón del Tango) - in all cases mixed with Odeon
recordings. An almost countless "Grandes exitos"-style CDs of Floreal Ruiz, Julio Sosa and Enrique Campos...
|Héctor Gagliardi||Pampa, 1952-1954 or 1955
||Microfón||No known editions (there have been reeditions on EMI-Odeon LPs but these recited poems didn't seem to fit well in the tango revival wave at the end of the previous century)|
|Héctor Varela||Pampa, 1950-1954||50
||RCA Victor, as a bandoneonist in the D'Arienzo orchestra
Reliquias volumes 'Su Primera Orquesta'' and 'Noches De Cabaret" contain
Pampa editions. The EMI-Odeon's Bailando Tango volume on the other
hand contains a mix of Pampa and later Odeon recordings. An almost
countless "Grandes exitos"-style CDs of Argentino Ledesma and Rodolfo Lesica...
|Jorge Argentino Fernández
||Odeon, 1941, as a bandoneonist in the Rodolfo Biagi orchestra||Odeon, 195x
||No known editions|
|Jorge Vidal (solista)
||Odeon, 1950 - as a singer in the Pugliese orchestra||Odeon, 1957 - continuing as solista||Many
reeditions, among them Reliquias (Confidencias - De Metejones y
Escolazos - Recordando Exitos and, with Alberto Morán,
Recordando Sus Exitos) and a Blue Moon edition (Tres Esperanzas), in
all cases mixed with later Odeon recordings.
|Juan Cambareri||Pampa, 1950-1957||66
||TK, 1959||Almost completely unedited, one track on The Story of Tango, Vol.2
||RCA Victor, 1940, as a pianist in the Juan D'Arienzo orchestra||RCA Victor, 1957, as a pianist in the Juan D'Arienzo orchestra||Reliquias: 2 tracks on Orquestas Olvidadas Vol.3, one more on The Story of Tango, Vol.2
||Pampa, 1953 (+1954?)
|-||Music Hall, 1965||No known editions other than Milonga Sentimental on The Story of Tango, Vol.2
|Julio De Caro||Pathé, 1952-1953
"Tangos de Rompe y Raja" and the De Caro volume of "From Argentina to
the World", in both cases mixed with earlier Odeon recordings. The
Lantower De Caro volume (Vol.36) also has a few tracks, mixed with Odeon and
RCA Victor recordings.
|Lorenzo Barbero||Pampa, 1950-1954||28
||?||Just a few tracks in Reliquias "Orquestas Olvidadas" (all 3 volumes) and one on The Story of Tango, Vol.2.
| Lucio Demare (orchestra and piano solo)
||Art Fono, 1954||Mostly
unedited. One orchestral track (Malena) landed (by accident?) on the
Reliquias volume "Sus Primeros Exitos". El Bandoneon n°119 has the
2 Pampa piano solo recordings.
|Mario Demarco||Pathé, 1951-1953||18
||RCA Victor, as a bandoneonist in the Alfredo Gobbi orchestra||Odeon, 1954, as a bandoneonist in the Osvaldo Pugliese orchestra||Three tracks on Reliquias "Orquestas Olvidadas" Vol.1 and 2, one of them also on The Story of Tango, Vol.2.|
|Orq. Símbolo Osmar Maderna, dir. Aquiles Roggero
||RCA Victor, as musicians in the orchestra of Osmar Maderna
||RCA Víctor, 1958||The Buenos Aires Tango Club has a volume devoted to the Pampa recordings (Orq. Símbolo Osmar Maderna Vol.1 1952-56 - ORQ214), continued on Vol.2 (ORQ215) which contains also later RCA Victor and Forever recordings.|
|Osvaldo Fresedo||Columbia, 1950-1952
||RCA Victor, 1948
(but not all) can be found on Reliquias ("Nostalgia", "De Un Tiempo Que
Pasó"), El Bandoneon n°49 ("El Pibe del Paternal") and
Vol.25 of the Lantower series, in all cases mixed with other recordings.
|Pedro Laurenz||Pathé, 1952-1953||8
from the 6 Laurenz recordings on the Euro Records volume "Tres
Orquestas Milongueras" (EU19012, Archivo Odeon) are Pathé
|Quinteto Pirincho (Francisco Canaro)
Note: only the quinteto - and not the Canaro orchestra - recorded in the MAI series
out over the Reliquias volumes "Quinteto Pirincho - Tangos del Tiempo
Viejo" Vol.1 (5) and Vol.3 (10) and 1 more on "Las Milongas Más
Milongas", in all cases mixed with Odeon recordings.
On El Bandoneón n°3 "Quinteto Pirincho", and in spite of the subtitle "dirección Francisco Canaro, 1938", 7 of the 14 tracks are actually Pampa recordings from the fifties.
|Ricardo Pedevilla||Pampa, 1950-1953||24
||-||7 tracks on Reliquias "Orquestas Olvidadas" Vol.1 (one of them also on The Story of Tango, Vol.2.) and one more on "Orquestas Olvidadas" Vol.2|
|Sexteto Hermanos Canaro
(Mario & Juan Canaro)
||No known editions|
|Victor D'Amario||Pathé, 1951-1953||20
||Almalí, 1980||Almost completely unedited, a single track on Reliquias "Orquestas Olvidadas" Vol.3|
|Virginia Luque||Pampa, 1951-1952||14
||RCA Victor, 1959||No known editions|
|Orquestas Olvidadas Vol.1||Orquestas Olvidadas Vol.2|
|1) La Cumparsita (Antonio Rodio)
2) Chiqué (Eduardo Del Piano - 17-09-1951) - Pathé
3) El Caburé (Ricardo Pedevilla - 05-12-1951) - Pampa
4) Mal de Amores (Mario Demarco - 08-08-1952) - Pathé
5) Sábado Inglés (Edgardo Donato - 25-07-1953) - Pampa
6) Siete Palabras (Ricardo Pedevilla - 05-12-1951) - Pampa
7) Lorenzo (Jorge Caldara)
8) El Entrerriano (Carlos Demaría - 19-10-1950) - Pampa
9) El Amanecer (Ricardo Pedevilla - 28-11-1950) - Pampa
10) Fuegos Artificiales (Edgardo Donato - 17-12-1954) - Pampa
11) La Rayuela (Eduardo Del Piano - 17-09-1951) - Pathé
12) Organito de la Tarde (Ricardo Pedevilla - 21-11-1950) - Pampa
13) El Negro Pintos (Alfredo Attadia - 14-08-1952) - Pathé
14) Bienvenida (Mario Demarco - 17-11-1952) - Pathé
15) El Pollo Ricardo (Ricardo Pedevilla - 03-11-1950) - Pampa
16) El Chupete (Edgardo Donato - 21-06-1956) - Pampa
17) El Irresistible (Jorge Caldara)
18) El Incendio (Ricardo Pedevilla - 06-10-1953) - Pampa
19) Retintín (Lorenzo Barbero - 24-01-1952) - Pampa
20) La Cumparsita (Jorge Fernandez, 24-10-1952) - Pathé
|1) Fueye (Manuel Buzón - Amadeo Mandarino)
2) Amor Que Se Hace Llanto (José Tinelli - Horacio Acosta)
3) Dónde Estás Corazón (Antonio Rodio - Alberto Serna)
4) Tus Besos Fueron Míos (Alfredo Attadia - Enzo Valentino - 14-08-1952) - Pathé
5) Será Una Noche (Edgardo Donato - Carlos Almada - 25-06-1952) - Pampa
6) No Me Pregunten Por Qué (Eduardo Del Piano - Héctor de Rosas - 17-09-1951) - Pathé
7) Patria (Ricardo Pedevilla - Hugo Del Valle - 05-12-1952) - Pampa
8) Mañana Zarpa Un Barco (Mario Demarco - Jorge Sobral - 17-11-1952) - Pathé
9) El Patio de la Morocha (Edgardo Donato - Carlos Almada - 06-06-1951) - Pampa
10) Rosa de Otoño (Jorge Argentino Fernández - 19-03-1953) - Pathé
11) Buenos Aires (Eduardo Del Piano - Héctor de Rosas - 16-11-1954) - Pampa
12) Mi Serenata (Edgardo Donato - Alberto Podestá & Carlos Almada - 25-06-1952) - Pampa
13) Rosa celeste (Antonio Rodio - Alberto Serna)
14) Betinotti (Alfredo Attadia - Enzo Valentino - 28-10-1952) - Pathé
15) Mandria (Eduardo Del Piano - Mario Bustos - 22-04-1954) - Pampa?
16) Se Va La Vida (Edgardo Donato - Carlos Almada - 16-10-1950) - Pampa
17) Noche de Locura (Lorenzo Barbero - Osvaldo Ribó - 23-07-1954) - Pampa
18) Remembranza (Eduardo Del Piano - Héctor de Rosas - 26-05-1955) - Pampa?
19) Preparate Pa'l Domingo (Edgardo Donato - Carlos Almada - 18-01-1952) - Pampa
20) Tu Olvido (Eduardo Del Piano - Mario Bustos & Héctor de Rosas - 25-04-1952) - Pathé
|Orquestas Olvidadas Vol.3||The Story of Tango, vol.2|
|1) Milonguita (Enrique Alessio - Jose Berón)
2) Por Las Calles Del Tango (Enrique Alessio - Jose Berón)
3) No Pediste Perdón (Enrique Alessio - Jose Berón)
4) La Cumparsita (Enrique Alessio)
5) Tres Esperanzas (Miguel Nijhensohn - Carlos Budini)
6) Lonjazos (Miguel Nijhensohn - Mario Bonet & Carlos Budini)
7) Un Copetín (Juan Polito - 06-03-1953) - Pampa
8) La Bruja (Juan Polito - Raúl Figueroa - 11-08-1953) - Pampa
9) Jueves (Victor D'Amario - 19-06-1951) - Pathé
10) Doblando El Codo (Eduardo Del Piano - Ruben Grillo - 16-11-1954) - Pampa?
11) Ahí Va el Dulce (Eduardo Del Piano - 02-07-1952) - Pathé
12) Cómo se Pianta la Vida (Edgardo Donato - Carlos Almada - 26-12-1950) - Pampa
13) A Media Luz (Edgardo Donato - Carlos Almada - 07-07-1950) - Pampa
14) Julián (Edgardo Donato - 01-12-1950) - Pampa
15) El Torito (Lorenzo Barbero - 24-01-1952) - Pampa
16) El Caburé (Lorenzo Barbero - 15-03-1954) - Pampa
17) El Espejo de mi Vida (Lorenzo Barbero - Mario Cordoba - 20-10-1952) - Pampa
18) Pastelitos Calientes (Lorenzo Barbero - Mario Cordoba - 1952) - Pampa
19) Fandango (Lorenzo Barbero - Mario Cordoba - 08-05-1953) - Pampa
20) Bamba (Jorge Caldara)
|1) Halcón Negro (Héctor Artola)
2) El Entrerriano (Carlos Demaría - 19-10-1950) - Pampa
3) El Amanecer (Ricardo Pedevilla - 28-11-1950) - Pampa
4) Jueves (Victor D'Amario - 19-06-1951) - Pathé
5) Chiqué (Eduardo Del Piano - 17-09-1951) - Pathé
6) El Africano (Héctor Varela - 15-11-1951) - Pampa
7) La Guitarrita (Armando Baliotti - 10-07-1952) - Pathé
8) Mal de Amores (Mario Demarco - 08-08-1952) - Pathé
9) El Negro Pintos (Alfredo Attadia - 14-08-1952) - Pathé
10) El Llorón (Juan Cambareri - 22-11-1950) - Pampa
11) La Payanca (Enrique Mora - 01-10-1952) - Pampa
12) El Internado (Juan Polito - 10-10-1952) - Pampa
13) Cenizas (Orq. Símbolo Osmar Maderna - 12-01-1953) - Pampa
14) El Caburé (Lorenzo Barbero - 15-03-1954) - Pampa
15) Milonga Sentimental (Juancito Diaz - 21-07-1954) - Pampa