| Date | Title | Genre | Group | Singer | Label | Matrix | Disc | Music | Lyrics | ||||||||
| 04000 |  |
July 1923 | Éléonore | Shimmy | Orquesta Jazz-Band Canaro | Odeon | 1359 | 6919 B | Chantrier, Albert L. A. | eleonore | Instrumental;Bohr presumed to be the musical-saw player.;Nubes de humo (matrix 1347, earlier than Eleonore) was announced in Caras y Caretas on 1923-08-04 along with Tut-Ankh-Amon. This was only the fourth recording session for the Band, and we speculate that this is when Bohr was introduced, sometime around July 1923.; | Buenos Aires, Argentina | |||||
| 04006 |  |
< 1923-08-04 | Tut-Ankh-Amon | Shimmy | Orquesta Jazz-Band Canaro | Odeon | 1390 | 6918 A | Bohr, José | jose Tutankhamon | Instrumental;Bohr presumed to be the musical-saw player.;Announced by Glücksman on Caras y Caretas on 1923-08-04.; | Paso del camello | Buenos Aires, Argentina | ||||
| 04012 |  |
1923 | La bayadera | Shimmy | Orquesta Típica Canaro | Odeon | 1430 | 6925 A | Kálmán, Emmerlich | kalman emerlich bajadere | Instrumental;Bohr presumed to be the musical-saw player in the Orchestra, a previous version of the same piece was recorded the same day as Eleonore.;From the operetta Die Bajadere.; | Shimmy de Mariette | Buenos Aires, Argentina | ||||
| 04018 |  |
< 1923-10-06 | Veranito de San Juan | Shimmy | Orquesta Jazz-Band Canaro | Odeon | 1482 | 6932 B | Canaro, Francisco | Instrumental;Bohr presumed to be the musical-saw player.;Announced by Glücksman on Caras y Caretas on 1923-10-06.; | Buenos Aires, Argentina | ||||||
| 04021 |  |
< 1923-11-17 | My sweetheart’s song | Shimmy | Orquesta Jazz-Band Canaro | Odeon | 1483 | 6939 B | Haimovici, José Huni “Huni Haimó” - González, Luis | haimo gonzalez | Instrumental;Bohr presumed to be the musical-saw player.;Announced by Glücksman on Caras y Caretas on 1923-11-17.; | La canción de mi novia | Buenos Aires, Argentina | ||||
| 04027 |  |
1923 | Nerón | Shimmy | Orquesta Jazz-Band Canaro | Odeon | 1539/1 | 6944 A | Iribarne, Emilio - Valdez, Mario M. | Millán, J. Cancio | milan millan | Instrumental;Bohr presumed to be the musical-saw player.;;Announced by Glücksman on Caras y Caretas on 1924-01-05.;Only one take was printed.; | Buenos Aires, Argentina | ||||
| 04033 |  |
1923 | Camel | Shimmy | Orquesta Jazz-Band Canaro | Odeon | 1605 | 6943 B | Bohr, José | neron jose | Instrumental;Bohr presumed to be the musical-saw player.;Announced by Glücksman on Caras y Caretas on 1924-01-05.; | La canción del serrucho | Buenos Aires, Argentina | ||||
| 04036 |  |
1923 | Chispa | Shimmy | Orquesta Jazz-Band Canaro | Odeon | 1606 | 6948 A | Pracánico, Francisco | pracanico | Instrumental;Bohr presumed to be the musical-saw player.;Announced by Glücksman on Caras y Caretas on 1924-01-19.; | Buenos Aires, Argentina | |||||
| 04042 |  |
1923 | Sacate la caretita | Shimmy | Orquesta Típica Canaro | Odeon | 1632 | 6947 A | Cosenza, Luis E. - Schumacher, José | jose | Instrumental;Bohr presumed to be the musical-saw player.;Announced by Glücksman on Caras y Caretas on 1924-01-12.; | Buenos Aires, Argentina | |||||
| 04043 | |
1923 | Sacate la caretita | Shimmy | Orquesta Típica Canaro | Odeon | 1632/1 | 6947 A | Cosenza, Luis E. - Schumacher, José | jose | Instrumental;Bohr presumed to be the musical-saw player.;Announced by Glücksman on Caras y Caretas on 1924-01-12.; | Buenos Aires, Argentina | |||||
| 04048 | |||||||||||||||||
| 04060 |  |
< 1924-01-19 | Marina | Shimmy | Orquesta Jazz-Band Canaro | Odeon | 1686 | 6951 B | Chameck, Lucio | Instrumental;Bohr presumed to be the musical-saw player.;Announced by Glücksman on Caras y Caretas on 1924-01-19.; | Buenos Aires, Argentina | ||||||
| 04063 |  |
1924 | La virgen de Stamboul | Shimmy | Orquesta Jazz-Band Canaro | Odeon | 1687 | 6966 A | Culiersi, Juan | estambul | Instrumental;Bohr presumed to be the musical-saw player.; | Buenos Aires, Argentina | |||||
| 04069 | |
1924 | El templo de Venus | Shimmy | Orquesta Jazz-Band Canaro | Odeon | 1733 | 6962 A | Merico, Salvador | Instrumental;Bohr presumed to be the musical-saw player.; | The temple of Venus | Buenos Aires, Argentina | |||||
| 04072 |  |
< 1924-03-15 | Arabian smiles | Shimmy | Orquesta Jazz-Band Canaro | Odeon | 1734 | 6964 A | Despet, Raúl | arabe raul | Instrumental;Bohr presumed to be the musical-saw player.;Announced by Glücksman on Caras y Caretas on 1924-03-15.; | Sonrisa árabe | Buenos Aires, Argentina | ||||
| 04073 | |
< 1924-03-15 | Arabian smiles | Shimmy | Orquesta Jazz-Band Canaro | Odeon | 1734/1 | 6964 A | Despet, Raúl | arabe raul | Instrumental;Bohr presumed to be the musical-saw player.;Announced by Glücksman on Caras y Caretas on 1924-03-15.; | Sonrisa árabe | Buenos Aires, Argentina | ||||
| 04078 | |||||||||||||||||
| 04100 |  |
1924 | Anoche en un taxi | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 1766 | 16101 A | Brown, Lew - Schraubstader, Carl | Brown, Lew - Schraubstader, Carl - Bohr, José | jose | First recording of Bohr as singer;He is credited as a comic “a dicción” (spoken song).;Original English title is Last night on the back porch (loved her best of all) https://adp.library.ucsb.edu/index.php/matrix/detail/2000156082/9091-Last_night_on_the_back_porch_I_loved_her_best_of_all; | Buenos Aires, Argentina | |||
| 04103 |  |
1924 | Annabelle | Shimmy | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 1767 | 16102 A | Henderson, Ray | Brown, Lew - Bohr, José | jose | Yet another release from the Tin Pan Alley.; | Buenos Aires, Argentina | |||
| 04106 |  |
1924 | Tut-Ankh-Amon | Shimmy | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 1768 | 16101 B | Bohr, José - Millán, J. Cancio | Bohr, José - Millán, J. Cancio | jose | Tutankhamon | Buenos Aires, Argentina | |||
| 04109 |  |
1924 | No… no… no… | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 1772 | 16102 B | Bohr, José - Millán, J. Cancio | Bohr, José - Millán, J. Cancio | jose | Buenos Aires, Argentina | ||||
| 04112 |  |
1924 | La sulamita | Shimmy | Orquesta Jazz-Band Canaro | Odeon | 1775 | 6971 A | Canaro, Francisco | Instrumental;Bohr presumed to be the musical-saw player.; | Buenos Aires, Argentina | ||||||
| 04113 | |
1924 | La sulamita | Shimmy | Orquesta Jazz-Band Canaro | Odeon | 1775/2 | 6971 A | Canaro, Francisco | Instrumental;Bohr presumed to be the musical-saw player.; | Buenos Aires, Argentina | ||||||
| 04118 |  |
< 1924-04-26 | Melodía de amor | Shimmy | Orquesta Jazz-Band Canaro | Odeon | 1776 | 6969 A | Demare, Lucio - Bohr, José | jose melodia | Instrumental;Bohr presumed to be the musical-saw player.;Announced by Glücksman on Caras y Caretas on 1924-04-26.; | Buenos Aires, Argentina | |||||
| 04119 | |
< 1924-04-26 | Melodía de amor | Shimmy | Orquesta Jazz-Band Canaro | Odeon | 1776/1 | 6969 A | Demare, Lucio - Bohr, José | jose melodia | Instrumental;Bohr presumed to be the musical-saw player.;Announced by Glücksman on Caras y Caretas on 1924-04-26.; | Buenos Aires, Argentina | |||||
| 04120 | |
< 1924-04-26 | Melodía de amor | Shimmy | Orquesta Jazz-Band Canaro | Odeon | 1776/2 | 6969 A | Demare, Lucio - Bohr, José | jose melodia | Instrumental;Bohr presumed to be the musical-saw player.;Announced by Glücksman on Caras y Caretas on 1924-04-26.; | Buenos Aires, Argentina | |||||
| 04123 | |
1924 | Estoy enamorado | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 1880 | 16104 A | Breuer, Ernest | Rietti, Elio - Bohr, José | Original English title is Oh gee oh gosh oh golly I’m in love [https://adp.library.ucsb.edu/index.php/matrix/detail/2000028840/81073-Oh_Gee_oh_Gosh_oh_Golly_Im_in_love]; | Buenos Aires, Argentina | ||||
| 04126 | |
1924 | Día de lluvia | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 1881 | 16103 A | Quesada, Héctor S. | Gallego, César | dia hector cesar | Buenos Aires, Argentina | ||||
| 04129 | |
1924 | I stutter | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 1882 | 16103 B | Friend, Cliff | Bohr, José | jose | The original English title is You tell her, I stutter [https://adp.library.ucsb.edu/index.php/matrix/detail/800000998/B-27063-You_tell_her_I_stutter] with lyrics by Rose, Billy; | Yo tartamudeo | Buenos Aires, Argentina | ||
| 04132 | |
1924 | Mister Bohr | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 1883/1 | 16104 B | Demare, Lucio | Millán Bonell, Juan C. | Buenos Aires, Argentina | |||||
| 04135 | |
< 1924-07-26 | Sultana | FoxTrot | Orquesta Típica Canaro | Odeon | 1899 | 6991 A | Scarpino, Alejandro - Caldarella, Juan | Scarpino, Alejandro - Caldarella, Juan | calderela | Instrumental;Bohr presumed to be the musical-saw player.;On the record this is called a “Camel trot”.; | Buenos Aires, Argentina | ||||
| 04138 | |
1924 | El borracho | Tango | Orquesta Típica Canaro | Odeon | 2001 | 6998 B | Padula, José Luis | Hernández, Miguel | jose hernandez | Instrumental;Bohr presumed to be the musical-saw player.; | Buenos Aires, Argentina | ||||
| 04141 |  |
1924 | Dicen que… | Shimmy | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 2046 | 16106 A | Borel-Clerc, Charles | Bohr, José | jose | Original French title is On dit ça.; | Buenos Aires, Argentina | |||
| 04144 |  |
< 1924-09-20 | Oh, París! | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 2047 | 16105 A | Bohr, José | Caruso, Juan Andrés | jose andres paris | Surely one of Bohr’s most popular numbers, Gardel recorded it.; | Buenos Aires, Argentina | |||
| 04147 |  |
< 1924-09-20 | Quiero dinero | Shimmy | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 2048 | 16105 B | Silberman, Louis | Bohr, José | jose | Original English title is I want some money (Gimme some, gimme some); | Buenos Aires, Argentina | |||
| 04150 | |
< 1924-10-25 | Allá en la estancia | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 2049 | 16106 B | Dale, Billy - Parrott, Charles - Adams, Jimmy - Harrison, Harry | Bohr, José | alla jose | Original English title is Down on the farm they all ask for you https://levysheetmusic.mse.jhu.edu/collection/155/099; | Buenos Aires, Argentina | |||
| 04153 |  |
< 1924-11-22 | Chappa la mandolina! | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 2199 | 16107 B | Cauvilla Prim, Daniel | Neira, Héctor | chapa hector | Buenos Aires, Argentina | ||||
| 04156 | |
1924 | Se llama Rosa | Canción | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 2200 | 16108 B | Barros, José C. | Bohr, José | jose | Buenos Aires, Argentina | ||||
| 04159 |  |
< 1924-11-22 | Pero hay una melena | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 2201 | 16107 A | Bayón-Herrera, Luis | Romero, Manuel - Pelay, Ivo | bayon | Curiously the Canaro Jazz Band recorded this title a few days later but you can’t hear the musical-saw, the gimmick had run its course.;From the revue “A ver quien nos pisa el poncho” (Let’s see who steps on our poncho).; | Buenos Aires, Argentina | |||
| 04162 | |
1924 | Majestad | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 2202 | 16108 A | Bohr, José | Barros, José C. | jose | Announced by Glücksman on Caras y Caretas on 1925-01-03.; | Buenos Aires, Argentina | |||
| 04165 |  |
1924 | I love you | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 2352 | 16110 A | Archer, Harry | Barros, José C. | jose | Announced by Glücksman on Caras y Caretas on 1925-02-14.;Originally a hit by the Paul Whiteman Orchestra[https://adp.library.ucsb.edu/index.php/matrix/detail/800002614/B-28581-I_love_you].; | Te amo | Buenos Aires, Argentina | ||
| 04168 |  |
1924 | Indianopolis | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 2353 | 16110 B | Pataro Conte, Eduardo | Pataro Conte, Eduardo | jose | Announced by Glücksman on Caras y Caretas on 1925-02-14.; | Buenos Aires, Argentina | |||
| 04171 | |
1924 | Le diseur | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 2354 | 16109 B | Sánchez, Carlos A. | Barros, José C. | jose | In French a “diseur” is a male professional entertainer who performs monologues, presumably Bohr was one.; | Buenos Aires, Argentina | |||
| 04174 | |
1924 | Que lindo sueño! | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 2355 | 16109 A | Erwin, Ralph | Bohr, José | jose | Announced by Glücksman on Caras y Caretas on 1925-02-14.;Original title is “Wo hast du nur die schönen blauen Augen her" (Where did you get those beautiful blue eyes);English lyrics by Robert Katscher.; | Buenos Aires, Argentina | |||
| 04177 | |||||||||||||||||
| 04200 | |
1925 | El ukelele | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 2533 | 16111 A | Conrad, Art | Collazo, Ramón | ramon | Original English title is Say it with a ukelele.; | Buenos Aires, Argentina | |||
| 04203 | |
1925 | Chez nous il y a des bananes! | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 2534 | 16111 B | De Buxeuil, René | Collazo, Ramón | ramon | Buenos Aires, Argentina | ||||
| 04206 |  |
1925 | Cuando tu y yo estábamos bailando | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 2535 | 16112 A | Tennet, Harry M. | Avilés, Adolfo R. | aviles tenet | Original English title is When you and i were dancing.; | Buenos Aires, Argentina | |||
| 04209 |  |
1925 | Cuando Bohr toca el saxophón | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 2536 | 16112 B | Garnot, Pierre J. G. “Tremolo” | Bohr, José | jose | Original French title is Quand Charlot joue du saxophone.; | Buenos Aires, Argentina | |||
| 04215 | |
1925 | Y tenía un lunar | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 2655 | 16113 A | Bohr, José | Soliño, Víctor | jose tenia solino | Buenos Aires, Argentina | ||||
| 04218 |  |
1925 | Asi se canta en Nápoles | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 2656 | 16114 A | Verona, Nicolás | Carrera Sotelo, Enrique - Marambio Catán, Juan C. | nicolas catan napoles napoli | Buenos Aires, Argentina | ||||
| 04221 | |
< 1925-04-11 | Reyes del aire | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 2657 | 16113 B | Bohr, José | Canale, Amadeo H. | jose | Announced by Glücksman on Caras y Caretas on 1925-04-11.; | Buenos Aires, Argentina | |||
| 04224 |  |
1925 | Yo tenía un amorcito | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 2658 | 16114 B | Canaro, Francisco | Caruso, Juan Andrés - Solari Parravicini, Benjamín | benjamin paravicini andres tenia | Yo tuve un amorcito | Buenos Aires, Argentina | |||
| 04230 | |
< 1925-07-04 | Les garçonnes | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 2699 | 16116 B | Riccardi, Luis | Solari Parravicini, Benjamín | garconnes garcones ricardi benjamin | Announced by Glücksman on Caras y Caretas on 1925-07-04.; | Buenos Aires, Argentina | |||
| 04233 |  |
1925 | Si vous saviez comm’ je fait ça | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 2700 | 16115 A | Szulc, Joseph | Bohr, José | usted jose | Si ud supiera como hago eso | Buenos Aires, Argentina | |||
| 04236 |  |
1925 | Si quiero | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 2701 | 16115 B | Petrone, César | Barros, José C. | jose | Buenos Aires, Argentina | ||||
| 04239 | |
< 1925-07-04 | Je glisse | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 2702 | 16116 A | Moretti, Raoul A. E. | Willemetz, Albert L. | glise moreti wilemetz | Announced by Glücksman on Caras y Caretas on 1925-07-04.; | Buenos Aires, Argentina | |||
| 04245 | |
1925 | Rie… rie… | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 2889 | 16118 B | Rizzuti, José M. | Bonnet, Julio M. | rizuti rizutti rizzutti bonet | Covered by Osvaldo Fresedo the same year.; | Buenos Aires, Argentina | |||
| 04248 |  |
< 1925-07-04 | Mi querido Agustín | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 2890 | 16117 A | Bohr, José | Caruso, Juan Andrés | agustin jose andres | Announced by Glücksman on Caras y Caretas on 1925-07-04.; | Buenos Aires, Argentina | |||
| 04251 | |
1925 | Alguien me quiere | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 2891 | 16118 A | Gershwin, George | Bohr, José - Caruso, Juan Andrés | jose andres | Original English title is Someone loves me.; | Buenos Aires, Argentina | |||
| 04254 |  |
< 1925-08-08 | Vera-Cruz | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 2892/1 | 16117 B | Bohr, José | Caruso, Juan Andrés | veracruz jose andres | Announced by Glücksman on Caras y Caretas on 1925-08-08.; | Buenos Aires, Argentina | |||
| 04260 | |
1925 | Hay que aprender a bailar | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 3013 | 16124 A | Lomuto, Héctor | Seitún, Andrés L. | hector seitun | Buenos Aires, Argentina | ||||
| 04263 | |
1925 | El pelo se cortó… | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 3014 | 16121 B | Mercier, René Y. A. | Soliño, Víctor | rene victor solino corto | Original French title is Elle s'était fait couper les cheveux.; | Buenos Aires, Argentina | |||
| 04266 | |
1925 | Oh! Juventud! | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 3015 | 16124 B | Bohr, José | Barros, José C. | jose | Buenos Aires, Argentina | ||||
| 04269 | |
1925 | Cuando son dos | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 3016 | 16121 A | Moretti, Raoul A. E. | Soliño, Víctor | moreti victor solino | Original French title is Ce n'est pas la méme chose quand on est deux. | Buenos Aires, Argentina | |||
| 04275 | |
1925 | Pero usa gomina! | Shimmy | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 3058 | 16120 A | Devalque, Ricardo | Romero, Manuel - Pelay, Ivo - Bayón Herrera, Luis | bayon | Buenos Aires, Argentina | ||||
| 04278 |  |
< 1925-09-05 | Titina | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 3059 | 16119 A | Niquet, Ferdinand Julien “Léo Daniderff" | Bohr, José | leo jose | Original French title is Je cherche aprés Titine.;Announced by Glücksman on Caras y Caretas on 1925-09-05.;Last announcement before his first trip to New York.; | Buenos Aires, Argentina | |||
| 04281 | |
1925 | Hacemos cosas que… | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 3060 | 16120 B | Moretti, Raoul A. E. | Bohr, José | mas jose | Original French title is Les choses qu'on dit.; | Hacemos cosas que más vale callar | Buenos Aires, Argentina | ||
| 04284 |  |
< 1925-09-05 | No puedo más | Maxixe | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 3061 | 16119 B | Bohr, José | Fontaina, Roberto | mas jose | Announced by Glücksman on Caras y Caretas on 1925-09-05.;Last announcement before his first trip to New York.; | Buenos Aires, Argentina | |||
| 04290 | |
< 1925-09-24 | Musmé | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 3111 | 16122 A | Avilés, Adolfo R. | Viera, Eduardo | musme aviles | Announced by Glücksman on Caras y Caretas on 1925-11-14.; | Buenos Aires, Argentina | |||
| 04293 | |
< 1925-09-24 | Marquita | Vals | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 3112 | 16126 A | Schertzinger, Víctor | Bohr, José | victor jose | Announced by Glücksman on Caras y Caretas on 1926-03-13.; | Buenos Aires, Argentina | |||
| 04296 | |
< 1925-09-24 | La porteña es un bombón | Shimmy | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 3113 | 16122 B | Hillier, Luis | Bohr, José | portena bombon jose hilier | Announced by Glücksman on Caras y Caretas on 1925-11-14.; | Buenos Aires, Argentina | |||
| 04299 | |
< 1925-09-24 | Busco una rubia | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 3114 | 16126 B | Hillier, Luis | Bohr, José | hilier jose | Announced by Glücksman on Caras y Caretas on 1926-03-13.; | Buenos Aires, Argentina | |||
| 04305 | |
< 1925-09-24 | Era una rubia | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 3177 | 16125 A | Pataro Conte, Eduardo | Caruso, Juan Andrés | Buenos Aires, Argentina | |||||
| 04308 | |
< 1925-09-24 | La frottada | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 3178 | 16125 B | Hillier, Luis | Hillier, Luis | hilier | Buenos Aires, Argentina | ||||
| 04311 | |
< 1925-09-24 | Bibelot | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 3179 | 16123 B | Sánchez, Carlos A. | De Luca, Pascual | sanchez | Buenos Aires, Argentina | ||||
| 04314 | |
< 1925-09-24 | Sollozos de Oriente | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 3180 | 16123 A | Fattori, Gerónimo | De León, Luis A. | geronimo leon | Buenos Aires, Argentina | ||||
| 04320 | |
< 1925-09-24 | Se agarra bailando | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 3513 | 16141 B | Yvain, Maurice | Original French title is On se prend dansant.; | Buenos Aires, Argentina | |||||
| 04323 | jose | ||||||||||||||||
| 04350 | |
> 1926-02-14 | Si, si es mi nena | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 3712 | 16128 A | Donaldson, Walter | Bohr, José | jose | Announced by Glücksman on Caras y Caretas on 1926-04-17.;Original English title is Yes Sir, that's my baby [https://en.wikipedia.org/wiki/Yes_Sir,_That%27s_My_Baby_(song)].;Original lyrics by Gus Khan, made popular by Eddie Cantor; | Buenos Aires, Argentina | |||
| 04353 | |
> 1926-02-14 | Me río del mundo | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 3713 | 16129 B | Henderson, Ray | Bohr, José | jose | Original English title is I am sittin’ on top of the world [https://en.wikipedia.org/wiki/I%27m_Sitting_on_Top_of_the_World] with lyrics by Sam M. Lewis and Joe Young.;Possibly sang by Al Jolson when Bohr went to see him on Broadway.; | Buenos Aires, Argentina | |||
| 04359 | |
< 1926-04-10 | Susie (Sussie) | FoxTrot | J. Bohr con Trío Canaro | José Bohr | Odeon | 3720 | 16127 A | De Sylva, Buddy | Bohr, José | jose trio | Announced by Glücksman on Caras y Caretas on 1926-04-10.;An Al Jolson number, surely pointing to the show Big Boy that Bohr saw in New York.;The original English title is If You Knew Susie (Like I know Susie) [https://en.wikipedia.org/wiki/If_You_Knew_Susie] with lyrics by Joseph Meyer.; | Buenos Aires, Argentina | |||
| 04362 | |
< 1926-04-17 | Busco una mujer | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 3721 | 16128 B | Warren, Harry | Bohr, José | jose | Announced by Glücksman on Caras y Caretas on 1926-04-17.; | Buenos Aires, Argentina | |||
| 04365 | |
< 1926-04-10 | Pum Garibaldi…! | Shimmy | J. Bohr con Trío Canaro | José Bohr | Odeon | 3722 | 16127 B | Acuña de Andreoni, Lía | Velich, Juan Miguel - Brancatti, Francisco | jose trio | Announced by Glücksman on Caras y Caretas on 1926-04-10.; | Buenos Aires, Argentina | |||
| 04368 | |||||||||||||||||
| 04371 | |
1926 | Valencia | Canción | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 3857 | 16129 A | Padilla, José Luis | Bohr, José | jose | Buenos Aires, Argentina | ||||
| 04374 | |
< 1926-05-22 | Valentina | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 3858 | 16130 A | Christiné, Henri | Bohr, José | jose | Announced by Glücksman on Caras y Caretas on 1926-05-22.;Original French title is Valentine, a hit by Maurice Chevalier who visited Buenos Aires in 1926.; | Buenos Aires, Argentina | |||
| 04377 | |
< 1926-05-22 | Oh Dios, que mujer! | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 3859 | 16130 B | Wright, Frank - Bessinger, Frank | Bohr, José | jose | Announced by Glücksman on Caras y Caretas on 1926-05-22.;Original English title is Oh! boy, what a girl, another hit by Eddie Cantor with lyrics by Bud Green.; | Buenos Aires, Argentina | |||
| 04380 | |
< 1926-06-26 | Dónde estará mi nena? | FoxTrot | J. Bohr con Trío Canaro | José Bohr | Odeon | 3860 | 16131 A | Donaldson, Walter | Bohr, José | jose trio | Announced by Glücksman on Caras y Caretas on 1926-06-26.;Original English title is I wonder where my baby is to-night, | Buenos Aires, Argentina | |||
| 04383 | |
< 1926-06-26 | Mi guitarra gaucha | Zamba | J. Bohr con Trío Canaro | José Bohr | Odeon | 3861 | 16131 B | Cauvilla Prim, Daniel | Neira, Héctor | jose trio hector | Announced by Glücksman on Caras y Caretas on 1926-06-26.; | Buenos Aires, Argentina | |||
| 04386 | |||||||||||||||||
| 04400 |  |
1926-05-07 | Díganle que yo la adoro | Tango | Bohr y su Orquesta Típica | Victor | BAVE 792/1 | 79651 B | Berto, Augusto Pedro | Di Clemente, José - Battistella, Mario | jose diganle batistella battistela | Instrumental;DAHR date is 6/28/1926 (for the “approval of the Master”).; | Buenos Aires, Argentina | ||||
| 04403 |  |
1926-05-07 | Valencia | Pasodoble | Bohr y su Orquesta Típica | Victor | BAVE 793/2 | 79651 A | Padilla, José Luis | Cayol, Roberto L. | jose | Instrumental;DAHR date is 6/28/1926 (for the “approval of the Master”).;This popular Spanish tune was also recorded by Gardel around the same time.; | Buenos Aires, Argentina | ||||
| 04406 | |||||||||||||||||
| 04410 | |
1926 | Cecilia | FoxTrot | J. Bohr con Trío Canaro | José Bohr | Odeon | 4146 | 16132 A | Dreyer, Dave | Bohr, José | jose trio | From the matrix numbers we infer they were recorded before 1926-07-24, the date of the announcement in Caras y Caretas of Canaro’s Pura fantasía, a recording with a higher matrix number.;Original English title is Does your mother know you're out Cecilia [https://en.wikipedia.org/wiki/Cecilia_(Dreyer_and_Ruby_song)] with lyrics by Harry Ruby.; | Buenos Aires, Argentina | |||
| 04413 | |
1926 | Por teléfono, mi amor | FoxTrot | J. Bohr con Trío Canaro | José Bohr | Odeon | 4147 | 16133 A | Bohr, José | Martínez Viérgol, Antonio | jose trio telefono martinez viergol | Though little is known about there recordings, from the matrix numbers we infer they were recorded before 1926-07-24, the date of the announcement in Caras y Caretas of Canaro’s Pura fantasía, a recording with a higher matrix number.; | Buenos Aires, Argentina | |||
| 04416 | |
1926 | Cierta persona | FoxTrot | J. Bohr con Trío Canaro | José Bohr | Odeon | 4148 | 16133 B | Donaldson, Walter | Bohr, José | jose trio | Though little is known about there recordings, from the matrix numbers we infer they were recorded before 1926-07-24, the date of the announcement in Caras y Caretas of Canaro’s Pura fantasía, a recording with a higher matrix number.;Original English title is That certain party, with lyrics by Gus Kahn.; | Buenos Aires, Argentina | |||
| 04419 | |
1926 | Dejadme soñar | Charleston | J. Bohr con Trío Canaro | José Bohr | Odeon | 4149 | 16132 B | Wayne, Mabel - Baer, Abel | Bohr, José | jose trio | Though little is known about there recordings, from the matrix numbers we infer they were recorded before 1926-07-24, the date of the announcement in Caras y Caretas of Canaro’s Pura fantasía, a recording with a higher matrix number.;Original English title is Don't wake me up (Let me dream), with lyrics by L. Wolfe Gilbert.; | Buenos Aires, Argentina | |||
| 04422 | |||||||||||||||||
| 04430 |  |
1926-05-26 | Te acordarás | Tango | Bohr y su Orquesta Típica | José Bohr | Victor | BAVE 821/2 | 79667 B | Gagliano, Alfonso - Gagliano, Pedro | Gagliano, Alfonso - Gagliano, Pedro | jose acordaras | Male vocal with ensemble;Binda notes an “errata in USA books”.;DAHR date is 7/19/1926 (for “delivery to the processing plant”).; | Buenos Aires, Argentina | |||
| 04433 |  |
1926-05-26 | Final de baile Nº 1 | Potpurri | Bohr y su Orquesta Típica | Victor | BAVE 822/1 | 79667 A | Ibáñez, Salvador | Ibáñez, Salvador | jose número numero no ibañez ibanez | Male vocal with ensemble;Binda notes an “errata in USA books”.;DAHR date is 7/19/1926 (for “delivery to the processing plant”).; | Buenos Aires, Argentina | ||||
| 04439 |  |
1926-06-11 | Camisita verde | Tango | Bohr y su Orquesta Típica | Victor | BAVE 837/1 | 79675 A | Bohr, Eva | Instrumental;DAHR date is 9/27/1926 (for the “approval of the Master”).; | Buenos Aires, Argentina | ||||||
| 04442 |  |
1926-06-11 | Cuánto te quiero | FoxTrot | Bohr y su Orquesta Típica | Victor | BAVE 838/1 | 79675 B | Marengo, Alfredo R. | cuanto | Instrumental with accordeon.;DAHR date is 9/27/1926 (for the “approval of the Master”).; | Buenos Aires, Argentina | |||||
| 04448 |  |
1926-06-22 | El rey del bosque | Tango | Bohr y su Orquesta Típica | Victor | BAVE 855/2 | 79684 A | Arancibia Rodríguez, Ricardo | rodriguez | Instrumental;DAHR date is 9/15/1926 (for the “approval of the Master”).; | Buenos Aires, Argentina | |||||
| 04451 |  |
1926-06-22 | Final de baile Nº 2 | Potpurri | Bohr y su Orquesta Típica | José Bohr | Victor | BAVE 856/1 | 79684 B | Ibáñez, Salvador | Ibáñez, Salvador | jose número numero no ibañez ibanez | In English and Spanish;DAHR date is 9/15/1926 (for the “approval of the Master”).; | Buenos Aires, Argentina | |||
| 04457 |  |
1926-07-13 | Pobre corazón | Tango | Bohr y su Orquesta Típica | Victor | BAVE 874/1 | 79692 A | Matos Rodríguez, Gerardo H. | Soliño, Victor | corazon rodriguez victor solino | Instrumental;DAHR date is 9/15/1926 (for the “approval of the Master”).; | Buenos Aires, Argentina | ||||
| 04460 |  |
1926-07-13 | Qué tienes en la mirada? | FoxTrot | Bohr y su Orquesta Típica | José Bohr | Victor | BAVE 875/1 | 79692 B | Bohr, Eva | Bohr, Eva | jose que | DAHR date is 9/15/1926 (for the “approval of the Master”).; | Buenos Aires, Argentina | |||
| 04466 |  |
1926-07-28 | Pobre | Tango | Bohr y su Orquesta Típica | Victor | BAVE 887/2 | 79700 A | Aieta, Ricardo A. | Instrumental;DAHR date is 9/15/1926 (for the “approval of the Master”).; | Buenos Aires, Argentina | ||||||
| 04469 |  |
1926-07-28 | Que risa… todos lloraban | Shimmy | Bohr y su Orquesta Típica | Victor | BAVE 888/2 | 79700 B | Petrone, Héctor | hector | Instrumental with drums.;DAHR date is 9/15/1926 (for the “approval of the Master”).; | Buenos Aires, Argentina | |||||
| 04472 | |
1926-07-28 | Así me gusta a mi | FoxTrot | Bohr y su Orquesta Típica | Victor | BAVE 889/2 | 79701 A | Rietti, Elio - Rietti, Raúl | rieti raul asi | Instrumental;DAHR date is 9/30/1926 (for the “approval of the Master”).; | Buenos Aires, Argentina | |||||
| 04475 | |
1926-07-28 | Angustia | Tango | Bohr y su Orquesta Típica | Victor | BAVE 890/2 | 79701 B | Bonani, Américo - González, A. C. | americo gonzalez | Instrumental;DAHR date is 9/30/1926 (for the “approval of the Master”).; | Buenos Aires, Argentina | |||||
| 04481 | |
1926-09-01 | Y no tenía melena | FoxTrot | Bohr y su Orquesta Típica | A. Brown | Victor | BAVE 906/2 | 79709 B | Zuasti, Guillermo A. | Soliño, Victor | jose tenia victor solino | DAHR date is 10/27/1926 (for the “delivery to the processing plant”).; | Buenos Aires, Argentina | |||
| 04484 | |
1926-09-01 | Quién robó mi amor | FoxTrot | Bohr y su Orquesta Típica | Victor | BAVE 907/3 | 79709 A | Tanturi, Ricardo - Sánchez, Raúl A. | quien robo raul sanchez | Instrumental;DAHR date is 10/27/1926 (for the “delivery to the processing plant”).; | Buenos Aires, Argentina | |||||
| 04487 | |||||||||||||||||
| 04500 | |
< 1926-09-18 | Y los domingos por Florida | FoxTrot | J. Bohr con Trío Canaro | José Bohr | Odeon | 4382 | 16134 A | Bohr, José | Bohr, José | jose trio | Announced by Glücksman on Caras y Caretas on 1926-09-18.; | Buenos Aires, Argentina | |||
| 04503 | |
< 1926-09-18 | Despídeme con un beso | FoxTrot | J. Bohr con Trío Canaro | José Bohr | Odeon | 4383 | 16134 B | Sánchez, Carlos A. | Fresedo, Emilio “E. Dofrés” | jose trio despedime despideme sanchez | 3rd place in Odeon’s second contest;Announced by Glücksman on Caras y Caretas on 1926-09-18.; | Buenos Aires, Argentina | |||
| 04506 | |
< 1926-10-09 | Única | Tango | J. Bohr con Trío Canaro | José Bohr | Odeon | 4384 | 16136 B | Bohr, José | Soliño, Victor | jose trio unica victor solino | Announced by Glücksman on Caras y Caretas on 1926-10-09.; | Buenos Aires, Argentina | |||
| 04509 | |||||||||||||||||
| 04520 |  |
1926-09-16 | Ausencia | Tango | Bohr y su Orquesta Típica | Victor | BAVE 935/2 | 79723 A | Pugliese, Adolfo | Pugliese, Adolfo | Instrumental;DAHR date is 11/16/1926 (for the “approval of the Master”).; | Buenos Aires, Argentina | |||||
| 04523 |  |
1926-09-16 | Violetita | Tango | Bohr y su Orquesta Típica | Victor | BAVE 936/1 | 79723 B | Peressini, Hermes R. | Ruiz París, Francisco | Instrumental;DAHR date is 11/16/1926 (for the “approval of the Master”).; | Buenos Aires, Argentina | |||||
| 04526 |  |
1926-09-16 | Y fue tu risa | Tango | Bohr y su Orquesta Típica | Victor | BAVE 937/2 | 79724 A | Bohr, Eva - Bates, A. | Instrumental;DAHR date is 11/16/1926 (for the “approval of the Master”).; | Buenos Aires, Argentina | ||||||
| 04529 |  |
1926-09-16 | Pupilas brujas | Tango | Bohr y su Orquesta Típica | Victor | BAVE 938/2 | 79724 B | Donato, Ascanio E. | Instrumental;DAHR date is 11/16/1926 (for the “approval of the Master”).; | Buenos Aires, Argentina | ||||||
| 04535 |  |
1926-09-28 | Pa qué me mirás | Tango | Bohr y su Orquesta Típica | Victor | BAVE 954/2 | 79731 A | Lodigliani - Stalmann | que miras | Instrumental;DAHR date is 12/23/1926 (for the “delivery to the processing plant”).; | Buenos Aires, Argentina | |||||
| 04538 |  |
1926-09-28 | Orgías de amor | Tango | Bohr y su Orquesta Típica | Victor | BAVE 955/2 | 79731 B | Salerno, Vicente | orgias | Instrumental;DAHR date is 12/23/1926 (for the “delivery to the processing plant”).; | Buenos Aires, Argentina | |||||
| 04541 |  |
1926-09-29 | Tierra española | Pasodoble | Bohr y su Jazz | Victor | BAVE 956/2 | 79732 A | Boutureira, J. | Instrumental with tuba.;DAHR date is 12/23/1926 (for the “delivery to the processing plant”).; | Buenos Aires, Argentina | ||||||
| 04544 |  |
1926-09-29 | Es así la moda actual | Shimmy | Bohr y su Jazz | Victor | BAVE 957/2 | 16103 B | Zuasti, Guillermo A. | asi | Instrumental with tuba and violin;DAHR date is 12/23/1926 (for the “delivery to the processing plant”).; | Buenos Aires, Argentina | |||||
| 04547 | |||||||||||||||||
| 04560 | |
1926 | No me muerdas | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 4420 | 16135 A | Petrone, César “Oscar Peenter" | Petrone, César “Oscar Peenter" | jose cesar | Buenos Aires, Argentina | ||||
| 04563 | |
1926 | Niña de mis ensueños | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 4421 | 16141 A | Lorenzo, Ange - Whiting, Richard A. | Sánchez, Carlos A. - Vedani, César F. | jose | Original English title is Sleepy time gal, with lyrics by J. R. Alden and Raymond B. Egan.; | Buenos Aires, Argentina | |||
| 04566 | |
1926 | Porque tú me diste un beso? | Shimmy | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 4422 | 16139 A | Marengo, Alfredo R. | Marengo, Alfredo R. | jose por que tu | From Odeon’s second contest; | Buenos Aires, Argentina | |||
| 04569 | |
1926 | Cuando pienso en tí | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 4423 | 16139 B | Rose, VIncent | Avilés, Adolfo Rafael | jose | Original English title is When I think of you, with lyrics by Harry Owens.; | Buenos Aires, Argentina | |||
| 04575 | |
1926 | Recuerdos | Vals | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 4497 | 16140 A | Berlin. Irving | Bohr, José | jose | Original English title is Remember with lyrics by Irving Berlin.; | Buenos Aires, Argentina | |||
| 04578 | |
1926 | Para bailar | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 4498 | 16140 B | Barros, José C. Barros “Alcázar de Montero" | Sánchez, Carlos A. | jose alcazar | Buenos Aires, Argentina | ||||
| 04581 | |
< 1926-10-09 | Se casó Bohr, muchachos! | FoxTrot | J. Bohr con Trío Canaro | José Bohr | Odeon | 4499 | 16136 A | Velich, Juan Miguel - Rovelli, Aurelio | Velich, Juan Miguel - Rovelli, Aurelio | jose trio caso roveli | Announced by Glücksman on Caras y Caretas on 1926-10-09.; | Buenos Aires, Argentina | |||
| 04584 | |
< 1926-11-06 | La señorita del monóculo | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 4500 | 16135 B | Merico, Salvador | Supparo, Atilio | jose monoculo | Announced by Glücksman on Caras y Caretas on 1926-11-06.; | Buenos Aires, Argentina | |||
| 04590 | |
< 1926-12-02 | Los bombones me hacen bien | FoxTrot | J. Bohr con Trío Canaro | José Bohr | Odeon | 4534 | 16137 A | Pataro Conte, Eduardo | Alarcón | jose trio | From Odeon’s second contest; | Buenos Aires, Argentina | |||
| 04593 | |
< 1926-12-02 | El niño se me parece | FoxTrot | J. Bohr con Trío Canaro | José Bohr | Odeon | 4535 | 16137 B | Barros, José C. Barros “Alcázar de Montero" | Barros, José C. Barros “Alcázar de Montero" | jose trio nino | Buenos Aires, Argentina | ||||
| 04596 | |
< 1926-12-02 | Mi suegra | Canción | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 4536 | 16138 B | Bates, Héctor T. | Bates, Héctor T. | jose | Buenos Aires, Argentina | ||||
| 04599 | |
< 1926-12-02 | La manía del Jazz | FoxTrot | J. Bohr y Jazz-Band Canaro | José Bohr | Odeon | 4537 | 16138 A | Sánchez, Carlos A. | De Luca, Pascual | jose mania | Buenos Aires, Argentina | ||||
| 04602 | |||||||||||||||||
| 04700 |  |
Jan 1927 | A media luz | Tango | Eva Bohr y su Orquesta | Columbia USA | W 95523/4 | 2572-X | Donato, Edgardo | Instrumental; | New York | ||||||
| 04705 |  |
Jan 1927 | La Cumparsita | Tango | Eva Bohr y su Orquesta | Columbia USA | W 95524/1 | 2576-X | Matos Rodríguez, Gerardo H. | Columbia 50015 | Columbia (Chile) 5124-C - Columbia (France) DF-1315 - Columbia (U.K.) 5376 - Columbia (Norway) GN-198 | rodriguez | Instrumental; | New York | |||
| 04707 |  |
Jan 1927 | Solo | Tango | Eva Bohr y su Orquesta | Columbia USA | W 95525/1 | 2577-X | Bohr, Eva | Regal (Spain) RS-677 | Instrumental; | New York | |||||
| 04709 |  |
Jan 1927 | Primera hipoteca | Tango | Eva Bohr y su Orquesta | Columbia USA | W 95526/1 | 2576-X | Nucci, Ernesto | Columbia 50015 | Columbia (U.K.) 5376 B | nuci | Instrumental; | New York | |||
| 04712 | |
Jan 1927 | Primera hipoteca | Tango | Eva Bohr y su Orquesta | Columbia USA | W 95526/4 | 2576-X | Nucci, Ernesto | Columbia 50015 | Columbia (U.K.) 5376 B | nuci | Instrumental; | New York | |||
| 04714 |  |
Jan 1927 | Pato | Tango | Eva Bohr y su Orquesta | Columbia USA | W 95527/1 | 2573-X | Collazo, Ramón | Columbia 14080 | ramon | Instrumental; | New York | ||||
| 04716 |  |
Jan 1927 | Chiquilina | Tango | Eva Bohr y su Orquesta | Columbia USA | W 95528/1 | 2574-X | Romanelli, Orlando - Munilla, Alberto | romaneli munila | Instrumental; | New York | |||||
| 04718 |  |
Jan 1927 | Ojos que me hacen daño | Tango | Eva Bohr y su Orquesta | Columbia USA | W 95529/4 | 2574-X | Bohr, Eva | Regal (Spain) RS 677 | Instrumental; | New York | |||||
| 04723 | |||||||||||||||||
| 04727 | |
Jan 1927 | Medias de seda | Tango | Eva Bohr y su Orquesta | Columbia USA | W 95536/2 | 2575-X | Bohr, José | Columbia (U.K.) 14085 - Regal (Spain) RS-532 | jose | Instrumental; | New York | ||||
| 04730 |  |
Jan 1927 | Don Goyo | Tango | Eva Bohr y su Orquesta | Columbia USA | W 95537/2 | 2575-X | Bernstein, Luis | Instrumental; | New York | ||||||
| 04733 |  |
Jan 1927 | Carta brava | Tango | Eva Bohr y su Orquesta | Columbia USA | W 95538/2 | 2577-X | Fernández Falcón, Julio | fernandez falcon | Instrumental; | New York | |||||
| 04736 |  |
Jan 1927 | Cascabelito | Tango | Eva Bohr y su Orquesta | Columbia USA | W 95539/2 | 2572-X | Bohr, José | Columbia 28663-X | Regal (Spain) RS-527 | jose andres | Instrumental; | New York | |||
| 04739 |  |
Jan 1927 | Por el camino | Tango | Eva Bohr y su Orquesta | Columbia USA | W 95540/2 | 2573-X | Bohr, José | Columbia 14080 | jose gonzalez gonzales | Instrumental; | New York | ||||
| 04742 | |||||||||||||||||
| 04750 | |
Aug 1927 | Re Fa Si | Tango | Eva Bohr y su Orquesta | Columbia USA | W 95826/2 | 2738-X | Delfino, Enrique P. | Regal (Spain) RS-656 | Instrumental; | New York | |||||
| 04753 |  |
Aug 1927 | Mala firma | Tango | Eva Bohr y su Orquesta | Columbia USA | W 95827/2 | 2737-X | López Buchardo, Alberto | lopez | Instrumental; | New York | |||||
| 04756 | |
Aug 1927 | Mágica flor | Tango | Eva Bohr y su Orquesta | Columbia USA | W 95828/2 | 2739-X | Arancibia Rodríguez, Ricardo | Columbia 2821-X | Columbia (U.K.) CB-581- Regal (Spain) RS-527 | rodriguez magica | Instrumental; | New York | |||
| 04759 |  |
Aug 1927 | Mireya | Tango | Eva Bohr y su Orquesta | Columbia USA | W 95829/2 | 2737-X | Arancibia Rodríguez, Ricardo | rodriguez mirella | Instrumental; | New York | |||||
| 04762 | |
Aug 1927 | Gorgeos | Tango | Eva Bohr y su Orquesta | Columbia USA | W 95830/2 | 2738-X | Arancibia Rodríguez, Ricardo | Regal (Spain) RS-676 | rodriguez | Instrumental; | New York | ||||
| 04765 | |
Aug 1927 | Hechizos | Tango | Eva Bohr y su Orquesta | Columbia USA | W 95831/1 | 2739-X | Ruiseñor, H. J. | Regal (Spain) RS-676 | ruisenor | Instrumental; | New York | ||||
| 04768 | |||||||||||||||||
| 04771 | |
Aug 1927 | Aquel beso | Tango | Eva Bohr y su Orquesta | Columbia USA | W 958xx | 2821-X | Lacalle, Jose María | lacale | Instrumental;Binda’s original discography lists this track which is missing from the Discography of American Historical Recordings (DAHR).; | New York | |||||
| 04774 | |||||||||||||||||
| 04780 |  |
1927-1928 | Qué me importa! | Tango | Orquesta Argentina | Bayer | 117-4 | Bohr, José | Bohr, José | tipica que | Instrumental;We include this track and the side A of the same record (with voices) because we believe the Bohrs assisted in its production by reuniting the remnants of the Gauchos to play in this promotion for Bayer’s Cafiaspirina (aspirin).;The date is also questionable, the print ads came out Caras y Caretas on April 1929.; | New York | |||||
| 04785 | |
1927-1928 | Qué me importa! | Tango | Orquesta Argentina | Martín Garralaga - J. Utrera | Bayer | 118-3 | Bohr, José | Bohr, José | martin tipica que | We include this track and side B of the same record (sans voices) because we believe the Bohrs assisted in its production by reuniting the remnants of the Gauchos to play in this promotion for Bayer’s Cafiaspirina (aspirin).;We know that Garralaga was a friend of Bohr, and we think the other singer is Cuban baritone Antonio Utrera, though his first name is abbreviated with a J.;The date is also questionable, the print ads came out Caras y Caretas on April 1929.; | New York | ||||
| 04790 | |||||||||||||||||
| 04797 | |
1927-12-16 | Entonces qué harás? | Canción | José Bohr | José Bohr | Conn, Chester | Bohr, José | que haras | This was a test, and never got printed.;Original English title is What will you do? with lyrics by Ned Miller.; | New York | ||||||
| 04799 | |||||||||||||||||
| 04800 | |
1928-01-20 | Entonces qué harás? | Canción | José Bohr | José Bohr | Victor | BVE 41564 | Conn, Chester | Bohr, José | que haras | Presumably destroyed, as per DAHR.;.;Original English title is What will you do? with lyrics by Ned Miller.; | New York | ||||
| 04803 | |
1928-01-20 | Mi cielo | FoxTrot | José Bohr | José Bohr | Victor | BVE 41565/1 | Donaldson, Walter | Bohr, José | jose | The original English title is My blue heaven [https://en.wikipedia.org/wiki/My_Blue_Heaven_(song)], with lyrics by George A. Whiting.; | New York | ||||
| 04806 | |
1928-02-16 | Mi cielo | FoxTrot | José Bohr | José Bohr | Victor | BVE 41565/4 | 80605 A | Donaldson, Walter | Bohr, José | jose | The original English title is My blue heaven [https://en.wikipedia.org/wiki/My_Blue_Heaven_(song)], with lyrics by George A. Whiting.;Violín and piano; | New York | |||
| 04811 |  |
1928-02-16 | Miss Annabelle Lee | FoxTrot | José Bohr | José Bohr | Victor | BVE 42450/1 | 80605 B | Clare, Sidney - Pollack, Lew - Richman, Harry | Bohr, José | jose | Piano; | New York | |||
| 04815 |  |
1928-10-23 | Una noche de meditación | Canción | José Bohr | José Bohr | Victor | BVE 47860/1 | 46026 A | Pollack, Lew | Lewis, Sam M. - Young, Joe | meditacion | Original English title is Just a night for meditation.; | Meditation | New York | ||
| 04818 |  |
1928-10-23 | Qué noche de amores! | Canción | José Bohr | José Bohr | Victor | BVE 47861/2 | 81811 B | Dreyer, Dave | MacDonald, Ballard | que | Original English title is What a night for spooning.; | New York | |||
| 04821 |  |
1928-10-23 | Amada | Canción | José Bohr | José Bohr | Victor | BVE 47862/1 | 81811 A | Sanders, Joe - Kahn, Gus | Sanders, Joe - Kahn, Gus | Original English title is Beloved.; | New York | ||||
| 04824 |  |
1928-10-23 | Por la noche | Canción | José Bohr | José Bohr | Victor | BVE 47863/2 | 46026 B | Hanley, James F. - Dowling, Eddie | Hanley, James F. - Dowling, Eddie | Original English title is In the evening.; | New York | ||||
| 04830 | |||||||||||||||||
| 04840 | |
1929-02-28 | Y tenía un lunar | FoxTrot | José Bohr | José Bohr | Victor | BVE 50702/1 | 46158 | Bohr, José | Soliño, Víctor | jose victor solino | We speculate that the same formation of violin, cornet and piano as in previous recordings was used, Menéndez was obviously a personal friend of the Bohrs.; | New York | |||
| 04843 | |
1929-02-28 | Declaración amorosa de un tartamudo | Foxtrot | José Bohr | José Bohr | Victor | BVE 50703/1 | 46159 | Friend, Cliff | Bohr, José | jose declaracion | The original English title is You tell her, I stutter [https://adp.library.ucsb.edu/index.php/matrix/detail/800000998/B-27063-You_tell_her_I_stutter] with lyrics by Rose, Billy;Bohr sang the same track in 1924 for Odeon.;We speculate that the same formation of violin, cornet and piano as in previous recordings was used, Menéndez was obviously a personal friend of the Bohrs.; | Yo tartamudeo | New York | ||
| 04846 |  |
1929-03-01 | Arrabal | Tango | José Bohr | José Bohr | Victor | BVE 50704/1 | 46157 | Bohr, José | Bohr, José | jose | New York | ||||
| 04849 | |
1929-03-01 | Choca esos cinco | Tango | José Bohr | José Bohr | Victor | BVE 50705/1 | 46158 | Bohr, José | Bohr, José | jose | New York | ||||
| 04852 | |
1929-03-01 | Por el camino | Tango | José Bohr | José Bohr | Victor | BVE 50706/2 | 46159 | Bohr, José | González Castillo, José | jose gonzalez castilo | New York | ||||
| 04855 |  |
1929-03-01 | Cubanita | Tango | José Bohr | José Bohr | Victor | BVE 50707/1 | 46157 | Bohr, José | Bohr, José | jose | New York | ||||
| 04858 | |
1929-04-01 | Ponte el sobretodo, amor | Canción | José Bohr | José Bohr | Victor | BVE 51272/1 | 46254 | Henderson, Ray | De Sylva, Buddy - Brown, Lew | Original English title is Button up your overcoat[https://en.wikipedia.org/wiki/Button_Up_Your_Overcoat].; | New York | ||||
| 04861 | |
1929-04-01 | No puedo darte más que amor | FoxTrot | José Bohr | José Bohr | Victor | BVE 51273/2 | 46254 | McHugh, Jimmy | Fields, Dorothy | Original English title is I can't give you anything but love.; | No puedo darte sino amor | New York | |||
| 04864 | |
1929-04-01 | Eine Kleine Liedele | Vals | José Bohr | José Bohr | Victor | BVE 51274/1 | In German; | New York | |||||||
| 04867 | |
1929-11-13 | Rosa roja de amor | FoxTrot | José Bohr | José Bohr | Victor Chile | BVE 54505/2 | 46580 A | Hanley, James F. | Dowling, Eddie - McCarthy, Joseph | With Orchestra;Original English title is Red red rose.;From the soundtrack to the movie Sombras de gloria (Blaze o' glory).; | New York | ||||
| 04870 | |
1929-11-13 | Si la vida te sonríe | FoxTrot | José Bohr | José Bohr | Victor Chile | BVE 54506/2 | 46580 B | Hanley, James F. | McCarthy, Joseph | With Orchestra;Original English title is Put a little salt on the bluebird's tail.;From the soundtrack to the movie Sombras de gloria (Blaze o' glory).; | New York | ||||
| 04873 | |||||||||||||||||
| 04876 | |
1930-03-16 | Cuando la luz de la luna | FoxTrot | Carlos Molina Orchestra | José Bohr | Victor | PBVE 54710/2 | 46820 | Woods, Harry - Tobias, Charles | Bohr, José | Original English title is When the moon comes over the mountain.;From the soundtrack of the movie Una noche en Hollywood.; | Culver City, California | ||||
| 04879 | |
1930-03-16 | Son cosas de la vida | Tango | Carlos Molina Orchestra | José Bohr | Victor | PBVE 54711/2 | 46820 | Bohr, José - Bohr, Eva | Bohr, José - Bohr, Eva | From the movie “Así es la vida”; | Culver City, California | ||||
| 04882 |  |
1930-03-24 | Atorranta | Tango | Carlos Molina Orchestra | José Bohr | Victor | PBVE 54748/2 | 46902 B | Roselló, Arturo F. | Bohr, José | From the soundtrack of the movie “Una noche en Hollywood”.; | Culver City, California | ||||
| 04885 |  |
1930-03-24 | Qué tienes en la mirada? | FoxTrot | Carlos Molina Orchestra | José Bohr | Victor | PBVE 54749/3 | INEDITA | Bohr, Eva | Bohr, Eva | From the movie “Así es la vida”.; | Culver City, California | ||||
| 04888 | |
1930-04-10 | Qué tienes en la mirada? | FoxTrot | Carlos Molina Orchestra | José Bohr | Victor | PBVE 54749/2 | 46902 A | Bohr, José - Bohr, Eva | Bohr, José - Bohr, Eva | From the movie “Así es la vida”.; | Culver City, California | ||||
| 04891 | |
1930-04-10 | Tras la reja | FoxTrot | Carlos Molina Orchestra | José Bohr | Victor | PBVE 54757/1 | 30009 | Roselló, Arturo F. | Bohr, José | roselo rosello jose | From the movie “Así es la vida”.; | Culver City, California | |||
| 04894 | |||||||||||||||||
| 04897 | |
1930-06-18 | Nadie lo quiere creer | FoxTrot | José Bohr | José Bohr | Victor | PBVE 54838/2 | 30010 | Grey, Clifford | Schertzinger, Víctor | Original English title is XXX.;From the movie “The love parade”; | Culver City, California | ||||
| 04900 | |
1930-06-18 | Tras el amor | FoxTrot | José Bohr | José Bohr | Victor | PBVE 54839/2 | 30010 | Schertzinger, Víctor - Clifford Grey | Schertzinger, Víctor - Clifford Grey | Original English title is My love parade.;Sung by Maurice Chevalier on the movie “The love parade”.; | Culver City, California | ||||
| 04903 | |
1930-06-18 | Pasó el vendaval | FoxTrot | José Bohr | José Bohr | Victor | PBVE 54840/1 | 30009 | Ager, Milton | Yellen, Jack | paso | Original English title is Happy days are here again.;From the movie “Chasing rainbows”.; | Culver City, California | |||
| 04906 | |||||||||||||||||
| 04909 | |
1930-07-18 | Potro que me afloja el lomo | Tango | José Bohr | José Bohr | Victor | PBVE 54876/2 | 30041 | Bohr, José | Bohr, José | jose | Hollywood, California | ||||
| 04912 | |
1930-07-18 | Farolito | Tango | José Bohr | José Bohr | Victor | PBVE 54877/2 | 30041 | Bohr, José - Bohr, Eva | Bohr, José - Bohr, Eva | jose | Hollywood, California | ||||
| 04915 | |
1930-07-18 | Lo que yo siento es pasión | FoxTrot | José Bohr | José Bohr | Victor | PBVE 54878/2 | 30039 | Fain. Sammy - Norman, Pierre | Kahal, Irving | jose pasion | From the movie “The big pond”.; | You brought a new kind of love to me | Hollywood, California | ||
| 04918 | |
1930-07-18 | Rendido de amor | FoxTrot | José Bohr | José Bohr | Victor | PBVE 54879/2 | 30040 | Whiting, Richard A. | Marion Jr., George | jose | From the movie “Safety in numbers”.; | My future just passed | Hollywood, California | ||
| 04921 | |
1930-07-18 | Siempre que tus ojos, siempre que tus labios | FoxTrot | José Bohr | José Bohr | Victor | PBVE 54880/2 | 30039 | Lewis, Al | Lewis, Al | jose | From the movie “The big pond”.; | Hollywood, California | |||
| 04924 | |
1930-07-18 | Me río del mundo | FoxTrot | José Bohr | José Bohr | Victor | PBVE 54881/2 | 30040 | Coslow, Sam | Coslow, Sam | jose rio | From the movie “Paramount on parade”, where Maurice Chevalier performed it.; | Sweepin' the clouds away | Hollywood, California | ||
| 04936 | |||||||||||||||||
| 04930 | |
1931-04-02 | Corazón | Canción | José Bohr | José Bohr | Victor | PBVE 61087/1 | 30426 | Drake, Oliver - Meyers, Herbert | Bohr, José | jose corazon | From the soundtrack of the movie “Rogue of the Rio Grande”.; | My heart | Hollywood, California | ||
| 04933 | |
1931-04-02 | Luces en el valle | Canción | José Bohr | José Bohr | Victor | PBVE 61088/1 | 30466 | Drake, Oliver - Meyers, Herbert | Bohr, José | jose | From the soundtrack of the movie “Rogue of the Rio Grande”.; | Argentine moon | Hollywood, California | ||
| 04936 | |
1931-04-02 | Pst! Past! Pebeta | Canción | José Bohr | José Bohr | Victor | PBVE 61089/1 | 30466 | Bohr, José | Bohr, José | jose | Hollywood, California | ||||
| 04939 | |
1931-04-02 | Do-re-mi do-re-mi | Canción | José Bohr | José Bohr | Victor | PBVE 61090/2 | 30466 | Bohr, José - Bohr, Eva | Bohr, José - Bohr, Eva | jose | Hollywood, California | ||||
| 04942 | |||||||||||||||||
| 04945 | |
1931-08-18 | Manos blancas | Canción | José Bohr | José Bohr | Victor | PBVE 68302/1 | 30552 | Bohr, José - Bohr, Eva | Bohr, José - Bohr, Eva | jose | Pale hands | Hollywood | |||
| 04948 | |
1931-08-18 | Alice | Tango | José Bohr | José Bohr | Victor | PBVE 68303/2 | 30552 | Bohr, José - Bohr, Eva | Bohr, José - Bohr, Eva | jose | From the soundtrack of the movie Hollywood, Ciudad de Ensueños.; | Hollywood | |||
| 04951 |  |
1931-08-18 | Hollywood, ciudad de ensueños | Tango | José Bohr | José Bohr | Victor | PBVE 68304/2 | 30553 B | Bohr, José - Bohr, Eva | Bohr, José - Bohr, Eva | ensuenos jose | From the soundtrack of the movie Hollywood, Ciudad de Ensueños.; | Hollywood, city of dreams | Hollywood | ||
| 04954 |  |
1931-08-18 | Si usted me pone a mi en el cine | Canción | José Bohr | José Bohr | Victor | PBVE 68305/1 | 30553 A | Bohr, José - Bohr, Eva | Bohr, José - Bohr, Eva | jose | From the soundtrack of the movie Hollywood, Ciudad de Ensueños.; | Hollywood | |||
| 04957 | |||||||||||||||||
| 04960 | |
1934-12-06 | Si yo tuviera un millón | Tango | José Bohr | José Bohr | Victor | BS 86096/1 | 32390 | Bohr, José - Bohr, Eva | Bohr, José - Bohr, Eva | millon jose | New York | ||||
| 04963 | |
1934-12-06 | Que aburrido estoy | FoxTrot | José Bohr | José Bohr | Victor | BS 86097/1 | 32350 | Bohr, José - Bohr, Eva | Bohr, José - Bohr, Eva | jose | A song from Bohr’s movie Quién mató a Eva.; | New York | |||
| 04966 | |
1934-12-06 | Pero tiene tu boquita | FoxTrot | José Bohr | José Bohr | Victor | BS 86098/1 | 32350 | Bohr, José - Bohr, Eva | Bohr, José - Bohr, Eva | jose | A song from Bohr’s movie Quién mató a Eva.; | New York | |||
| 04969 | |
1934-12-06 | Mucho pequé | Canción | José Bohr | José Bohr | Victor | BS 86099/1 | 32351 | Bohr, José - Bohr, Eva | Benítez, G. | benitez peque jose | A song from Bohr’s movie Quién mató a Eva.; | New York | |||
| 04972 | |
1934-12-06 | Modelando el amor | FoxTrot | José Bohr | José Bohr | Victor | BS 86400/1 | 32351 | Bohr, José - Bohr, Eva | Bohr, José - Bohr, Eva | jose | New York | ||||
| 04975 | |
1934-12-06 | África | Son | José Bohr | José Bohr | Victor | BS 86401/1 | 32390 | Bohr, José | Bohr, José | africa jose | New York | ||||
| 04978 | |||||||||||||||||
| 04981 | |
1935 | Loco por tu amor, cucu | FoxTrot | José Bohr | José Bohr | Victor | MBS 90520/3 | 75161 | Bohr, José | Bohr, José | jose | A song from Bohr’s movie Luponini, el terror de Chicago.; | Mexico | |||
| 04985 | |
1935 | Mi vida es una ruleta | Tango | José Bohr | José Bohr | Victor | MBS 90521/3 | 75161 | Bohr, José | Bohr, José | jose | A song from Bohr’s movie Luponini, el terror de Chicago.; | Mexico | |||
| 04989 | |
1935 | Al que come perejil | Canción | José Bohr | José Bohr | Victor | MBS 90522/3 | 75160 | Bohr, José | Bohr, José | jose | A song from Bohr’s movie Luponini, el terror de Chicago.; | Mexico | |||
| 04990 | |||||||||||||||||
| 04992 |  |
1940s | Confidencias No. 1: Pero tiene tu boquita | Canción | José Bohr | José Bohr | Victor | 53286 A | Bohr, José - Bohr, Eva | Bohr, José - Bohr, Eva | jose | The date is a guess, Bohr left México for Chile in the 1940s, Biachi was a chilean pianist.; | Argentina | ||||
| 04994 |  |
1940s | Confidencias No.2: Y tenía un lunar | Canción | José Bohr | José Bohr | Victor | 53286 B | Bohr, José | Bohr, José | jose tenia | The date is a guess, Bohr left México for Chile in the 1940s, Biachi was a chilean pianist.; | Argentina |
Notas
1. Esta Discografía de José Bohr contiene grabaciones en las que Bohr fue intérprete o dirigió un conjunto. Por ello, hemos optado por incluir grabaciones que se atribuyen principalmente a Francisco Canaro (y su Jazz Band), pero en las que creemos que Bohr participó tocando la sierra musical. Hay que tener en cuenta que Bohr no tenía formación formal ni como cantante ni como músico, pero su carisma y su habilidad para el marketing se ganaron el corazón de su público desde 1923 hasta 1930.
2. Sugerencia: utilice la caja de Búsqueda arriba a la derecha (Search) para refinar los resultados (al instante!). También utilice los "triangulitos" en el encabezado de cada columna para ordenar los resultados de búsquedas. El triangulito al lado del encabezado del Index (Índice) ordena los resultados cronológicamente.
3. Esta hoja enumera las tomas, no los "discos", ni sólo los títulos. Los libros de Victor muestran el número de tomas registradas para cada título, y nosotros también lo hemos hecho a nuestra manera. La primera columna de la hoja (el índice) se ha elegido cuidadosamente para que aumente de forma monótona y refleje el orden cronológico. Suponemos que la matriz y los números de las tomas también indican ese orden (la toma 1 se registró antes que la toma 2, la matriz 932 se registró antes que la matriz 2036). Lo que esto significa es que si dos pistas se grabaron en la misma fecha, la que tenga el número de matriz más bajo aparecerá primero en la lista. De un título al siguiente, el índice salta hacia delante por el número de tomas registradas para esa pista (tal y como aparece en los libros de contabilidad). Pero sólo disponemos del número de tomas en los libros de Victor o en la Discografía Canaro de Christoph Lanner, e incluso éstos no están completos. Para las pistas que no disponen de esta información, suponemos que sólo se grabó una toma. Pero utilizamos saltos estratégicos en el índice para señalar un cambio de tipo. De hecho, hemos sido generosos con los saltos esta vez, van al menos 3 números por cada pista, los saltos son realmente marcadores de posición para futuros descubrimientos (evitando o reduciendo la necesidad de re-indexar).
4. El primer anuncio de una grabación de Bohr en la revista Caras y Caretas se produjo el 4 de agosto de 1923. Pero un tema anterior grabado por la Jazz Band incluye una sierra musical, Éléonore, y creemos que fue entonces cuando Bohr empezó a grabar con Canaro, en algún momento de julio de 1923. Las grabaciones con la Canaro Jazz Band fueron en su mayoría acústicas, y faltan las fechas exactas de las mismas. Hemos optado por indicar en muchas de ellas las fechas en que Max Glucksman las anunció en dicha revista, precedidas de un "<" ("antes de" o "no más tarde de"). Obsérvese que no es posible la inversa, no podemos deducir que una grabación se hiciera después de la fecha de alguno de los anuncios.
5. En general, se pueden aproximar las fechas de grabación haciendo algunas suposiciones, como el hecho de que transcurrió aproximadamente un mes (de media) desde la fecha de grabación hasta la fecha del anuncio en Caras y Caretas; que se grabaron números de matriz consecutivos en la misma fecha; y que los números de matriz (¡normalmente!) aumentan monotónicamente en el tiempo. Eso sí, son especulaciones, y sólo sirven para ayudar a enmarcar algunas de las grabaciones en el contexto histórico. Por ejemplo, alrededor de la fecha de la primera grabación de Bohr, la famosa bailarina francesa Mistinguette estaba en Buenos Aires (llegó el 16 de junio de 1923), lo que puede explicar las grabaciones de Éléonore y La Java de Maurice Yvain que precedieron a Tut-Ankh-Amon, ambas formaban parte del repertorio de Mistinguette.
6. Bohr (y muchos otros músicos de Buenos Aires) seguía ávidamente desde lejos la escena musical de Estados Unidos, la Canaro Jazz Band interpretaba éxitos americanos y Bohr les ponía letra en español. Hemos incluido varias partituras de estas piezas de Jazz, el título en las páginas detalladas es un enlace a guardiaviejaworks.blogspot.com.
7. Siguiendo la Discografía Lanner de Cristoph, hemos catalogado a Marina como "grabada en 1924", pero este tema en particular pone de manifiesto un breve desfase entre la grabación y la impresión, 18 días entre la fecha de grabación (si tuvo lugar el 1 de enero) y el anuncio en Caras y Caretas. Una vez más, suponemos que, por término medio, el desfase es de un mes, aunque no indicamos las fechas exactas de grabación porque, sencillamente, no están disponibles. Y los números de matriz no siempre aumentan monótonamente, a veces se hacía una segunda o tercera toma días después de la primera. Cuando se imprimió más de un número de matriz, los enumeramos en la misma Página detallada (por ejemplo, Sacate la caretita y Primera hipoteca).
8. Hemos colocado filas vacías entre años o para significar un cambio de sello, o para llamar la atención sobre el momento en que Bohr empezó a "cantar" en los discos (sobre todo tomando realmente), o saltos significativos en la numeración de la matriz.
9. La columna del índice se ha elegido hecha con [generosos] huecos por si en el futuro se descubren nuevas tomas.
10. Según el calendario sugerido por Caras y Caretas, el primer disco hablado de Bohr, Anoche en un taxi, se grabó en marzo o abril de 1924.
11. El último anuncio de Bohr en Caras y Caretas antes de viajar a Nueva York, el 24 de septiembre de 1925, fue para No puedo más, matriz Odeon número 3061. Así pues, extrapolamos que las matrices 3111 a 3513 (Musmé a Se agarra bailando) se grabaron antes del 24 de septiembre. Hay que tener en cuenta que desde marzo de 1925 hasta diciembre de 1926 Francisco Canaro no estaba en Buenos Aires, por lo que o Bohr tenía más libertad o no tenía dirección en el estudio. Pero el nombre de Canaro figura en las etiquetas.
12. Sabemos que Bohr regresó a Buenos Aires el 14 de febrero de 1926 o cerca de esa fecha, que es la fecha aproximada que indicamos para las matrices 3712 y siguientes. Nótese el salto obvio en la numeración de las matrices. Y enumeramos algunas fechas de grabación precedidas de un ">" ("después").
13. Hay un notorio salto en los anuncios de Glücksman/Odeon en Caras y Caretas en 1926, y también algunos saltos notorios en la numeración de las matrices. Pero los anuncios se hicieron incluso después de que se supiera que Bohr estaba grabando para Victor con su recién (y apresuradamente) formada Orquesta Típica. Las grabaciones para Victor se anunciaron en agosto de 1926. Por lo tanto, deducimos que las grabaciones Victor se realizaron mientras Bohr aún trabajaba para Odeon, y hemos intentado reflejar estas fechas de grabación a caballo entre los huecos de los números de matriz de Odeon para ese año. Hemos seguido la datación de Binda en las grabaciones de Victor (que es exacta), el DAHR afirma que "se cree que los libros de Victor que documentan esta grabación se han perdido" y que las fechas que aparecen en la tarjeta azul de historia de Victor se cree que son las fechas en que los masters fueron aprobados o entregados a la planta de procesamiento. Anotamos las fechas DAHR (y las advertencias) en las notas de las páginas detalladas. Bohr partió de nuevo para Nueva York el 2 de diciembre de 1926, y anotamos esta fecha en las últimas grabaciones para Odeon
14. En invierno de 1927 Bohr grabó con su Típica para Columbia en Nueva York. Creemos que esta Típica era un proyecto conjunto de Bohr y su mujer Eva Limiñana, que sin duda tenía una educación musical mucho más formal. Un signo evidente es el hecho de que la mayoría de estos temas fueran instrumentales y que José Bohr no cantara en ninguno de ellos, sino Genaro Veiga (Bohr conoció a Veiga en Chile, según su autobiografía). Por los discos sabemos que llegaron a Nueva York con al menos 10 músicos, por lo que llama la atención que algunas de estas grabaciones no tengan tantos. El DAHR identifica (a partir de la escucha de los discos) "2 violines, guitarra, piano y bandoneón", decidimos enumerar los nombres de los músicos conocidos en una "o-lista" (no es una lista concluyente sino la mejor conjetura). ¿Por qué no tocaron todos los músicos en estas sesiones? Quizá nunca lo sepamos. Las primeras matrices se grabaron en lo que parecen ser sesiones consecutivas de unas 10 tomas en cada fecha. Luego hay un notable vacío en el número de matrices con las 6 últimas grabaciones. Hemos seguido la datación que figura en la Discography of American Historical Recordings (DAHR).
15. Las grabaciones finales de la Típica de Eva Bohr para Columbia, matrices 95826 y 95831 tuvieron lugar en agosto de 1927 según DAHR. Binda menciona un tema que falta en DAHR, Aquel beso de José María Lacalle. Desconocemos su número de matriz, pero suponiendo que su grabación fue cercana a la primera que aparece en DAHR para ese título por la Orquesta Columbia (matriz 95860) suponemos que también se grabó en agosto de 1927. Binda también nota que hay un cello presente en dos pistas grabadas ese agosto, Mágica flor y Gorgeos, pero no tenemos idea de quién pudo haber sido ese músico.
16. Hemos elegido incluir dos grabaciones de “Qué me importa?” hechas “por la Orquesta Típica de José Bohr” para una campaña publicitaria para la Cafiaspirina de Bayer. Bohr no canta en estas pistas, sino M. Garralaga y “J. Utrera”. El primero es Martín Garralaga, y el segundo creemos que tiene un error tipográfico que apunta al tenor cubano Antonio Utrera. Utrera y Garralaga y Bohr cruzaron pasos en Nueva York en 1927 (y posiblemente a fines de 1925 también), pero la promoción impresa de Cafiaspirina no salió en Argentina (Caras y Caretas) sino hasta 1929. Aún más, no hay bandoneón en esa grabación, lo que lleva a concluir que se hizo después que la Orquesta Típica Criolla Argentina de Eva Bohr estaba disuelta. Sólo un intérprete del badoneón, Julio Fernández Falcón, quedó en Nueva York de Noviembre 1927 a Septiembre 1929 cuando llegó Osvaldo Fresedo, y es poco probable que Falcón tocaba con los Bohr despues de Agosto 1927 ya que éstos estaban ocupados trabajando en el nuevo contrato con Victor y en espectáculos de Broadway. Escuchando estas pistas determinamos que la agrupación incluía 2 o 3 violines, cello, acordión, piano y contrabajo. O sea, que no sabemos a ciencia cierta con quién trabajaron los Bohr en las grabaciones de Cafiaspitina, o porque Bayer acredita a “la Típica de Bohr”, ni siquiera suena como el grupo con el que Eva grabó para Columbia. Pero como Bohr es claramente mencionado en los créditos y los Bohr están en los anuncios de Caras y Caretas, incluimos estas grabaciones en esta discografía. Dick Spottswood opina que los números de matriz podrían ser de un "startup" cualquiera en el Nueva York de esos años (1927-1928).
17. Bohr volvió a Victor en 1928, pero sus días como intérprete de tango estaban contados. En particular, grabó algunos temas con Eva y su amigo Nilo Menéndez Barnet al piano. También algunos temas con Carlos Molina, que tenía su propio grupo de Tango. Eva también compuso algunos temas para él. Para 1929 sus días como nombre de Tango habían terminado, y saltó a su sueño de toda la vida, el cine. Mientras estaba en California grabó algunos temas, la mayoría para usar en sus películas.
Notas técnicas
1. Esta hoja contiene 1 encabezado, 9 saltos y 83 tomas. No todas fueron impresas comercialmente, hay dos que sólo existen como prueba.
2. La hoja esta ordenada por fecha/año/matriz/toma/disco/título. La primera columna (el índice) está numerada para que la hoja se ordene así mismo. En otras palabras: para ordenar por fecha de grabación, ordene por el índice.
3. Los “saltos” se incluyen para llamar la atención a discontinuidades en la Discografía, como cuando hubo cambio de sello discográfico, etc. Los saltos ayudan a romper la monotonía de una larga lista, y hacen la hoja más fácil para leer.
4. La caja de Search (Búsqueda) arriba a la derecha es absolutamente fabulosa, y la página entera y/o los resultados de búsqueda, pueden ser ordenados por Usted también!
5. Esta hoja fue desarrollada/optimizada para una pantalla de por lo menos 13 pulgadas (no para un teléfono móbil). Algunos navegadores tienen problemas con la lógica de mostrar la hoja: si usted tiene problemas con Chrome, pruebe Firefox. Las pruebas se hicieron en un laptop del año 2012, los nuevos laptops utilizan más alta densidad de pixels, por lo que preveemos menos problemas en el futuro. Estas limitaciones son evidentes en la columna de "Group" (Agrupación), en la cual elegimos utilizar "Bohr y Orquesta Típica" en vez de "José Bohr y su Orquesta Típica" para maximizar la información que se muestra a primera vista. El nombre completo de la agrupación sólo se muestra en el la página dedicada a la información detallada de cada track (Detail Page). Ésto tal vez cambie en el futuro se decidimos utilizar una hoja más ancha.
6. Usted puede bajar una copia Excel de esta Discografía… acá.
7. Cualquier corrección, adición, etc. favor mandar email [ a r a q u e AT g m a i l DOT c o m ]
Notes
1. This Discography of José Bohr contains recordings where Bohr was a performer or directed an ensemble. Because of this we have chosen to include recordings that are principally credited to Francisco Canaro (and his Jazz Band), but where we believe Bohr took part playing the musical-saw. It should be noted that Bohr was not formally trained as either a singer or a musician, but his charisma and marketing savvy won over the hearts of his audience from 1923 through 1930.
2. Suggestion: use the Search box to refine results instantaneously! Also, use the little triangle icons next to the column names to sort the results. The triangle next to the Index column sorts chronologically.
3. This sheet lists takes, not “discs”, or just titles. Victor’s ledgers show the number of takes registered for each title, and we have also done so in our own way. The first column of the sheet (the Index) has been carefully chosen to increase monotonically, and to reflect the chronological order. We presume that the matrix and the take numbers are an indication of that order too (take 1 was registered before take 2, matrix 932 was registered before matrix 2036). What this means is that if two tracks were recorded on the same date, the one with the lower matrix number will appear first in the list. From one title to the next one, the Index jumps ahead by the number of takes registered for that track (as it appears in the ledgers). But we only have the number of takes available in Victor’s ledgers or Christoph Lanner's Canaro Discography, and even those are not complete. For tracks not having this info we assume only one take was recorded. But we use strategic jumps in the Index to signal a change of sorts. As a matter of fact, we have been generous with the jumps this time, they go by at least 3 numbers for each track, the jumps are really placeholders for future discoveries (preventing or reducing the need to re-index).
4. The very first announcement of a Bohr recording in the magazine Caras y Caretas came on August 4, 1923. But a previous track recorded by the Jazz Band includes a musical saw, Éléonore, and we think this is when Bohr started recording with Canaro, sometime in July 1923. The recordings with the Canaro Jazz Band were mostly acoustical, and the exact dates for these are missing. We have chosen to list on many of these the dates when Max Glucksman announced them on said magazine, preceded by a "<" ("before" or "no later than"). Notice that the inverse is not possible, we cannot infer that a recording was made after the date of any announcements.
5. In general one can approximate the recording dates by making some assumptions like the fact it took about a month (on average) from the recording date to the date of the announcement in Caras y Caretas; that consecutive matrix numbers were recorded on the same date; and that matrix numbers (usually!) increase monotonically in time. Mind you, these are speculative, and only serve to help frame some of the recordings in the historical context. For example, around the time of Bohr's first recording date the famous French dancer Mistinguette was in Buenos Aires (she arrived on June 16, 1923), which may explain the recordings of Éléonore and Maurice Yvain's La Java which preceded Tut-Ankh-Amon, they were both part of Mistinguette's repertoire.
6. Bohr (and many other musicians in Buenos Aires) avidly followed the music scene in the USA from afar, the Canaro Jazz Band played American hits and Bohr wrote lyrics for them in Spanish. We have included several music sheets of these Jazz pieces, the Title in the Detail Pages is a link to the guardiaviejaworks.blogspot.com.
7. Following Cristoph's Lanner’s Discography we have listed Marina as "recorded in 1924", but this track in particular highlights a short recording-to-print gap, 18 days between the recording date (if it happened on January 1st) and the announcement in Caras y Caretas. Again, on average we assume a gap of one month, though we do not list exact recording dates because these are simply not available. And matrix numbers do not always increase monotonically, sometimes a second or third take was made days after the first one. When more than one matrix number was printed we list them on the same Detail Page (e.g. Sacate la caretita and Primera hipoteca).
8. We have placed empty rows between years or to signify a change of label, or to bring attention to the point in time when Bohr started "singing" on the records (mostly taking really), or significant jumps on the matrix numbering.
9. The index column has been chosen done with [generous] gaps in case some new takes are discovered in the future.
10. According to the timing suggested by Caras y Caretas, Bohr's first spoken record , Anoche en un taxi, was recorded in either March or April 1924.
11. Bohr last ad in Caras y Caretas before traveling to New York on September 24, 1925, was for No puedo más, Odeon matrix number 3061. Thus we extrapolate that matrices 3111 through 3513 (Musmé to Se agarra bailando) were recorded before September 24. It should be noted that from March 1925 through December 1926 Francisco Canaro was not in Buenos Aires, so either Bohr had more freedom or he had no direction in the studio. But the Canaro name is on the labels.
12. We know Bohr returned to Buenos Aires on or close to February 14, 1926, which is the approximate date we listed for matrices 3712 and onwards. Notice the obvious jump in the matrix numbering. And we listed some recording dates preceded by a ">" ("after").
13. There is a notorious gap in Glücksman/Odeon announcements in Caras y Caretas in 1926, and also some notorious gaps in the matrix numbering. But the announcements were made even after Bohr was known to be recording for Victor with his newly (and hastily) formed Orquesta Típica. The Victor recordings were announced in August 1926. Thus we infer that the Victor recordings were made while Bohr was still working for Odeon, and we have tried to reflect these straddled recording dates in between the gaps in Odeon matrix numbers for that year. We have followed the dating by Binda on the Victor recordings (which is exact), the DAHR states that "Victor ledgers documenting this recording are believed to be lost" and that the dates shown on the Victor blue history card are believed to be the dates the masters were either approved or delivered to the processing plant. We note the DAHR dates (and caveats) in the Notes in the Detail Pages. Bohr left for New York again on December 2, 1926, and we note this date on the last recordings for Odeon.
14. In Winter 1927 Bohr recorded with his Típica for Columbia in New York. We think this Típica was a joint project of Bohr and his wife Eva Limiñana, who definitely had a much more formal musical upbringing. An obvious sign is the fact that most of these tracks were instrumental and that José Bohr sang in none of them, Genaro Veiga did (Bohr met Veiga in Chile according to his autobiography). From the records we know they came to New York with at least 10 musicians, so it's notable that some of these recordings do not have as many. The DAHR identifies (from listening to the records) "2 violins, guitar, piano, and bandoneon", we decided to list the names of the known musicians in an "or-list" (not a conclusive list but a best guess). Why did not all the musicians play in these sessions? We may never find out. The first matrices were recorded in what appear to be consecutive sessions of around 10 takes on each date. Then there's a notable gap in matrix numbers with the last 6 recordings. We have followed the dating as listed in the Discography of American Historical Recordings (DAHR).
15. Eva Bohr's Típica final recordings for Columbia, matrices 95826 and 95831 took place in August 1927 according to DAHR. Binda lists a track missing in DAHR, Aquel beso by José María Lacalle. We don't know its matrix number, but assuming its recording was close to the first one listed in DAHR for that title by the Orquesta Columbia (matrix 95860) we guess it was also recorded in August 1927. Binda also notes that there is a cello on two of the tracks recorded that August, Mágica flor and Gorgeos, but we don't know who that player was.
16. We have chosen to include two recordings of “Qué me importa?” made “by José Bohr’s Orquesta Típica” for a commercial campaign for Bayer’s Cafiaspirina (Aspirin). Bohr does not sing on these tracks, instead M. Garralaga and "J. Utrera” do. The first one is really Martín Garralaga, and the second one we believe is a typo for the Cuban tenor Antonio Utrera. Utrera and Garralaga and Bohr must have crossed paths in New York in 1927 (and possibly in late 1925 too), but the Cafiaspirina promotion is not mentioned in print (Caras y Caretas) until 1929. Moreover, there are no bandoneons in that recording, so we think it was made after the Eva Bohr’s Orquesta Típica Criolla Argentina finally dissolved. Only one bandoneon player, Julio Fernández Falcón, remained in New York from November 1927 until the arrival of Osvaldo Fresedo in September 1929, and it’s unlikely Falcón was with the Bohrs after August 1927 since Bohr himself was busy working on his new Victor contract, and Broadway shows. Listening to these tracks we concluded that band included 2 or 3 violins, cello, accordion, piano and double-bass. So we don’t know who Bohr worked with in the Cafiaspirina recordings, or why Bayer claimed they were recorded “by Bohr’s Típica’, it does not even sound like the Eva Bohr group of the Columbia recordings. But Bohr is clearly mentioned in the credits as composer, and both him and Eva are in the ads, so we think the Bohrs produced these recordings and thus we list them in this Discography. Dick Spottswood comments that the matrix number could be those of any startup in New York during these years (1927-1928).
17. Bohr returned to Victor in 1928, but his days as a Tango performer were numbered. Notably he recorded some tracks with Eva and his friend Nilo Menéndez Barnet on the piano. Also some tracks with Carlos Molina, who had his own Tango group. Eva also composed some tracks for him. By 1929 his days as a Tango name were over, and he jumped to his lifelong dream, the movies. While in California he recorded some tracks, mostly for use in his movies.
Technical stuff
1. In the sheet, the "Matrix" column really contains the matrix plus the take identifiers separated by a slash (/), it’s really a “Take” column.
2. This sheet contains breaks (empty rows), which helps visualize the long listing (vertical axis), and brings attention to discontinuities. We have carefully put a break after almost every “New Year’s Day”, and/or when Bohr switched labels, or ensemble. The sheet was developed for a 1280-pixel wide screen (13-inch, the horizontal axis). Newer 13-inch laptops support higher pixel density and will show a white sidebar to the right of the screen. The goal is to have as many columns visible as possible (without horizontal scrolling), starting with the important ones on the left. But the height is important too, if the information in a column is too long, the row will double or even triple in height: we want breaks but also some packing (more breaks = more pages). In the future we may try different fonts.
3. On different labels or issues the name of the Orchestra changed, but we have chosen to use the most common denomination “by era” in the Group column. This makes sense when grouping, sorting, etc. The Detail Pages in these cases show the info on the label, or we made a Note. We are trying to prevent rows to become "taller" than the base.
4. Of course the default date format is YYYY-MM-DD (if you did not guess it), but there are "fuzzy dates" too: when we use seasons, note that these refer to the Northern Hemisphere (e.g. Winter 1925).
5. In the future we'd like to bring new features like a faster load, resizable columns, a scroll-bar on the top, a dark-mode, search-by-column, search-with-regular-expressions, persistent searches, support for multiple resolutions, and more. We hear you, we just don't have the bandwidth. If you'd like to lend a hand, you are welcome, it's a simple HTML table using DataTables as the backend.
6. You can download an Excel version of this Discography here.
7. Any corrections, additions, etc. please email [ a r a q u e AT g m a i l DOT c o m ]
Credits
1. This discography is based on Enrique Binda's discography of José and Eva Bohr
https://www.academia.edu/66045043/Discograf%C3%ADas_de_Jos%C3%A9_y_Eva_Bohr_por_Enrique_Binda
2. Richard K. Spottswood for his invaluable research and generous advise. Dick is the author of the reference opus Ethnic Music on Records: A Discography of Ethnic Recordings Produced in the United States, 1893-1942 (Urbana : University of Illinois Press, ©1990)
3. For the augmented Canaro section we have used Christoph Lanner's spectacular Discography of Francisco Canaro
https://sites.google.com/site/franciscocanarodiscography/recordings-in-chronological-order/acoustic-recordings-1915-1926
4. The Discography of American Historical Recordings (DAHR)
https://adp.library.ucsb.edu/index.php/mastertalent/detail/354748/Orquesta_Criolla_Argentina
https://adp.library.ucsb.edu/index.php/mastertalent/detail/106061/Bohr_Jos?Matrix_page=100000
5. Jorge Finkelman for his music sheets and videos.
6. Antonio Gaspari, Radiomuseum Hardthausen and Gonzalo Saldívar for their YouTube videos.
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