by José Manuel Araque, Camilo Gatica and Mark John
1. Manuel Pizarro nació en Buenos Aires en 1895. Aprendió a tocar el bandoneón con Juan Félix Maglio (Pacho). En 1914 compuso su primer tango, titulado Batacazo. Pizarro se codeó y tocó con los mejores de Buenos Aires antes de irse a Francia en 1920 con el Tano Genaro.
2. Pizarro regresó a Buenos Aires en septiembre de 1922, y permaneció allí durante un año hasta que volvió a París el 12 de septiembre de 1923. Cuando regresó a París llevó consigo al menos a su hermano Domingo (guitarra). Pronto consiguió un contrato de grabación con la Gramophone francesa (HMV), el 22 de enero de 1924 registró su primera grabación conocida, de su autoría el tango Mano Santa. Cabe señalar que Pizarro fue relativamente prolífico como compositor, y grabó muchas de sus propias composiciones.
3. Pronto se incorporaron a la floreciente empresa familiar otros hermanos, entre ellos Salvador (bandoneón) y Juan José. A juzgar por fotos de la época, la formación original de 7 músicos ya incluía a Juan Ghirlanda en violín. También creemos que Ernesto Remondini, que tocaba el bandoneón o el piano, se unió ocasionalmente a Pizarro, pero en general no tenemos información alguna sobre quiénes participaban en las sesiones de grabación aparte de Pizarro y sus hermanos.
4. En esta discografía se hace un uso liberal de las pausas (64 líneas en blanco) para subrayar las diferentes fechas de grabación (en realidad no son tantas). Pero las fechas no siempre son exactas, cuando sólo especificamos el mes... tome un mes antes o un mes después de la fecha de esta hoja (la regla más-menos-uno). También hemos investigado la secuencia de los números de matrices, y hemos hecho esfuerzo por explicar las descontinuidades, y en "parear" las sesiones, es decir, asegurar que las sesiones tienen un número par de discos como resultado (por lo general se grababan dos pistas por sesión presumiblemente con intención de llenar los dos lados de un disco).
5. En la medida de lo posible hemos intentado acercarnos a las fechas publicadas por la Discography of American Historical Recordings (DAHR). Sin embargo, la DAHR no especifica las fechas en las que Manuel Pizarro empezó a grabar para Columbia, por lo que es posible que algunas de las primeras grabaciones de Columbia también tuvieran lugar antes que las de Gramophone (para las que sí tenemos fechas exactas de grabación). A juzgar por la secuencia de números de la matriz podemos decir que hubo varias sesiones de Columbia en 1925, quizá separadas por meses, y que algunas de estas fechas de grabación probablemente coincidieron con las de Gramophone.
6. Cuando Pizarro tocó con los bailarines Cortez y Peggy en el Ambassadeurs en septiembre de 1926, tenía 10 músicos en el escenario y la cantante Alina de Silva, pero ese año Pizarro no estuvo en el estudio de grabación. Pizarro y Alina viajaron a España en Octubre de 1927 y grabaron para La Voz de su Amo, filial española de HMV.
7. Durante su estancia en España, Pizarro dejó a su hermano Salvador al cargo de sus compromisos en París. Cuando Pizarro regresó a París, Columbia se interesó en grabar con Salvador también. Las grabaciones de la primera sesión de Salvador que conocemos abarcan las matrices L936 a L946 de Columbia, con un llamativo vacío en L939 (que hemos dejado como interrupción en la hoja).
8. Salvador fue entonces a España para unirse a la multitud en la Expo Iberoamericana de Sevilla, estuvo allí desde abril de 1929 (antes de que se inaugurara la Expo), y la evidencia muestra que tocó con un misterioso cantante llamado Carlos Quiroga. Quiroga permaneció en o alrededor de España hasta 1932, pero eso es todo lo que sabemos de él. Además, más o menos al mismo tiempo se estaba disolviendo la orquesta argentina Los Siete Ases de Juan Giliberti, su gira en España fue un fracaso. Giliberti se quedó en España y cantó con Salvador, probablemente por las mismas fechas que Quiroga. Salvador grabó entonces 10 pistas para Regal, la filial de Columbia en España, y concluímos que fueron grabadas con el tal Carlos Quiroga. Al regresar a París Salvador grabó unas pocas pistas para Columbia en febrero de 1930, y la voz principal tampoco es Giliberti, debe ser Quiroga? A la sazón Salvador estaba tocando en el Washington Palace.
1. Manuel Pizarro was born in Buenos Aires in 1895. He learned to play the bandoneon from Juan Félix Maglio (Pacho). In 1914 he composed his first tango entitled Batacazo. Pizarro hung out and played with the best in Buenos Aires before deciding in 1920 to go to France with Tano Genaro.
2. Pizarro returned to Buenos Aires on September 1922, and stayed for one year until he returned to Paris on September 12, 1923. When he went back to Paris he brought at least his brother Domingo (guitar) with him. He quickly landed a recording contract with HMV's French Gramophone. On January 22 of 1924 he registered his first known take, his own tango Mano Santa. It should be noted that Pizarro was relatively prolific as a composer, and he recorded many of his own compositions.
3. Other brothers soon joined the flourishing family enterprise, including Salvador (bandoneon) and Juan José. Judging by pictures of the era, Pizarro's original formation of 7 included Juan Ghirlanda on violin already. We also think Ernesto Remondini, who played either bandoneon or piano, joined Pizarro occasionally, but in general we have no information whatsoever as to who was in the recording sessions other than Pizarro and his brothers.
4. There's a liberal use of breaks in this Discography (64 blank lines) to underscore the different recording dates (not that many really). But dates are not always exact, when we only specify the month... take one month before or one month after the date on this sheet (the plus-minus-one rule). We have also investigated the sequence of matrix numbers, and have made efforts to account for discontinuities, and in "paring" takes, i.e. ensuring that sessions have an even number of tracks as a result (with the intention of filling both sides of the new issues with the same artist).
5. Wherever possible we have tried to come as close to the dates published by the Discography of American Historical Recordings (DAHR). But the DAHR is not specific as to the dates when Manuel Pizarro started recording for Columbia, there's a possibility some of the first Columbia recordings too place before Gramophone's (for which we do have exact recording dates). Judging by the matrix number sequence we can tell that there were several Columbia sessions in 1925, perharps separated by months, and that some of these recording dates probably straddled the Gramophone dates.
6. When Pizarro played with dancers Cortez and Peggy at the Ambassadeurs on September 1926, he had 10 musicians on stage and singer Alina da Silva, but for some unknown reason he did not record that year. Pizarro and Alina went to Spain in October 1927 and recorded for HMV's Spanish subsidiary La Voz de su Amo.
7. While in Spain Pizarro left his brother Salvador in charge of his commitments in Paris. When Pizarro returned to Paris Columbia was interested in recording Salvador too. Salvador's first recording session spans Columbia matrices L936 through L946, with a conspicuos gap at L939 (which we have left as a break on the sheet).
8. Salvador then went to Spain to join the crowd in Sevilla's Ibero-American Expo, he was there since April 1929 (before the Expo opened), and evidence shows he played with a mysterious singer called Carlos Quiroga. Quiroga presumably stayed in Spain through 1932, but that's all we know about him. Also, around the same time Juan Giliberti’s Argentine Orchestra Los Siete Ases was disintegrating, it bombed in Spain. Giliberti stayed in Spain, and sang with Salvador probably around the same time as Quiroga. Yet the main voice in the Feb 1930 Columbia recordings is not the well known Giliberti, thus it must be Quiroga? Moreover, Salvador was back in Paris playing at the Washington Palace when these recordings were made. It’s 100% an open question. Other than a presumed recording from 1938 that we have never seen and purposely did not include, these are Salvador's last recordings.
9. In April 1929 Pizarro dropped Columbia and Gramophone after close to 72 recordings in 5 years (not that many really, 14 were Salvador's). He joined the ranks of Pathé and stayed there the rest of his recording career.
10. In January 1930 and through the Winter season, Manuel Pizarro played at the Hotel Savoy in England. Yes, Pizarro did straddle these recordings with his Pathé contract. Why? Decca was an independent company at the time, recently incorporated and focused on hi-fidelity recording technologies, maybe it was an experiment? Whatever the case, we have tentatively and somewhat fuzzily dated these as "Spring 1930" (plus minus one season?). We also include a track that we never quite saw in the wild but we read about on British Newspapers. Incidentally, the British newspapers highlighted Pizarro's singing, they called him "Ruiseñor de la Argentina" (nightingale). And they noted that his band consisted of around 10.
11. The last known 78RPM issues from Manuel Pizarro are from either 1954 or 1955. This discography does not include issues from the LP era (for now).
12. Manuel Pizarro died in Nice, France, on November 11, 1982.
13. Stats: this table contains 222 takes, 62 breaks and one header line. Of the takes, 26 are Salvador Pizarro's, the rest is Manuel's.
Technicalities
01. This sheet lists takes, not “discs”, or just titles. The labels' 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 don't always have the number of takes available, 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. The jumps are really placeholders for future discoveries (preventing or reducing the need to re-index).
02. In the sheet, the "Matrix" column really contains the matrix plus the take identifiers separated by a slash (/), it’s really a “Take” column.
03. 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 Pizarro 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.
04. 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. Why? To prevent a double or triple-height row. And finally, for the Victor recordings of the 1930's the name has been shortened too, but it's spelled out in the Detail Pages.
Bibliography
1. The Discography of American Historical Recordings
https://adp.library.ucsb.edu/index.php/mastertalent/detail/359635/Orchestre_Manuel_Pizarro?Matrix_page=100000
https://adp.library.ucsb.edu/index.php/mastertalent/detail/360073/Orquesta_Tpica_Argentina_Salvador_Pizarro
2. BibleTango
https://www.bibletango.com/tangopersonnages/perso_disco/persodisco_p/pizarro_manuel_disco/pizzaro_1_disco.htm
3. Center for the History and Analysis of Recorded Music (CHARM)
https://charm.rhul.ac.uk/discography/search/search_simple.html
4. Thanks to Leonardo Paludi for many of the covers.
| Date | Title | Genre | Group | Singer | Label | Matrix | Disc | Music | Lyrics | ||||||||
| 05000 |  |
1924-01-22 | Mano santa | Tango | Orchestre Manuel Pizarro | Gramophone | BT 351/1 | 2-230826 | Pizarro, Manuel | AE 1118 | K2320 - T2639 - AG 421 - Gramola AM 341 - Zonophone Serial 2639 | pizaro santo | Instrumental; | Paris | |||
| 05003 |  |
1924-01-22 | Mírala como se va | Tango | Orchestre Manuel Pizarro | Gramophone | BT 352/2 | 2-230827 | Pizarro, Manuel | AE 1118 | K2320 - T2639 - AG 421 - Gramola AM 341 - Zonophone Serial 2639 | mirala pizaro | Instrumental; | Ay ay ay abril | Paris | ||
| 05006 | |||||||||||||||||
| 05009 |  |
1924-02-12 | Batacazo | Tango | Orchestre Manuel Pizarro | Gramophone | BT 403/2 | 2-230846 | Pizarro, Manuel | K2452 - T2657 - Zonophone Serial 2657 | batacaso pizaro | Instrumental; | Paris | ||||
| 05012 |  |
1924-02-12 | Mariposa | Tango | Orchestre Manuel Pizarro | Gramophone | BT 404/1 | 2-230847 | Maffia, Pedro M. | K2452 - T2657 - Zonophone Serial 2657 | mafia | Instrumental; | Paris | ||||
| 05015 | |||||||||||||||||
| 05018 |  |
1924-12 | El estandarte | Tango | Orchestre Manuel Pizarro | Columbia | L39 | D6171 | Pizarro, Manuel | RS 251 | 3582 (UK) | Instrumental;DAHR lists this track as Oct-Nov 1924.; | L'etendart | Paris | |||
| 05021 |  |
1924-12 | Cenizas | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Columbia | L40 | D6173 | Rizzuti, José María | Fresedo, Emilio | RS 253 | Instrumental;The DAHR cleverly avoids being definitive about the dates in this series: between May 1923 and December 1925.; | Cendres | Paris | ||
| 05024 | |
1924-12 | Razón 5a | Tango | Orchestre Manuel Pizarro | Columbia | L41 | D6171 | Bianco, Eduardo | RS 250 | razon quinta cinco | Instrumental;DAHR lists this track as Oct-Nov 1924.; | Paris | ||||
| 05027 | |
1924-12 | Expiación | Tango | Orchestre Manuel Pizarro | Columbia | L42? | Bianco, Eduardo | RS 248 | expiacion | Instrumental;This track was listed in a Regal Spain catalog and it’s included in what we think would complete a set.; | Paris | |||||
| 05030 | |||||||||||||||||
| 05033 |  |
1924-12 | Una noche en El Garrón | Tango | Orchestre Manuel Pizarro | Columbia | L52 | D6172 | Pizarro, Manuel | RS 253 | 3776 (UK) | pizaro garron garón garon | Instrumental;Dedicated to the legendary El Garrón where Pizarro and Genaro played 3 years before.; | Paris | |||
| 05036 |  |
1924-12 | Capitol | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Columbia | L53 | D6172 | Pizarro, Manuel - Filipotto, Carlos G. | RS 249 | Instrumental;Dedicate to the Capitole Theater in Paris.; | Le Capitole | Paris | |||
| 05039 | |
1924-12 | Sollozos | Tango | Orchestre Manuel Pizarro | Columbia | L54? | Fresedo, Osvaldo N. | RS 252 | solosos solozos sollosos | Instrumental;Rare recordings only on Regal.; | Paris | |||||
| 05042 | |
1924-12 | Linda provincianita | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Columbia | L55 | D6173 | Pizarro, Manuel | RS 247 | The DAHR cleverly avoids being definitive about the dates in this series: between May 1923 and December 1925.; | La jolie provinciale | Paris | |||
| 05045 | |||||||||||||||||
| 05048 |  |
1925-01 | Mártir | Tango | Orchestre Manuel Pizarro | Columbia | L140 | D2003 | Pizarro, Manuel | pizaro martyr | Instrumental;The DAHR cleverly avoids being definitive about the dates in this series: between May 1923 and December 1925.; | Princesa | Paris | ||||
| 05051 | |
1925-01 | Suzita | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Columbia | L141 | D2003 | Pizarro, Manuel - Smet, Gustave | Pizarro, Manuel | The DAHR cleverly avoids being definitive about the dates in this series: between May 1923 and December 1925.; | Paris | ||||
| 05054 | |||||||||||||||||
| 05057 |  |
1925-01 | Hay puchero a la criolla | Tango | Orchestre Manuel Pizarro | Columbia | L178 | D2010 | Parès, Philippe - van Parys, Georges | criola pares philipe | Instrumental;The DAHR cleverly avoids being definitive about the dates in this series: between May 1923 and December 1925.;This track was announced in the newspaper L Information on May 16, 1926.; | Paris | |||||
| 05060 | |
1925-01 | La jira | Tango | Orchestre Manuel Pizarro | Columbia | L209 | D2011 | Pizarro, Manuel | Instrumental;The DAHR cleverly avoids being definitive about the dates in this series: between May 1923 and December 1925.; | Paris | ||||||
| 05063 |  |
1925-01 | Alma | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Columbia | L210 | D2011 | Ghirlanda, Juan | RS 516 | girlanda | The DAHR cleverly avoids being definitive about the dates in this series: between May 1923 and December 1925.; | Paris | |||
| 05066 |  |
1925-01 | La mina del Ford | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Columbia | L211 | D2010 | Scatasso, Antonio | Contursi, Pascual - del Negro, Fidel | RS 516 | escataso | The DAHR cleverly avoids being definitive about the dates in this series: between May 1923 and December 1925.;This track was announced in the newspaper L Information on May 16, 1926.; | Paris | ||
| 05069 | |||||||||||||||||
| 05072 |  |
1925-02-05 | Ay si, ay no | Tango | Orchestre Manuel Pizarro | Gramophone | BL 224/2 | 2-230908 | Pizarro, Manuel - Smet, Gustave | AE 1332 | K2729 - T2671 - Zonophone Serial 2671 | Instrumental;The lyrics of this Tango are taken from the song Cantar eterno (Ámame mucho) by Ángel G. Villoldo, recorded by Carlos Gardel and José Razzano in 1917.; | Paris | ||||
| 05075 |  |
1925-02-05 | Piccolo navío | Tango | Orchestre Manuel Pizarro | Gramophone | BL 225/2 | 2-230904 | Riccardi, Luis | AE 1332 | K2724 - T2671 - R7747 - AM 241 - Zonophone Serial 2671 | picolo ricardi navio | Instrumental;Announced on 1925-03-29; | Paris | |||
| 05078 |  |
1925-02-05 | Una noche en El Garrón | Tango | Orchestre Manuel Pizarro | Gramophone | BL 226/2 | 2-230906 | Pizarro, Manuel | AE 1357 | K2728 - T2684 | pizaro garron garón garon | Instrumental; | Paris | |||
| 05081 | |
1925-02-05 | Mártir | Tango | Orchestre Manuel Pizarro | Gramophone | BL 227/2 | 2-230907 | Pizarro, Manuel | AE 1357 | K2728 - T2684 | pizaro martyr | Instrumental; | Princesa | Paris | ||
| 05084 | |||||||||||||||||
| 05087 |  |
1925-09-30 | Galleguita | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Gramophone | BT 1894/1 | 2-230959 | Pettorossi, Horacio | AE 1528 | K3166 | pettorosi petorossi petorosi | Paris | |||
| 05090 | |
1925-09-30 | La jira | Tango | Orchestre Manuel Pizarro | Gramophone | BT 1895/1 | 2-230966 | Pizarro, Manuel | AE 1592 | K3183 | pizaro | Instrumental; | Paris | |||
| 05093 | |
1925-09-30 | Cañaveral | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Gramophone | BT 1896/2 | 2-230967 | Pizarro, Domingo | AE 1592 | K3183 | pizaro canaveral cañaberal canaberal | Instrumental;Title is misspelled on the label.; | Paris | ||
| 05096 |  |
1925-09-30 | La mascotita | Tango | Orchestre Manuel Pizarro | Gramophone | BT 1897/1 | 2-230958 | Smet, Gustave | AE 1528 | K3166 | Instrumental; | Paris | ||||
| 05099 | |||||||||||||||||
| 05102 |  |
1925-11-30 | Ida y vuelta | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Gramophone | BJ 93/2 | 2-230970 | Pizarro, Manuel | K3213 (967) | pizaro | Paris | ||||
| 05105 |  |
1925-11-30 | Cocota | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Gramophone | BJ 94/2 | 2-230986 | Pizarro, Manuel | AE 1650 | K3264 - R9363 | pizaro | Paris | |||
| 05108 |  |
1925-11-30 | Ay, mamita | Tango | Orchestre Manuel Pizarro | Gramophone | BJ 95/1 | 2-230987 | Schumacher, José - Cosenza, Luis E. | AE 1650 | K3264 - R9363 | jose cosensa | Instrumental; | La caretita | Paris | ||
| 05111 |  |
1925-11-30 | Penando | Tango | Orchestre Manuel Pizarro | Gramophone | BJ 96/2 | 2-230971 | Remondini, Ernesto | Instrumental; | Paris | ||||||
| 05114 | |||||||||||||||||
| 05117 | |
1927-09-15 | Un silencio | Tango | Orchestre Manuel Pizarro | Gramophone | BJ 953/1 | 2-260613 | Romano, Antonio - Celenza, Alberto | AE 1969 | R9363 | Instrumental; | Madrid | ||||
| 05120 | |
1927-09-15 | Entre nosotros | Tango | Orchestre Manuel Pizarro | Gramophone | BJ 954/1 | Pizarro, Manuel | pizaro | Instrumental; | Madrid | ||||||
| 05123 |  |
1927-09-15 | Dios los cria | Tango | Orchestre Manuel Pizarro | Gramophone | BJ 955/1 | 2-260617 | Pizarro, Manuel - Smet, Gustave | AE 1968 | pizaro | Instrumental; | Madrid | ||||
| 05126 |  |
1927-09-15 | Tres | Tango | Orchestre Manuel Pizarro | Gramophone | BJ 956/1 | 2-260612 | Pizarro, Manuel | AE 1968 | pizaro | Instrumental; | Madrid | ||||
| 05129 |  |
1927-09-15 | Anoche a las dos | Tango | Orchestre Manuel Pizarro | Gramophone | BJ 957/1 | 2-260613 | de los Hoyos, Raúl | Cayol, Roberto Lino | AE 1967 | R9363 | raul | Instrumental;Incorrectly labeled as A las dos de la mañana (a different Tango by Edgardo Donato).; | Madrid | ||
| 05132 |  |
1927-09-15 | Pato | Tango | Orchestre Manuel Pizarro | Gramophone | BJ 958/1 | 2-260614 | Collazo, Ramón | Collazo, Ramón | AE 1969 | ramon colazo colaso collaso | Instrumental; | Madrid | |||
| 05135 | |||||||||||||||||
| 05138 |  |
1927-09-30 | Ilusión | Tango | Orchestre Manuel Pizarro | Alina de Silva | Gramophone | BJ 989/2 | 2-260616 | Pizarro, Manuel | Pizarro, Manuel | AE 1988 | K5370 (1131) - AM 1175 - D19069 (L 943) | pizaro | While this is the first recorded version Pizarro’s composition in this Discography, we have news of this tango being played on radio as far back as 1925 at least, How is that possible?; | Madrid | |
| 05141 |  |
1927-09-30 | Una noche en El Garrón | Tango | Orchestre Manuel Pizarro | Manuel Pizarro - Alina de Silva | Gramophone | BJ 990/1 | 2-260617 | Pizarro, Manuel | Pizarro, Manuel | AE 1988 | 3776 (L 52) | pizaro garron garón garon | Madrid | ||
| 05144 |  |
1927-09-30 | Muchacho | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Gramophone | BJ 991/1 | 2-260618 | Donato, Edgardo | Flores, Celedonio E. | AE 1989 | Madrid | ||||
| 05147 |  |
1927-09-30 | A media luz | Tango | Orchestre Manuel Pizarro | Alina de Silva | Gramophone | BJ 992/1 | 2-260619 | Donato, Edgardo | Lenzi, Carlos C. | AE 1989 | K5479 | Madrid | |||
| 05150 |  |
1927-09-30 | De mi barrio | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Gramophone | BJ 993/1 | 2-260622 | Goyeneche, Roberto | Goyeneche, Roberto | AE 1998 | goyheneche | Madrid | |||
| 05153 |  |
1927-09-30 | Pobre paica | Tango | Orchestre Manuel Pizarro | Alina de Silva | Gramophone | BJ 994/1 | Pizarro, Manuel | Pizarro, Manuel | Madrid | ||||||
| 05156 | |||||||||||||||||
| 05159 |  |
1927-10-03 | Tito | Tango | Orchestre Manuel Pizarro | Gramophone | BJ 1003/1 | 2-260621 | Ghirlanda, Juan | K5443 | girlanda | Instrumental; | Madrid | ||||
| 05162 | |
1927-10-03 | La milonga de Montmartre | Tango | Orchestre Manuel Pizarro | Gramophone | BJ 1004/1 | Pizarro, Domingo | pizaro | Instrumental;Kelly lists this track which was composed by Domingo, the guitar playing brother of Manuel Pizarro, but I have never seen it in the wild.; | Madrid | ||||||
| 05165 |  |
1927-10-03 | Batacazo | Tango | Orchestre Manuel Pizarro | Gramophone | BJ 1005/1 | 2-260624 | Pizarro, Manuel | AE 1960 | AM 1175 | pizaro | Instrumental; | Madrid | |||
| 05168 |  |
1927-10-03 | Cachito | Tango | Orchestre Manuel Pizarro | Alina de Silva | Gramophone | BJ 1006/1 | 2-260625 | Pizarro, Manuel | AE 1961 | gisan | Manuel Gizan | Madrid | |||
| 05171 |  |
1927-10-03 | Serenata | Canción | Orchestre Manuel Pizarro | Manuel Pizarro | Gramophone | BJ 1007/1 | 2-260627 | Pizarro, Manuel | AE 1961 | pizaro | Madrid | ||||
| 05174 |  |
1927-10-03 | Pobre pato | Tango | Orchestre Manuel Pizarro | Gramophone | BJ 1008/1 | Ghirlanda, Juan | girlanda | Instrumental; | Madrid | ||||||
| 05177 | |||||||||||||||||
| 05180 |  |
1928-02-27 | Caído del cielo | Tango | Orquesta Salvador Pizarro | Columbia | L936 | D19058 | Polito, Antonio - Polito, Pedro | caido | Instrumental; | Paris | |||||
| 05183 |  |
1928-02-27 | Adiós muchachos | Tango | Orquesta Salvador Pizarro | Chorus | Columbia | L937 | D19097 | Sanders, Julio C. | Vedani, César F. | RS 750 | cesar adios | Paris | |||
| 05186 |  |
1928-02-27 | Queja indiana | Tango | Orquesta Salvador Pizarro | Chorus | Columbia | L938 | D19059 | Rodríguez, Juan C. | Velich, Juan M. | rodriguez | This Discography leaves a blank space for the following entry which is not found but is extrapolated to have matrix number L939.; | Paris | |||
| 05189 | |||||||||||||||||
| 05192 |  |
1928-02-27 | Anoche a las dos | Tango | Orquesta Salvador Pizarro | Columbia | L940 | D19059 | de los Hoyos, Raúl | Cayol, Roberto Lino | raul | Instrumental;This Discography leaves a blank space for the preceding entry which is not found but is extrapolated to have matrix number L939.; | Paris | ||||
| 05195 |  |
1928-02-27 | Bandoneón | Tango | Orquesta Salvador Pizarro | Columbia | L941 | D19058 | Sab, André | RS 772 | 14096 | andre | Instrumental; | Paris | |||
| 05198 | Instrumental; | ||||||||||||||||
| 05201 |  |
1928-03-05 | Muñequita de París | Tango | Orchestre Manuel Pizarro | Alina de Silva | Columbia | L942 | D19069 | Burli, Angelo | munequita paris | Instrumental; | Paris | ||||
| 05204 |  |
1928-03-05 | Ilusión | Tango | Orchestre Manuel Pizarro | Alina de Silva | Columbia | L943 | D19069 | Pizarro, Manuel | RS 772 | pizaro ilusion | Paris | ||||
| 05207 |  |
1928-03-05 | Flor del tandil | Tango | Orchestre Manuel Pizarro | Columbia | L944 | D19086 | Remondini, Ernesto | Instrumental;Traces of Remondini in Salvador’s records.; | Paris | ||||||
| 05210 |  |
1928-03-05 | Pobre pato | Tango | Orchestre Manuel Pizarro | Alina de Silva | Columbia | L945 | D19136 | Ghirlanda, Juan | RS 807 | girlanda | Instrumental; | Paris | |||
| 05213 |  |
1928-03-05 | Sul lago dei sogni | Tango | Orchestre Manuel Pizarro | Columbia | L946 | D19086 | Mazzei, Saverio | Instrumental;Strangely this track is credited on the labels to Manuel first, then to Salvador, but with the same matrix number, it does need corroboration.;It would also seem plausible that both Salvador and Manuel recorded on the same date (perhaps together?) and that counting the recordings by both orchestras would yield an even number of recordings for the entire block, as we speculate was the custom.; | Paris | ||||||
| 05216 | |||||||||||||||||
| 05219 |  |
1928-03-12 | Araca corazón | Tango | Orchestre Manuel Pizarro | Alina de Silva | Columbia | L964 | D19087 | Delfino, Enrique P. | corazon | Instrumental; | Paris | ||||
| 05222 |  |
1928-03-12 | Todavía hay otarios | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Columbia | L965 | D19085 | Pizarro, Manuel | Behety, Héctor | DK 8108 | todavia hector beheti | Paris | |||
| 05225 |  |
1928-03-12 | Pato | Tango | Orchestre Manuel Pizarro | Alina de Silva | Columbia | L966 | D19136 | Collazo, Ramón | Soliño, Víctor | victor solino ramon colazo colaso collaso | Instrumental; | Paris | |||
| 05228 |  |
1928-03-12 | Barrio reo | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Columbia | L967/1 | D19085 | Fugazot, Roberto | Navarrine, Alfredo | Paris | |||||
| 05231 |  |
1928-03-12 | Ojo de agua | Tango | Orchestre Manuel Pizarro | Columbia | L968 | D19069 | Pizarro, Manuel | Instrumental; | Paris | ||||||
| 05234 | Paris | ||||||||||||||||
| 05237 |  |
1928-06-07 | Retintín | Tango | Orquesta Salvador Pizarro | Columbia | L1130 | D19098 | Arolas, Eduardo | retintin | Instrumental; | Paris | |||||
| 05240 |  |
1928-06-07 | Mano a mano | Tango | Orquesta Salvador Pizarro | Unknown | Columbia | L1132 | D19097 | Gardel, Carlos - Razzano, José | Flores, Celedonio E. | RS 879 | jose desconocido | Instrumental; | Paris | ||
| 05243 |  |
1928-06-07 | Un tropezón | Tango | Orquesta Salvador Pizarro | Juan Raggi | Columbia | L1133 | de los Hoyos, Raúl | Bayón Herrera, Luis | RS 857 | tropezon raul bayon herera | Instrumental; | Paris | |||
| 05246 | |
1928-06-07 | Arrabalero | Tango | Orquesta Salvador Pizarro | Columbia | L1134? | Fresedo, Osvaldo N. | Fresedo, Emilio “Dofrés, E.” | dofres | Instrumental;We know of the existence of this track from newspaper ads, the matrix number is a guess.; | Paris | |||||
| 05249 |  |
1928-06-07 | Caminito | Tango | Orquesta Salvador Pizarro | Juan Raggi | Columbia | L1135 | D19098 | Filiberto, Juan de Dios | Peñaloza, Gabino Coria | penalosa penaloza ragi | Instrumental; | Paris | |||
| 05252 | |||||||||||||||||
| 05255 |  |
1929-04 | Caminito | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Pathé | N 300154/2 | X. 8622 | Filiberto, Juan de Dios | Peñaloza, Gabino Coria | penalosa penaloza | Paris | ||||
| 05258 |  |
1929-04 | El carrerito | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Pathé | N 300155 | X. 8703 | de los Hoyos, Raúl | Vacarezza, Alberto | vacareza vaccareza vacanze | Paris | ||||
| 05261 |  |
1929-04 | Todavía hay otarios | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Pathé | N 300157/1 | X. 8622 | Pizarro, Manuel | Behety, Héctor | todavia beheti | Paris | ||||
| 05264 | |||||||||||||||||
| 05267 | |
1929-04 | Dios los cría | Tango | Orchestre Manuel Pizarro | Pathé | N 300189/1 | X. 8624 | Pizarro, Manuel | cria pizaro | Paris | ||||||
| 05270 | |
1929-04 | Esta noche me emborracho | Tango | Orchestre Manuel Pizarro | Pathé | N 300190/1 | X. 8624 | Santos Discépolo, Enrique | Santos Discépolo, Enrique | emboracho discepolo disepolo | Paris | |||||
| 05273 | |||||||||||||||||
| 05276 | |
1929-05 | Alejandro | Tango | Orchestre Manuel Pizarro | Pathé | N 300207/2 | X. 8621 | Pizarro, Manuel | pizaro | Instrumental; | Paris | |||||
| 05279 | |
1929-05 | Pobre loco | Tango | Orchestre Manuel Pizarro | Pathé | N 300208 | X. 8621 | Pizarro, Manuel | pizaro | Instrumental; | Paris | |||||
| 05282 |  |
1929-05 | Valencia Segundo | Tango | Orchestre Manuel Pizarro | Pathé | N 300209 | X. 8623 | Pizarro, Manuel | pizaro | Instrumental; | Paris | |||||
| 05285 |  |
1929-05 | Chiqué | Tango | Orchestre Manuel Pizarro | Pathé | N 300210/1 | X. 8623 | Brignolo, Ricardo Luis | brinolo chique | Instrumental; | Paris | |||||
| 05288 | |||||||||||||||||
| 05291 |  |
1929-07-09 | Berretín | Tango | Orchestre Manuel Pizarro | Pathé | N 300316/1 | X. 8658 | Laurenz, Pedro B. | berretin beretin | Instrumental; | Paris | |||||
| 05294 |  |
1929-07-09 | Siga el corso | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Pathé | N 300317 | X. 8659 | Aieta, Anselmo A. | García Jiménez, Francisco | jimenez gimenez | Paris | ||||
| 05297 |  |
1929-07-09 | Noche de Reyes | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Pathé | N 300318/1 | X. 8658 | Maffia, Pedro M. | Curi, Jorge | mafia | Paris | ||||
| 05300 |  |
1929-07-09 | Ya no cantas, chingolo | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Pathé | N 300319 | X. 8659 | Scatasso, Antonio | Bianchi, Edmundo | scataso | Chingolito | Paris | |||
| 05303 | |||||||||||||||||
| 05306 | |
1929-11 | Adiós muchachos | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Pathé | N 300484 | X. 8688 | Sanders, Julio C. | Vedani, César F. | RS 750 | cesar adios | Paris | |||
| 05309 | |
1929-11 | Tengo miedo | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Pathé | N 300485 | X. 8688 | Aguilar, José M. | Flores, Celedonio E. | jose | |||||
| 05312 |  |
1929-11 | Nostalgie | Tango | Orchestre Manuel Pizarro | Pathé | N 300486 | X. 8687 | Pizarro, Manuel | Instrumental; | Paris | ||||||
| 05315 |  |
1929-11 | Mama, yo quiero un novio! | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Pathé | N 300487/1 | X. 8687 | Collazo, Ramón | Fontaina, Roberto | ramon colazo mamá | Paris | ||||
| 05318 | |||||||||||||||||
| 05321 |  |
1929-12 | Sentimiento porteño | Tango | Orchestre Manuel Pizarro | Pathé | N 300504 | X. 8695 | Falcón, Julio Fernández | porteno fernandez falcon | Instrumental; | Paris | |||||
| 05324 |  |
1929-12 | Milonguita de París | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Pathé | N 300505 | X. 8695 | Paris | |||||||
| 05327 |  |
1929-12 | Nobleza | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Pathé | N 300506 | X. 8694 | Rovatti, Esteban | Rovatti, Esteban | rovati | Paris | ||||
| 05330 |  |
1929-12 | Cachito | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Pathé | N 300507 | X. 8694 | Pizarro, Manuel | pizaro | Paris | |||||
| 05333 | |||||||||||||||||
| 05336 |  |
1929-12 | Moro fiel | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Pathé | N 300564 | X. 8703 | Pizarro, Domingo | This odd recording at a later date may have been a filler for N 300156 (missing).; | Paris | |||||
| 05339 | |||||||||||||||||
| 05342 |  |
Late 1929 | Bésame en la boca | Tango | Orquesta Argentina Salvador Pizarro | Carlos Quiroga? | Regal | K1573 | RS 1430 | Rizutti, José M. | Calvo, Eduardo | besame rizzuti rizzutti rizuti jose | Instrumental; | Madrid | |||
| 05345 | |
Late 1929 | La muchacha del circo | Tango | Orquesta Argentina Salvador Pizarro | Carlos Quiroga? | Regal | RS 1315 | Matos Rodríguez, Gerardo H. | Romero, Manuel | rodriguez | This recording is listed in the 1930 Regal Catalog and it’s tentatively listed here.; | Madrid | ||||
| 05348 |  |
Late 1929 | Borracho | Tango | Orquesta Argentina Salvador Pizarro | Carlos Quiroga? | Regal | K1575 | RS 1400 | Tanca, Miguel | Lagos, A. O. | boracho | This recording is listed in the February 1930 Regal Suplement and it’s tentatively listed here.; | No es pa’ tanto | Madrid | ||
| 05351 | |
Late 1929 | Suerte loca | Tango | Orquesta Argentina Salvador Pizarro | Carlos Quiroga? | Regal | RS 1315 | Aieta, Anselmo A. | García Giménez, Francisco | garcia gimenez | This recording is listed in the 1930 Regal Catalog and it’s tentatively listed here.; | Madrid | ||||
| 05354 |  |
Late 1929 | Olvídala | Tango | Orquesta Argentina Salvador Pizarro | Carlos Quiroga? | Regal | K1577 | RS 1400 | Tanca, Miguel | Lagos, A. O. | Columbia 4351-X | olvidala para | Evidence shows that Salvador Pizarro played in Sevilla in 1929 with a mysterious singer called Carlos Quiroga. At the time Juan Giliberti’s Orchestra Los Siete Ases was disintegrating, it bombed. Giliberti stayed in Spain, and sang with Salvador probably around the same time as QuIroga.Yet the main voice in this track is not the well known Giliberti, thus it must be Quiroga? Salvador was playing at the Washington Palace near Champs Elysés in Winter 1930. It’s an open question.;The DAHR places the 3 Columbia Spain issues (Regal) at somewhere in between July and November 1929, we are going with the high end of that range and placed them close chronologically to the Columbia recordings with mysterious singers too. This recording is listed in the February 1930 Regal Supplement.; | No es pá tanto | Madrid | |
| 05356 | |
Late 1929 | Sos del fango | Tango | Orquesta Argentina Salvador Pizarro | Carlos Quiroga? | Regal | DK9027 | Giliberti, Juan | Henriotti | Columbia 4350-X | fango | Evidence shows that Salvador Pizarro played in Sevilla in 1929 with a mysterious singer called Carlos Quiroga. At the time Juan Giliberti’s Orchestra Los Siete Ases was disintegrating, it bombed. Giliberti stayed in Spain, and sang with Salvador probably around the same time as QuIroga.Yet the main voice in this track is not the well known Giliberti, thus it must be Quiroga? Salvador was playing at the Washington Palace near Champs Elysés in Winter 1930. It’s an open question.;The DAHR places the 3 Columbia Spain issues (Regal) at somewhere in between July and November 1929, we are going with the high end of that range and placed them close chronologically to the Columbia recordings with mysterious singers too. This recording is listed in the February 1930 Regal Supplement.; | No es pá tanto | Madrid | ||
| 05358 |  |
Late 1929 | Malevaje | Tango | Orquesta Argentina Salvador Pizarro | Carlos Quiroga? | Regal | K1579 | RS 1430 | Filiberto, Juan de Dios | Discépolo, Enrique S. | Instrumental; | Madrid | ||||
| 05360 |  |
Late 1929 | Callate corazón | Tango | Orquesta Argentina Salvador Pizarro | Carlos Quiroga? | Regal | K1580 | RS 1380 | Casses, Guillermo | Padilla, Sebatián F. - Soriano, Francisco | Columbia (France) DF-31 - Columbia Spain N1564 | padila sebastian calate corazon cállate | Evidence shows that Salvador Pizarro played in Sevilla in 1929 with a mysterious singer called Carlos Quiroga. At the time Juan Giliberti’s Orchestra Los Siete Ases was disintegrating, it bombed. Giliberti stayed in Spain, and sang with Salvador probably around the same time as QuIroga.Yet the main voice in this track is not the well known Giliberti, thus it must be Quiroga? Salvador was playing at the Washington Palace near Champs Elysés in Winter 1930. It’s an open question.;The DAHR places the 3 Columbia Spain issues (Regal) at somewhere in between July and November 1929, we are going with the high end of that range and placed them close chronologically to the Columbia recordings with mysterious singers too.;First ad spotted on 1930-06-08.; | Del joven del 68 | Madrid | |
| 05363 |  |
Late 1929 | Siga, no más | Tango | Orquesta Argentina Salvador Pizarro | Carlos Quiroga? | Regal | K1581 | RS 1380 | Pizarro, Salvador | Pizarro, Juan J. | Columbia 4351-X - Columbia (France) DF-31 - Columbia Spain N1564 | pizaro mas | Evidence shows that Salvador Pizarro played in Sevilla in 1929 with a mysterious singer called Carlos Quiroga. At the time Juan Giliberti’s Orchestra Los Siete Ases was disintegrating, it bombed. Giliberti stayed in Spain, and sang with Salvador probably around the same time as QuIroga.Yet the main voice in this track is not the well known Giliberti, thus it must be Quiroga? Salvador was playing at the Washington Palace near Champs Elysés in Winter 1930. It’s an open question.;The DAHR places the 3 Columbia Spain issues (Regal) at somewhere in between July and November 1929, we are going with the high end of that range and placed them close chronologically to the Columbia recordings with mysterious singers too.;First ad spotted on 1930-06-08.; | Madrid | ||
| 05366 | |
Late 1929 | Puro aspamento…! | Tango | Orquesta Argentina Salvador Pizarro | Carlos Quiroga? | Regal | K1582 | RS 1333 | Giliberti, Juan | Gravina, Fernando | rodriguez | This recording is listed in the 1930 Regal Catalog and it’s tentatively listed here.; | Madrid | |||
| 05369 | |
Late 1929 | Ojos de Stamboul | Tango | Orquesta Argentina Salvador Pizarro | Carlos Quiroga? | Regal | K1583 | RS 1333 | Pizarro, Manuel | Behety, Héctor | estambul istambul istanboul beheti | This recording is listed in the 1930 Regal Catalog and it’s tentatively listed here.; | Turquita | Madrid | ||
| 05372 | |||||||||||||||||
| 05375 |  |
1930-02-06 | Zaraza | Tango | Salvador Pizarro y su Orquesta Típica Argentina | Carlos Quiroga? - Juan Giliberti? | Columbia | L2026/1 | DF 4 | Tagle Lara, Alfonso | Tagle Lara, Benjamín | saraza zarasa sarasa | Evidence shows that Salvador Pizarro played in Sevilla in 1929 with a mysterious singer called Carlos Quiroga. At the time Juan Giliberti’s Orchestra Los Siete Ases was disintegrating, it bombed. Giliberti stayed in Spain, and sang with Salvador probably around the same time as QuIroga.Yet the main voice in this track is not the well known Giliberti, thus it must be Quiroga? Salvador was playing at the Washington Palace near Champs Elysés in Winter 1930. It’s an open question.; | Paris | |||
| 05378 |  |
1930-02-06 | Aquella española | Tango | Salvador Pizarro y su Orquesta Típica Argentina | Carlos Quiroga? - Juan Giliberti? | Columbia | L2027 | DF 4 | Tanca, Miguel | Llurba, Rosendo | Columbia 4350-X | espanola aquela padila cases | Evidence shows that Salvador Pizarro played in Sevilla in 1929 with a mysterious singer called Carlos Quiroga. At the time Juan Giliberti’s Orchestra Los Siete Ases was disintegrating, it bombed. Giliberti stayed in Spain, and sang with Salvador probably around the same time as QuIroga.Yet the main voice in this track is not the well known Giliberti, thus it must be Quiroga? Salvador was playing at the Washington Palace near Champs Elysés in Winter 1930. It’s an open question.;First radio play spotted on 1930-06-11.; | Paris | ||
| 05381 |  |
1930-02-06 | Misa de once | Tango | Salvador Pizarro y su Orquesta Típica Argentina | Carlos Quiroga? - Juan Giliberti? | Columbia | L2028 | DF5 | Tagini, Armando J. | Guinchandut, Juan J. | Evidence shows that Salvador Pizarro played in Sevilla in 1929 with a mysterious singer called Carlos Quiroga. At the time Juan Giliberti’s Orchestra Los Siete Ases was disintegrating, it bombed. Giliberti stayed in Spain, and sang with Salvador probably around the same time as QuIroga.Yet the main voice in this track is not the well known Giliberti, thus it must be Quiroga? Salvador was playing at the Washington Palace near Champs Elysés in Winter 1930. It’s an open question.; | Paris | ||||
| 05384 |  |
1930-02-06 | Engrupido | Tango | Salvador Pizarro y su Orquesta Típica Argentina | Carlos Quiroga? - Juan Giliberti? | Columbia | L2029 | DF5 | Enriotti - Pagnoul | Giliberti, Juan | DK 8108 | enrioti | Evidence shows that Salvador Pizarro played in Sevilla in 1929 with a mysterious singer called Carlos Quiroga. At the time Juan Giliberti’s Orchestra Los Siete Ases was disintegrating, it bombed. Giliberti stayed in Spain, and sang with Salvador probably around the same time as QuIroga.Yet the main voice in this track is not the well known Giliberti, thus it must be Quiroga? Salvador was playing at the Washington Palace near Champs Elysés in Winter 1930. It’s an open question.; | Paris | ||
| 05387 | |||||||||||||||||
| 05390 |  |
Spring 1930 | El estandarte | Tango | Orquesta Típica Argentina Pizarro | Decca | FMB 1077 | F.1715 | Pizarro, Manuel | pizaro | Instrumental; | L'etendart | London | ||||
| 05393 |  |
Spring 1930 | Mama, yo quiero un novio | Tango | Orquesta Típica Argentina Pizarro | Manuel Pizarro | Decca | FMB 1078 | F.1715 | Collazo, Ramón | Fontaina, Roberto | ramon colazo | London | ||||
| 05396 |  |
Spring 1930 | Sentimiento porteño | Tango | Orquesta Típica Argentina Pizarro | Decca | FMB 1353 | F.1820 | Falcón, Julio Fernández | porteno fernandez falcon | Instrumental; | London | |||||
| 05399 |  |
Spring 1930 | Nobleza | Tango | Orquesta Típica Argentina Pizarro | Decca | FMB 1354 | F.1820 | Rovatti, Esteban | Instrumental; | London | ||||||
| 05402 |  |
Spring 1930 | Copacabana | Tango | Orquesta Típica Argentina Pizarro | Decca | FMB 1441 | F.1801 | De Caro, Julio | Instrumental; | London | ||||||
| 05405 |  |
Spring 1930 | Magnate | Tango | Orquesta Típica Argentina Pizarro | Decca | FMB 1442 | F.1801 | Pizarro, Salvador | Instrumental; | London | ||||||
| 05408 |  |
Spring 1930 | Corazón | Tango | Orquesta Típica Argentina Pizarro | Decca | FMB 14xx | F.1825 | Ghirlanda, Juan | girlanda corazon | Instrumental; | London | |||||
| 05411 | |
Spring 1930 | Todavía hay otarios | Tango | Orquesta Típica Argentina Pizarro | Manuel Pizarro | Decca | FMB 14xx | F.1825 | Pizarro, Manuel | Behety, Héctor | todavia hector beheti | London | ||||
| 05414 | |||||||||||||||||
| 05417 |  |
1930-09 | Consejo sano | Tango | Orchestre Manuel Pizarro | Pathé | N 300677 | X. 8730 | Pizarro, Manuel | pizaro | Instrumental; | Paris | |||||
| 05420 |  |
1930-09 | Triste paica | Tango | Orchestre Manuel Pizarro | Pathé | N 300678 | X. 8730 | Pecci, Juan | peci | Instrumental; | Paris | |||||
| 05423 | |
1930-09 | Corazón | Tango | Orchestre Manuel Pizarro | Pathé | N 300679 | X. 8731 | Ghirlanda, Juan | girlanda corazón | Instrumental; | Paris | |||||
| 05426 | |
1930-09 | La milonga de Montmartre | Tango | Orchestre Manuel Pizarro | Pathé | N 300680 | X. 8731 | Pizarro, Domingo | pizaro | Paris | ||||||
| 05429 | |||||||||||||||||
| 05432 |  |
1930-10 | Zaraza | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Pathé | N 300794/1 | X. 8655 | Tagle Lara, Alfonso | Tagle Lara, Benjamín | saraza zarasa sarasa | Paris | ||||
| 05435 |  |
1930-10 | Borracho | Tango | Orchestre Manuel Pizarro | Pathé | N 300795 | X. 8755 | Tanca, Miguel | boracho | Instrumental; | Paris | |||||
| 05438 |  |
1930-10 | Cachadora | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Pathé | N 300796 | X. 8755 | Lomuto, Francisco | Paris | ||||||
| 05441 |  |
1930-10 | Garufa | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Pathé | N 300797 | X. 8756 | Collazo, Juan A. | Fontaina, Roberto - Soliño, Víctor | colazo victor solino | Paris | ||||
| 05444 | |||||||||||||||||
| 05447 |  |
1930-11 | Arrabal porteño | Tango | Orchestre Manuel Pizarro | Pathé | N 300902 | X. 8777 | Maffia, Ángel | angel mafia arabal porteno | Instrumental; | Paris | |||||
| 05450 |  |
1930-11 | Muchachada | Tango | Orchestre Manuel Pizarro | Pathé | N 300903 | X. 8777 | Ghirlanda, Juan | girlanda | Instrumental; | Paris | |||||
| 05453 | |
1930-11 | Misa de once | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Pathé | N 300904 | X. 8778 | Tagini, Armando J. | Guinchandut, Juan J. | Paris | |||||
| 05456 | |
1930-11 | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Pathé | N 300905 | X. 8778 | Paris | ||||||||
| 05459 | Instrumental; | ||||||||||||||||
| 05462 |  |
1931-01 | C’est mon gigolo | Tango | Orchestre Manuel Pizarro | Pathé | N 301022 | X. 8808 | Casucci, Leonello | E. 15862 | Leonelo Casuci | Instrumental; | Paris | ||||
| 05465 |  |
1931-01 | Tu amor | Tango | Orchestre Manuel Pizarro | Pathé | N 301023 | X. 8808 | Borel-Clerc, Charles | E. 15862 | Instrumental; | Paris | |||||
| 05468 | |
1931-01 | Se va la vida | Tango | Orchestre Manuel Pizarro | Pathé | N 301024 | X. 8809 | Donato, Edgardo | Carnelli, María L. | A 3566 | maria carneli | Instrumental; | Paris | |||
| 05471 |  |
1931-01 | Don Segundo Sombra | Tango | Orchestre Manuel Pizarro | Pathé | N 301025 | X. 8809 | Delfino, Enrique P. | Romero, Manuel | Instrumental; | Paris | |||||
| 05474 | |||||||||||||||||
| 05477 |  |
1931-02 | Nuits de Montmartre | Tango | Orchestre Manuel Pizarro | Pathé | N 301094 | X. 96005 | Pizarro, Manuel | Lenzi, Carlos C. | pizaro | Instrumental; | Noches de Montmartre | Paris | |||
| 05480 |  |
1931-02 | Decime, que esperas | Tango | Orchestre Manuel Pizarro | Pathé | N 301095 | X. 96005 | Instrumental; | Paris | |||||||
| 05483 |  |
1931-02 | Te vas en pinta | Tango | Orchestre Manuel Pizarro | Pathé | N 301096 | X. 96006 | Maffia, Ángel | angel mafia | Instrumental; | Paris | |||||
| 05486 |  |
1931-02 | Yira yira | Tango | Orchestre Manuel Pizarro | Pathé | N 301097 | X. 96006 | Discépolo, Enrique S. | discepolo | Instrumental; | Paris | |||||
| 05489 | |||||||||||||||||
| 05492 |  |
1931-05-15 | Tango pour Loulou | Tango | Orchestre Manuel Pizarro | Pathé | N 301188 | X. 96027 | Ghirlanda, Juan | lulu girlanda | Instrumental; | Paris | |||||
| 05495 |  |
1931-05-15 | Figurita | Tango | Orchestre Manuel Pizarro | Pathé | N 301189 | X. 96026 | Pizarro, Juan J. | Fontaina, Roberto | pizaro | Instrumental;The label calls it a Tango Cachada, whatever that means.; | Paris | ||||
| 05498 |  |
1931-05-15 | Clavel del aire | Tango | Orchestre Manuel Pizarro | Pathé | N 301190 | X. 96026 | Filiberto, Juan de Dios | Silva Valdez, Fernán | fernan | Instrumental; | Paris | ||||
| 05501 |  |
1931-05-15 | Correntino | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Pathé | N 301193 | X. 96027 | Pizarro, Manuel | corentino pizaro | Paris | |||||
| 05504 | |||||||||||||||||
| 05507 |  |
1931-09-17 | Inspiración | Tango | Orchestre Manuel Pizarro | Pathé | N 301272 | X. 96060 | Paulos, Peregrino | Rubistein, Luis | inspiracion | Instrumental; | Paris | ||||
| 05510 | |
1931-09-17 | Pa’ la barra | Tango | Orchestre Manuel Pizarro | Pathé | N 301273 | X. 96061 | Pizarro, Manuel | para bara pizaro | Instrumental; | Paris | |||||
| 05513 | |
1931-09-17 | No me mientas | Tango | Orchestre Manuel Pizarro | Pathé | N 301274 | X. 96061 | Rovatti, Esteban | rovati | Instrumental; | Paris | |||||
| 05516 |  |
1931-09-17 | Un viejo amor | Tango | Orchestre Manuel Pizarro | Manuel Pizarro - Marival | Pathé | N 301275 | X. 96060 | Esparza Otero, Alfonso | Esparza Otero, Alfonso | esparsa | Paris | ||||
| 05519 | |||||||||||||||||
| 05522 | |
1931-12-01 | Confesión | Tango | Orchestre Manuel Pizarro | Roberto Maida | Pathé | N 301364 | X. 96091 | Discépolo, Enrique S. | Amadori, Luis C. | confesion discepolo | Paris | ||||
| 05525 |  |
1931-12-01 | Mama Inés | Rumba | Orchestre Manuel Pizarro | Frontela - Coro | Pathé | N 301365 | X. 96090 | Grenet, Eliseo | Grenet, Eliseo | ines | Yet another indication that the true dancing fever of the 1930s was the Cuban Rumba.; | Paris | |||
| 05528 |  |
1931-12-01 | Ché, Carmela | Tango | Orchestre Manuel Pizarro | Pathé | N 301367 | X. 96090 | Pizarro, Juan | Meaños, Manuel | pizaro meanos | Instrumental; | Paris | ||||
| 05531 | |
1931-12-01 | Aunque volviera | Tango | Orchestre Manuel Pizarro | Roberto Maida | Pathé | N 30136? | X. 96091 | Ghirlanda, Juan | Maida, Roberto | girlanda | Paris | ||||
| 05534 | Instrumental; | ||||||||||||||||
| 05537 |  |
ca 1932 | Maldita | Tango | Salvador Pizarro | Regal | Flores, Carlos Vicente G. - Rodio, Antonio | DK 8620 | K2962 - Columbia Spain N 875 | Instrumental; | Madrid | ||||||
| 05540 |  |
ca 1932 | Las madreselvas | Zamba | Salvador Pizarro | Regal | Aguilar, José M. | DK 8620 | K2964 - Columbia Spain N 875 | tanga marino | Instrumental;The label notes that Tanga and Marino played guitars, presumably Miguel Tanga.; | Madrid | |||||
| 05543 | |||||||||||||||||
| 05546 |  |
1932-03-10 | Amor | Rumba | Orchestre Manuel Pizarro | Pathé | N 301455 | X. 96126 | Pizarro, Manuel - Ghirlanda, Juan | pizaro girlanda | Instrumental; | Amour | Paris | ||||
| 05549 | |||||||||||||||||
| 05552 |  |
1932-03-10 | Bandoneón campanero | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Pathé | N 301457 | X. 96126 | Pizarro, Manuel | bandoneon pizaro | Paris | |||||
| 05555 |  |
1932-03-10 | Tus caricias | Tango | Orchestre Manuel Pizarro | Pathé | N 301458 | X. 96125 | Falcón, Julio F. | fernandez falcon | Instrumental; | Paris | |||||
| 05558 | |||||||||||||||||
| 05561 |  |
1932-07-21 | Promesas | Tango | Orchestre Manuel Pizarro | Pathé | N 301637 | X. 96203 | Pizarro, Manuel | pizaro | Instrumental; | Paris | |||||
| 05564 |  |
1932-07-21 | Recuerdo | Vals | Orchestre Manuel Pizarro | Trío Pizarro | Pathé | N 301638 | X. 96220 | Pelaia, Alfredo A. | Trio | Instrumental; | Paris | ||||
| 05567 |  |
1932-07-21 | El dia de San Juan | Tango | Orchestre Manuel Pizarro | Roberto Maida | Pathé | N 301639 | X. 96203 | Ghirlanda, Juan | Pierotti, Luis G. “Luis Garros Pe” | dia girlanda | Paris | ||||
| 05570 | |||||||||||||||||
| 05573 |  |
1932-11 | Viens, viens aimer | Tango | Orchestre Manuel Pizarro | Pathé | N 301783 | X. 96251 | Latjaï, Louis | Instrumental;From the operetta Katinka by Rudolf Friml and Otto Harbach [ https://en.wikipedia.org/wiki/Katinka_(operetta) ].; | Paris | ||||||
| 05576 |  |
1932-11 | A mi madre | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Pathé | N 301785 | X. 96251 | Pizarro, Manuel | pizaro | Paris | |||||
| 05579 | |
1932-11 | Primer querer | Tango | Orchestre Manuel Pizarro | Pathé | N 301786 | X. 96252 | Ghirlanda, Juan | girlanda | Paris | ||||||
| 05582 | |
1932-11 | Tango mío | Tango | Orchestre Manuel Pizarro | Pathé | N 301787 | X. 96252 | Fresedo, Osvaldo N. | Fresedo, Emilio | mio dofres | Instrumental; | Paris | ||||
| 05585 | |||||||||||||||||
| 05588 |  |
1933-05-22 | Cola e’ paja | Tango | Orchestre Manuel Pizarro | Pathé | N 301838 | X. 96278 | Gorrese, Vicente | E. 301838 | de gorese | Instrumental; | Paris | ||||
| 05591 | |||||||||||||||||
| 05594 |  |
1933-05-22 | Quiéreme mucho | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Pathé | N 301840 | X. 96278 | Roig, C. | 181 212 a | E. 301840 | quiereme | Arranged by Manuel Pizarro.; | Paris | ||
| 05597 | |
1933-05-22 | No hay derecho | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Pathé | N 301841 | X. 96275 | Pizarro, Manuel | pizaro | Arranged by Manuel Pizarro.; | Paris | ||||
| 05600 | Instrumental; | Paris | |||||||||||||||
| 05603 |  |
1933-06-01 | Rue Pigalle | Tango | Orchestre Manuel Pizarro | Pathé | N 301861 | X. 96283 | Pizarro, Juan J. | pigale pizaro | Instrumental; | Paris | |||||
| 05606 |  |
1933-06-01 | Cantando bajito | Tango | Orchestre Manuel Pizarro | Pathé | N 301862 | X. 96284 | Polito, Pedro | Caldas, Manuel | Instrumental; | Paris | |||||
| 05609 |  |
1933-06-01 | Destellos | Tango | Orchestre Manuel Pizarro | Pathé | N 301863 | X. 96283 | Falcón, Julio F. | destelos fernandez falcon | Instrumental; | Paris | |||||
| 05612 |  |
1933-06-01 | Volvé negra | Tango | Orchestre Manuel Pizarro | Pathé | N 301864 | X. 96283 | Pizarro, Manuel - Giliberti, Juan | 181 212 b | E. 301860 | volve | Instrumental; | Paris | |||
| 05615 | Instrumental; | Paris | |||||||||||||||
| 05618 |  |
1933-09-26 | Madreselva | Tango | Orchestre Manuel Pizarro | Pathé | CPT 1440/1 | PA 347 | Canaro, Francisco | Pelay, Ivo | Instrumental; | Paris | |||||
| 05621 |  |
1933-09-26 | Amorcito | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Pathé | CPT 1441/1 | PA 347 | Pizarro, Manuel | pizaro mio | Instrumental; | Amorcito mío | Paris | |||
| 05624 | |||||||||||||||||
| 05627 | |
1933-09-26 | Palomita | Tango | Orchestre Manuel Pizarro | Pathé | CPT 1442/1 | PA 348 | Ghirlanda, Juan | girlanda | Instrumental; | Paris | |||||
| 05630 | |
1933-09-26 | Volvé | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Pathé | CPT 1443/1 | PA 348 | Donato, Edgardo | Bayón Herrera, Luis | bayon herera volve vuelve | Paris | ||||
| 05633 | Paris | ||||||||||||||||
| 05636 |  |
1936-01-27 | La espuela | Tango | Orchestre Manuel Pizarro | Pathé | CPT 2456 | PA 794 | Ruys, Alexandre - Juinazu | juinasu ruiz ruis | Instrumental; | Paris | |||||
| 05639 |  |
1936-01-27 | Princesita argentina | Tango | Orchestre Manuel Pizarro | Pathé | CPT 2457 | PA 794 | Ferreté, L. M | ferete ferrete | Instrumental; | Paris | |||||
| 05642 |  |
1936-01-27 | Campanas del recuerdo | Tango | Orchestre Manuel Pizarro | Pathé | CPT 2458/1 | PA 818 | Ricardo, José | campañas jose | Instrumental; | Paris | |||||
| 05645 |  |
1936-01-27 | Mirasol | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Pathé | CPT 2459 | PA 818 | Pizarro, Manuel - Ghirlanda, Juan | Falcón, Julio F. | pizaro girlanda fernandez falcon | Instrumental; | Paris | |||
| 05648 | Paris | ||||||||||||||||
| 05651 |  |
1936-09-17 | Rawson | Tango | Orchestre Manuel Pizarro | Pathé | CPT 2848 | PA 1004 | Arolas, Eduardo | Instrumental; | Paris | ||||||
| 05654 |  |
1936-09-17 | Pergamino | Tango | Orchestre Manuel Pizarro | Pathé | CPT 2849 | PA 1005 | Pizarro, Manuel | pizaro | Instrumental; | Paris | |||||
| 05657 | |||||||||||||||||
| 05660 | |
1936-10-20 | Mi terruño | Tango | Orchestre Manuel Pizarro | Pathé | CPT 2912/1 | PA 1032 | Telleria, Lucio | teruno terruno teruño teleria | Paris | ||||||
| 05663 | Instrumental; | ||||||||||||||||
| 05666 | |
1937 | Al Garrón | Tango | Orchestre Manuel Pizarro | Pathé | CPT 3156/2 | PA 1134 | Pizarro, Manuel | pizaro garron garón garon | Instrumental;BibleTango has listed this track as recorded on 1937-06-16, the same as Batacazo, but the matrix number tells a different story.; | Paris | |||||
| 05669 | |||||||||||||||||
| 05672 |  |
1937-06-16 | Batacazo | Tango | Orchestre Manuel Pizarro | Pathé | CPT 3327 | PA 1222 | Pizarro, Manuel | batacaso pizaro | Instrumental; | Paris | |||||
| 05675 |  |
1937-06-16 | Empieza la mañana | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Pathé | CPT 3328 | PA 1222 | Mandarino, Luis | manana | Instrumental; | Paris | ||||
| 05678 | Instrumental; | ||||||||||||||||
| 05681 | |
1938-01-14 | Rezando por tí | Tango | Orchestre Manuel Pizarro | Pathé | CPT 3691/1 | PA 1402 | Vasquez Vigo, José | jose vasquez | Paris | ||||||
| 05684 | |
1938-01-14 | Capullito de flor | Tango | Orchestre Manuel Pizarro | Pathé | CPT 3692/1 | PA 1402 | Ghirlanda, Juan | girlanda capulito | Paris | ||||||
| 05687 | |
1938-01-14 | Lorenzo | Tango | Orchestre Manuel Pizarro | Pathé | CPT 3693/1 | Bardi, Agustín | agustin | Paris | |||||||
| 05690 | |
1938-01-14 | El resero | Tango | Orchestre Manuel Pizarro | Pathé | CPT 3694/1 | PA 1402 | Petillo, Raimundo | petilo recero | Paris | ||||||
| 05693 | |||||||||||||||||
| 05696 | |
1938-09-15 | La ranchera de la pampa | Ranchera | Orchestre Manuel Pizarro | Pathé | CPT 4364/1 | PA 1596 | Pizarro, Manuel | Châtelain, Amy | chatelain pizaro | Instrumental; | Paris | ||||
| 05699 | |
1938-09-15 | Yo no sé por qué te quiero | Tango | Orchestre Manuel Pizarro | Manuel Pizarro | Pathé | CPT 4364/1 | PA 1596 | Canaro, Francisco | Pelay, Ivo | se que | Paris | ||||
| 05702 | |||||||||||||||||
| 05705 |  |
1939-01-25 | Lejos de ti | Tango | Orchestre Manuel Pizarro | Pathé | CPT 4648 | PA 1727 | Pizarro, Manuel | Châtelain, Amy | chatelain pizaro | Instrumental; | Paris | ||||
| 05708 |  |
1939-01-25 | Pericón argentino | Pericón | Orchestre Manuel Pizarro | Pathé | CPT 4649 | PA 1727 | Pizarro, Manuel | pizaro | Instrumental; | Paris | |||||
| 05711 | |
1939-01-25 | Un chant dans la nuit | Tango | Orchestre Manuel Pizarro | Pathé | CPT 4650/1 | PA 1728 | Ferreté, L. - Ferreté, M | ferete ferrete | Instrumental; | Paris | |||||
| 05714 |  |
1939-01-25 | Martirio | Tango | Orchestre Manuel Pizarro | Pathé | CPT 4651 | PA 1728 | Cocopordo, J. | Instrumental; | Paris | ||||||
| 05717 | Instrumental; | ||||||||||||||||
| 05720 |  |
1950-10-20 | La cuerpiada | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 8883/1P | BF-342 | Pizarro, Manuel | Instrumental; | Paris | ||||||
| 05723 |  |
1950-10-20 | Batacazo | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 8884/1P | BF-342 | Pizarro, Manuel | batacaso | Instrumental; | Paris | |||||
| 05726 | |||||||||||||||||
| 05729 |  |
1951-03-22 | No te perdono más | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 8956/21 | BF-400 | Sciammarella, Rodolfo | Sciammarella, Rodolfo | Sciamarella Sciammarela Sciamarela mas | Instrumental; | Paris | ||||
| 05732 |  |
1951-03-22 | En esta tarde gris | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 8957 | BF-393 | Mores, Mariano | Contursi, José M. | Instrumental; | Paris | |||||
| 05735 |  |
1951-03-22 | Viejo ciego | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 8958 | BF-400 | Piana, Sebastián | Castillo, Cátulo - Manzi, Homero | Instrumental; | Paris | |||||
| 05738 |  |
1951-03-22 | Después | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 8959 | BF-393 | Gutiérrez, Hugo | Manzi, Homero | despues | Instrumental; | Paris | ||||
| 05741 | |||||||||||||||||
| 05744 |  |
1951 | N’attends pas mon amour | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 9042 | BF-412 | Bourtayre, Henri | atend | Instrumental; | Paris | |||||
| 05747 |  |
1951 | Tigre viejo | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 9043 | BF-421 | Grupillo, Salvador | Instrumental; | Paris | ||||||
| 05750 |  |
1951 | Accordez moi ces tango | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 9044/21 | BF-412 | Denoncin, René | Dabadie, Marcel | acordez rene | Instrumental; | Paris | ||||
| 05753 | |||||||||||||||||
| 05756 |  |
1951 | Garúa | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 9098 | BF-457 | Troilo, Aníbal | Cadícamo, Enrique D. | garua anibal cadicamo | Instrumental; | Paris | ||||
| 05759 |  |
1951 | Pigmalión | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 9099 | BF-447 | Piazzolla, Astor | Expósito, Homero A. | pigmalion piazola piazzola piazolla exposito esposito | Instrumental; | Paris | ||||
| 05762 | |||||||||||||||||
| 05765 |  |
1951 | Amor de forastero | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 9100 | BF-457 | López, Guillermo | Roldán, Domingo A. | lopez roldan | Instrumental; | Paris | ||||
| 05768 | |
1951 | Recuerdos de París | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 9101 | BF-447 | Lanjean, Marc | Instrumental; | Paris | ||||||
| 05771 | |||||||||||||||||
| 05774 |  |
1952-04-11 | Lluvia de estrellas | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 9171 | BF-470 | Maderna, Osmar | Instrumental; | Pluie d'etoiles | Paris | |||||
| 05777 |  |
1952-04-11 | Alma de bandoneón | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 9172 | BF-470 | Discépolo, Enrique S. | bandoneon discepolo | Instrumental; | Paris | |||||
| 05780 |  |
1952-04-11 | Nuits de Montmartre | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 9173 | BF-490 | Pizarro, Manuel | Instrumental; | Noches de Montmartre | Paris | |||||
| 05783 |  |
1952-04-11 | Adiós muchachos | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 9174 | BF-490 | Sanders, Julio C. | Vedani, César F. | cesar adios | Instrumental; | Paris | ||||
| 05786 | |||||||||||||||||
| 05789 |  |
1952 | Laisse ta main dans la mienne | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 9333 | BF-539 | Villoldo, Ángel G. - Kahan, Gaches | laise miene angel viloldo | Instrumental;An interesting variation on Villoldo’s El Choclo.; | El choclo | Paris | ||||
| 05792 |  |
1952 | 9 de julio | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 9334 | BF-539 | Padula, José L. | nueve | Instrumental; | Paris | |||||
| 05795 |  |
1952 | Tu seras pour toujours mon amor | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 9335 | BF-552 | Malando, Arie | sers | Instrumental; | Paris | |||||
| 05798 |  |
1952 | Brumas | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 9336 | BF-552 | D’Arienzo, Juan | Cadícamo, Enrique D. | darienzo darienso cadicamo | Instrumental; | Paris | ||||
| 05801 | |||||||||||||||||
| 05804 |  |
1952 | Confesión | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 9382 | BF-560 | Discépolo, Enrique S. | Amadori, Luis C. | confesion discepolo | Instrumental; | Paris | ||||
| 05807 |  |
1952 | Yira yira | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 9383 | BF-560 | Discépolo, Enrique S. | Discépolo, Enrique S. | discepolo | Instrumental; | Paris | ||||
| 05810 | |
1952 | Dónde estás corazón? | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 9384 | DF-3461 | Berto, Augusto P. | donde estas corazón | Instrumental; | Paris | |||||
| 05813 | |
1952 | Derecho viejo | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 9385 | DF-3461 | Arolas, Eduardo | Instrumental; | Paris | ||||||
| 05816 |  |
1952 | Mocosita | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 9386 | BF-561 | Matos Rodríguez, Gerardo H. | Soliño, Víctor | victor solino rodriguez | Instrumental; | Paris | ||||
| 05819 |  |
1952 | Rodríguez Peña | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 9387 | BF-561 | Greco, Vicente | rodriguez pena | Instrumental; | Paris | |||||
| 05822 |  |
1952 | Silencio | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 9388 | DF-3478 | Gardel, Carlos - Pettorossi, Horacio | Le Pera, Alfredo | petorosi pettorosi petorossi | Instrumental; | Paris | ||||
| 05825 |  |
1952 | Caminito | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 9389 | DF-3478 | Filiberto, Juan de Dios | Peñaloza, Gabino Coria | penalosa penaloza | Instrumental; | Paris | ||||
| 05828 | |||||||||||||||||
| 05831 | |
1954 | Rosario | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 9690 | Unknown | Instrumental;Test pressing according to DAHR.; | Paris | |||||||
| 05834 | |
1954 | Paloma | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 9691 | Unknown | Instrumental;Test pressing according to DAHR.; | Paris | |||||||
| 05837 | |||||||||||||||||
| 05840 |  |
1954 | Mon cœur est un violon | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 9758 | BF-643 | Laparcierie, Miarka | coeur violin | Instrumental; | Mi corazón es un violín | Paris | ||||
| 05843 |  |
1954 | Viento pampero | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 9759 | BF-643 | Falcón, Julio F. | falcon fernandez | Instrumental; | Paris | |||||
| 05846 |  |
1954 | Premier chagrin d'amour | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 9760 | BF-666 | López, B. | lopez amor | Instrumental; | Arrabal | Paris | ||||
| 05849 |  |
1954 | Palma | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 9761 | Fuggi, Tito - Verdu, Quintin | Instrumental; | Paris | |||||||
| 05852 | |||||||||||||||||
| 05855 | |
1954 | Que te vaya bien | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 9954 | BF-691 | Pizarro, Manuel | Instrumental; | Paris | ||||||
| 05858 | |
1954 | La viruta | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 9955 | BF-691 | Greco, Vicente | Instrumental; | Paris | ||||||
| 05861 |  |
1954 | Insaissisable | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 9956 | BF-692 | Denoncin, René | rene insaisisable | Instrumental; | Paris | |||||
| 05864 |  |
1954 | J'ai trop aimé | Tango | Manuel Pizarro et son Orchestre Argentin | Columbia | CL 9957 | BF-692 | Gade, Jacob | aime | Instrumental; | Paris |
Notas
1. Manuel Pizarro nació en Buenos Aires en 1895. Aprendió a tocar el bandoneón con Juan Félix Maglio (Pacho). En 1914 compuso su primer tango, titulado Batacazo. Pizarro se codeó y tocó con los mejores de Buenos Aires antes de irse a Francia en 1920 con el Tano Genaro.
2. Pizarro regresó a Buenos Aires en septiembre de 1922, y permaneció allí durante un año hasta que volvió a París el 12 de septiembre de 1923. Cuando regresó a París llevó consigo al menos a su hermano Domingo (guitarra). Pronto consiguió un contrato de grabación con la Gramophone francesa (HMV), el 22 de enero de 1924 registró su primera grabación conocida, de su autoría el tango Mano Santa. Cabe señalar que Pizarro fue relativamente prolífico como compositor, y grabó muchas de sus propias composiciones.
3. Pronto se incorporaron a la floreciente empresa familiar otros hermanos, entre ellos Salvador (bandoneón) y Juan José. A juzgar por fotos de la época, la formación original de 7 músicos ya incluía a Juan Ghirlanda en violín. También creemos que Ernesto Remondini, que tocaba el bandoneón o el piano, se unió ocasionalmente a Pizarro, pero en general no tenemos información alguna sobre quiénes participaban en las sesiones de grabación aparte de Pizarro y sus hermanos.
4. En esta discografía se hace un uso liberal de las pausas (64 líneas en blanco) para subrayar las diferentes fechas de grabación (en realidad no son tantas). Pero las fechas no siempre son exactas, cuando sólo especificamos el mes... tome un mes antes o un mes después de la fecha de esta hoja (la regla más-menos-uno). También hemos investigado la secuencia de los números de matrices, y hemos hecho esfuerzo por explicar las descontinuidades, y en "parear" las sesiones, es decir, asegurar que las sesiones tienen un número par de discos como resultado (por lo general se grababan dos pistas por sesión presumiblemente con intención de llenar los dos lados de un disco).
5. En la medida de lo posible hemos intentado acercarnos a las fechas publicadas por la Discography of American Historical Recordings (DAHR). Sin embargo, la DAHR no especifica las fechas en las que Manuel Pizarro empezó a grabar para Columbia, por lo que es posible que algunas de las primeras grabaciones de Columbia también tuvieran lugar antes que las de Gramophone (para las que sí tenemos fechas exactas de grabación). A juzgar por la secuencia de números de la matriz podemos decir que hubo varias sesiones de Columbia en 1925, quizá separadas por meses, y que algunas de estas fechas de grabación probablemente coincidieron con las de Gramophone.
6. Cuando Pizarro tocó con los bailarines Cortez y Peggy en el Ambassadeurs en septiembre de 1926, tenía 10 músicos en el escenario y la cantante Alina de Silva, pero ese año Pizarro no estuvo en el estudio de grabación. Pizarro y Alina viajaron a España en Octubre de 1927 y grabaron para La Voz de su Amo, filial española de HMV.
7. Durante su estancia en España, Pizarro dejó a su hermano Salvador al cargo de sus compromisos en París. Cuando Pizarro regresó a París, Columbia se interesó en grabar con Salvador también. Las grabaciones de la primera sesión de Salvador que conocemos abarcan las matrices L936 a L946 de Columbia, con un llamativo vacío en L939 (que hemos dejado como interrupción en la hoja).
8. Salvador fue entonces a España para unirse a la multitud en la Expo Iberoamericana de Sevilla, estuvo allí desde abril de 1929 (antes de que se inaugurara la Expo), y la evidencia muestra que tocó con un misterioso cantante llamado Carlos Quiroga. Quiroga permaneció en o alrededor de España hasta 1932, pero eso es todo lo que sabemos de él. Además, más o menos al mismo tiempo se estaba disolviendo la orquesta argentina Los Siete Ases de Juan Giliberti, su gira en España fue un fracaso. Giliberti se quedó en España y cantó con Salvador, probablemente por las mismas fechas que Quiroga. Salvador grabó entonces 10 pistas para Regal, la filial de Columbia en España, y concluímos que fueron grabadas con el tal Carlos Quiroga. Al regresar a París Salvador grabó unas pocas pistas para Columbia en febrero de 1930, y la voz principal tampoco es Giliberti, debe ser Quiroga? A la sazón Salvador estaba tocando en el Washington Palace.
9. En abril de 1929, Manuel Pizarro abandonó Columbia y Gramophone tras cerca de 72 grabaciones en 5 años (no tantas en realidad, 14 eran de Salvador). Se unió a las filas de Pathé y allí permaneció el resto de su carrera discográfica.
10. Desde enero de 1930 y por lo menos hasta mayo del mismo año, Manuel Pizarro tocó en el Hotel Savoy de Inglaterra. Sí, Pizarro hizo estas grabaciones mientras estaba bajo contrato con Pathé. ¿Por qué? Decca era una compañía independiente en aquella época, recientemente constituida y centrada en las tecnologías de grabación de alta fidelidad. Sea como fuere, hemos fechado estas grabaciones provisionalmente y de forma algo inexacta como "Primavera de 1930". También incluimos una pista que nunca hemos visto pero sobre la que leímos en los periódicos británicos. Por cierto, los periódicos británicos destacaban el canto de Pizarro, le llamaban "Ruiseñor de la Argentina". Y señalaban que su banda estaba formada por unos diez músicos.
11. Hay un par de misteriosas grabaciones de Salvador en Regal que calculamos son de 1931 ó 1932. Aparte de una supuesta grabación de 1938 que nunca hemos visto y que no incluimos a propósito, éstas son las últimas grabaciones de Salvador.
12. Las últimas ediciones conocidas de Manuel Pizarro en 78RPM datan de 1954 o 1955. Esta discografía no incluye emisiones de la época del LP (por ahora).
13. Manuel Pizarro falleció en Niza, Francia, el 11 de noviembre de 1982.
14. Estadísticas: este cuadro contiene 222 takes, 62 breaks y una línea de cabecera. De las tomas, 26 son de Salvador Pizarro, el resto de Manuel.
1. Esta hoja lista "tomas", no “discos”, o títulos. Los archivos de las disqueras muestran los números de tomas registrados para cada título, y nosotros hemos hecho lo mismo de una manera particular. La primera columna de la hoja (el Índice) ha sido cuidadosamente numerada para que incremente monotónicamente, para reflejar un estricto orden cronológico. Presumimos que la matriz y el número de toma son una indicación de ese orden también (la toma 1 fue registrada antes que la toma 2, la matriz 532 fue registrada antes que la matriz 2036). Lo que esto significa es que si dos pistas fueron grabadas el mismo día, la que tiene el número de matriz menor aparecerá primero en el listado. De un título al siguiente, el Índice salta adelante el número de tomas registradas en la pista. Para pistas para las que no tenemos el número de tomas, asumimos que sólo una fue registrada. Pero también utilizamos saltos estratégicos en el Índice para dar indicación de algún cambio: estos saltos son realmente espacios para futuros descubrimientos (previniendo o reduciendo la necesidad de re-indexar).
2. En la hoja, la columna de "Matrix" realmente contiene la matriz más el número de toma separados por una "división" (/), es realmente una columna de “Toma”.
3. Esta hoja contiene "pausas" (filas en blanco) que ayudan a visualizar el largo listado en el eje vertical, y llama la atención del lector a discontinuidades. Hemos puesto una pausa después de cada Año Nuevo, y/o cuando Pizarro cambió de sello o de Grupo. La hoja fue desarrollada para una pantalla de 1280 pixels de ancho (13-pulgadas, el eje horizontal). Nuevas computadoras móbiles de 13-pulgadas usan densidades de pixels más altas, y usted verá una barra blanca a la derecha de la página. El objectivo era mostrar tantas columnas como fuera posible sin obligar a rodar (horizontal scrolling), empezando con las más importantes desde la izquierda. Pero la altura de la fila es importante también, si la información en una columna es demasiado, la fila multiplicará su altura: queremos pausas, pero también queremos densidad de información (más pausas = más páginas). En el futuro puede que tratemos otras fuentes.
10. Desde enero de 1930 y por lo menos hasta mayo del mismo año, Manuel Pizarro tocó en el Hotel Savoy de Inglaterra. Sí, Pizarro hizo estas grabaciones mientras estaba bajo contrato con Pathé. ¿Por qué? Decca era una compañía independiente en aquella época, recientemente constituida y centrada en las tecnologías de grabación de alta fidelidad. Sea como fuere, hemos fechado estas grabaciones provisionalmente y de forma algo inexacta como "Primavera de 1930". También incluimos una pista que nunca hemos visto pero sobre la que leímos en los periódicos británicos. Por cierto, los periódicos británicos destacaban el canto de Pizarro, le llamaban "Ruiseñor de la Argentina". Y señalaban que su banda estaba formada por unos diez músicos.
11. Hay un par de misteriosas grabaciones de Salvador en Regal que calculamos son de 1931 ó 1932. Aparte de una supuesta grabación de 1938 que nunca hemos visto y que no incluimos a propósito, éstas son las últimas grabaciones de Salvador.
12. Las últimas ediciones conocidas de Manuel Pizarro en 78RPM datan de 1954 o 1955. Esta discografía no incluye emisiones de la época del LP (por ahora).
13. Manuel Pizarro falleció en Niza, Francia, el 11 de noviembre de 1982.
14. Estadísticas: este cuadro contiene 222 takes, 62 breaks y una línea de cabecera. De las tomas, 26 son de Salvador Pizarro, el resto de Manuel.
Notas Técnicas
1. Esta hoja lista "tomas", no “discos”, o títulos. Los archivos de las disqueras muestran los números de tomas registrados para cada título, y nosotros hemos hecho lo mismo de una manera particular. La primera columna de la hoja (el Índice) ha sido cuidadosamente numerada para que incremente monotónicamente, para reflejar un estricto orden cronológico. Presumimos que la matriz y el número de toma son una indicación de ese orden también (la toma 1 fue registrada antes que la toma 2, la matriz 532 fue registrada antes que la matriz 2036). Lo que esto significa es que si dos pistas fueron grabadas el mismo día, la que tiene el número de matriz menor aparecerá primero en el listado. De un título al siguiente, el Índice salta adelante el número de tomas registradas en la pista. Para pistas para las que no tenemos el número de tomas, asumimos que sólo una fue registrada. Pero también utilizamos saltos estratégicos en el Índice para dar indicación de algún cambio: estos saltos son realmente espacios para futuros descubrimientos (previniendo o reduciendo la necesidad de re-indexar).
2. En la hoja, la columna de "Matrix" realmente contiene la matriz más el número de toma separados por una "división" (/), es realmente una columna de “Toma”.
3. Esta hoja contiene "pausas" (filas en blanco) que ayudan a visualizar el largo listado en el eje vertical, y llama la atención del lector a discontinuidades. Hemos puesto una pausa después de cada Año Nuevo, y/o cuando Pizarro cambió de sello o de Grupo. La hoja fue desarrollada para una pantalla de 1280 pixels de ancho (13-pulgadas, el eje horizontal). Nuevas computadoras móbiles de 13-pulgadas usan densidades de pixels más altas, y usted verá una barra blanca a la derecha de la página. El objectivo era mostrar tantas columnas como fuera posible sin obligar a rodar (horizontal scrolling), empezando con las más importantes desde la izquierda. Pero la altura de la fila es importante también, si la información en una columna es demasiado, la fila multiplicará su altura: queremos pausas, pero también queremos densidad de información (más pausas = más páginas). En el futuro puede que tratemos otras fuentes.
4. En diferentes sellos o impresiones el nombre de la Orquesta cambió, pero hemos elegido usar el nombre más común “por era” en la columna de Grupo (Group) y abreviarlo. Por qué? Para evitar filas de doble o triple-altura. Y finalmente, para las grabaciones de Victor de los años 30 el nombre ha sido recortado también, pero está deletreado en las Páginas Detalle.
5. El formato para las fechas es AAAA-MM-DD (año, mes, día), pero hay fechas inexactas también: cuando utilizamos estaciones del año, note que nos referimos a estaciones del Hemisferio Norte (e.g. Winter 1925).
6. En el futuro nos gustaría mejorar la hoja, hacerla más rápida; también añadir columnas de ancho ajustable, una barra para rodar horizontalmente en el tope de la hoja; un "dark-mode" (modo oscuro?), búsquedas restringidas por columna, búsqueda con "expresiones regulares" (regex), búsquedas "persistentes", múltiples resoluciones, y más (hasta una mejor traducción que ésta, o una hoja separada sólo en Español). Los oímos, pero faltan recursos. Si usted quiere ayudar, bienvenido!, no es más una tabla en HTML que utiliza DataTables.
7. Gracias en especial a Richard Stallman por crear las hermosas herramientas que se utilizaron en la creación del Web y de esta página.
8. Usted puede bajar una version Excel de esta Discografía acá.
9. 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. Manuel Pizarro was born in Buenos Aires in 1895. He learned to play the bandoneon from Juan Félix Maglio (Pacho). In 1914 he composed his first tango entitled Batacazo. Pizarro hung out and played with the best in Buenos Aires before deciding in 1920 to go to France with Tano Genaro.
2. Pizarro returned to Buenos Aires on September 1922, and stayed for one year until he returned to Paris on September 12, 1923. When he went back to Paris he brought at least his brother Domingo (guitar) with him. He quickly landed a recording contract with HMV's French Gramophone. On January 22 of 1924 he registered his first known take, his own tango Mano Santa. It should be noted that Pizarro was relatively prolific as a composer, and he recorded many of his own compositions.
3. Other brothers soon joined the flourishing family enterprise, including Salvador (bandoneon) and Juan José. Judging by pictures of the era, Pizarro's original formation of 7 included Juan Ghirlanda on violin already. We also think Ernesto Remondini, who played either bandoneon or piano, joined Pizarro occasionally, but in general we have no information whatsoever as to who was in the recording sessions other than Pizarro and his brothers.
4. There's a liberal use of breaks in this Discography (64 blank lines) to underscore the different recording dates (not that many really). But dates are not always exact, when we only specify the month... take one month before or one month after the date on this sheet (the plus-minus-one rule). We have also investigated the sequence of matrix numbers, and have made efforts to account for discontinuities, and in "paring" takes, i.e. ensuring that sessions have an even number of tracks as a result (with the intention of filling both sides of the new issues with the same artist).
5. Wherever possible we have tried to come as close to the dates published by the Discography of American Historical Recordings (DAHR). But the DAHR is not specific as to the dates when Manuel Pizarro started recording for Columbia, there's a possibility some of the first Columbia recordings too place before Gramophone's (for which we do have exact recording dates). Judging by the matrix number sequence we can tell that there were several Columbia sessions in 1925, perharps separated by months, and that some of these recording dates probably straddled the Gramophone dates.
6. When Pizarro played with dancers Cortez and Peggy at the Ambassadeurs on September 1926, he had 10 musicians on stage and singer Alina da Silva, but for some unknown reason he did not record that year. Pizarro and Alina went to Spain in October 1927 and recorded for HMV's Spanish subsidiary La Voz de su Amo.
7. While in Spain Pizarro left his brother Salvador in charge of his commitments in Paris. When Pizarro returned to Paris Columbia was interested in recording Salvador too. Salvador's first recording session spans Columbia matrices L936 through L946, with a conspicuos gap at L939 (which we have left as a break on the sheet).
8. Salvador then went to Spain to join the crowd in Sevilla's Ibero-American Expo, he was there since April 1929 (before the Expo opened), and evidence shows he played with a mysterious singer called Carlos Quiroga. Quiroga presumably stayed in Spain through 1932, but that's all we know about him. Also, around the same time Juan Giliberti’s Argentine Orchestra Los Siete Ases was disintegrating, it bombed in Spain. Giliberti stayed in Spain, and sang with Salvador probably around the same time as Quiroga. Yet the main voice in the Feb 1930 Columbia recordings is not the well known Giliberti, thus it must be Quiroga? Moreover, Salvador was back in Paris playing at the Washington Palace when these recordings were made. It’s 100% an open question. Other than a presumed recording from 1938 that we have never seen and purposely did not include, these are Salvador's last recordings.
9. In April 1929 Pizarro dropped Columbia and Gramophone after close to 72 recordings in 5 years (not that many really, 14 were Salvador's). He joined the ranks of Pathé and stayed there the rest of his recording career.
10. In January 1930 and through the Winter season, Manuel Pizarro played at the Hotel Savoy in England. Yes, Pizarro did straddle these recordings with his Pathé contract. Why? Decca was an independent company at the time, recently incorporated and focused on hi-fidelity recording technologies, maybe it was an experiment? Whatever the case, we have tentatively and somewhat fuzzily dated these as "Spring 1930" (plus minus one season?). We also include a track that we never quite saw in the wild but we read about on British Newspapers. Incidentally, the British newspapers highlighted Pizarro's singing, they called him "Ruiseñor de la Argentina" (nightingale). And they noted that his band consisted of around 10.
11. The last known 78RPM issues from Manuel Pizarro are from either 1954 or 1955. This discography does not include issues from the LP era (for now).
12. Manuel Pizarro died in Nice, France, on November 11, 1982.
13. Stats: this table contains 222 takes, 62 breaks and one header line. Of the takes, 26 are Salvador Pizarro's, the rest is Manuel's.
Technicalities
01. This sheet lists takes, not “discs”, or just titles. The labels' 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 don't always have the number of takes available, 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. The jumps are really placeholders for future discoveries (preventing or reducing the need to re-index).
02. In the sheet, the "Matrix" column really contains the matrix plus the take identifiers separated by a slash (/), it’s really a “Take” column.
03. 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 Pizarro 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.
04. 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. Why? To prevent a double or triple-height row. And finally, for the Victor recordings of the 1930's the name has been shortened too, but it's spelled out in the Detail Pages.
05. 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).
06. 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.
07. Special thanks to Richard Stallman for creating the beautiful tools that led to the creation of the Web and this page.
08. You can download an Excel version of this Discography here.
09. Any corrections, additions, etc. please email [ a r a q u e AT g m a i l DOT c o m ]
Bibliography
https://adp.library.ucsb.edu/index.php/mastertalent/detail/359635/Orchestre_Manuel_Pizarro?Matrix_page=100000
https://adp.library.ucsb.edu/index.php/mastertalent/detail/360073/Orquesta_Tpica_Argentina_Salvador_Pizarro
2. BibleTango
https://www.bibletango.com/tangopersonnages/perso_disco/persodisco_p/pizarro_manuel_disco/pizzaro_1_disco.htm
3. Center for the History and Analysis of Recorded Music (CHARM)
https://charm.rhul.ac.uk/discography/search/search_simple.html
4. Thanks to Leonardo Paludi for many of the covers.
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