Fresedo and Gardel had known each other for years, and even collaborted in 1925 on Fresedo's initial recordings for Odeon. Six-hundred recordings and 3 years later Fresedo's was one of the signature orchestras of Buenos Aires (along with Canaro and Firpo), with multiple formations under his direction and a select following. Word of the new success of Gardel reached Fresedo as he worked on his final recordings for Odeon with 20-year old Ernesto Famá in Buenos Aires. Neither Fresedo nor Famá nor Odeon could have foreseen the changes the next year would bring.
The Garron, run by Elie Volterra, had been one of the most popular tango spots in Paris since 1920. The original venue was on the second floor of 6 Rue de Fontaine in Montmartre, and after 15 years Volterra was moving it to a locale just 2 doors away at 10 Rue Fontaine. And for the opening of the new place Volterra wanted an orchestra from Buenos Aires, probably in consideration that its clientele was full of Argentinean expatriates. Fresedo wanted to bring 3 violins, Volterra insisted on having 3 bandoneons. The troupe consisted of:
Violin: Adolfo Muzzi - Jean Koller
Bass: Humberto Costanzo
Piano: José María Rizzuti
Singer: Ernesto Famá
On November 28 Fresedo played at a private reception hosted by M. Carlos de Olazábal in honor of the Fragata Escuela Presidente Sarmiento, visiting France since November 15. The wife of the Argentine Ambassador in Paris (Federico Álvarez de Toledo), and other society notables were in attendance. M. de Olazábal was a diplomat and the Editor of the column “L’Amérique Latine” for the newspaper Le Galois. Fresedo told his biographer Oscar Zucchi that the Baron de Rothschild asked him to play in a reception behind curtains, something that upset Fresedo who demanded visibility (and got it). Though we couldn't find hard evidence about this event, we think this happened during Fall and that the event took place at the salons of the Fondation Salomon de Rothschild (11 Rue Berryer). Around this time too the feast of the Catherinettes took place in Paris, a very interesting video of Tango musicians was shot there that can help illustrate what these social events were like. We don't know who the musicians in the video are, but probably most events did not "hide" their Tango musicians.
Fresedo told Zucchi that they went to Monte Carlo and the Riviera around this time, presumably for a short engagement. From December through April the wealthy went to hibernate in the South of France. The Orquesta Argentina Bachicha-Ferrazzano played at the Restaurant des Ambassadeurs of the Casino Municipal in Cannes; the Orchestre Argentin Orlando played in Nice; and Eduardo Bianco's Orchestra played in the Casino at Juan-les-Pins. And Monaco's Fête National took place on the week of January 16, nonetheless we didn't find any info on Fresedo in the Côte d'Azur.
Fresedo then returned to Paris and on February 5 he appeared with Gardel at the Bal de Petits Lits Blancs, a prestigious benefit gala that had been held annually since 1924 at the Ópera Garnier. It was organized by M. Léon Bailby, editor of the newspaper L'Intransigent, and the president of France Gaston Doumergue was present. Elie Volterra and Paul Santo also attended. There was an innumerable succession of events that followed from 11 p.m., after dinner. Harry Pilcer, the American dancer and well-known Tango promoter, was scheduled to perform but was ill and could not attend.
Gardel then returned to Paris and appeared at the Empire and at the Florida. Since October Gardel recorded some 50 tracks for Odeon-France and sold thousands of records. In March he premiered Cadícamo and Barbieri's tango Cruz de palo. That same month Odeon-France also announced new releases from Bianco, Bachicha and Canaro. Soon after Gardel left for Argentina. Significantly Odeon-France did not offer Fresedo a recording contract, and his Odeon-France releases did not get promoted as those by the other Argentine Tango orchestras. The great Fresedo Orchestra barely got mentions on the press, and their recordings got relatively little playtime on Radio. Really, by all measures, Fresedo's trip to France had been a royal failure.
Lester Allen and Nelly Breen, who's comedy and dancing were very popular in London since 1926 (Allen was with Roberto Medrano in George White's revue Scandals of 1922);
Also among the performers were dancers Roberto Medrano and Donna Landwehr (Medrano and Donna). Fresedo knew Medrano since his first trip to New York in 1920. One critic was enthralled with their dancing: "Medrano and Donna are Argentinian dancers... Tango is not new; you just have to want to renew it. Medrano and Donna do it with admirable voluptuousness and virtuosity. Donna's flexible grace, her abandon, her coquetry, her way of giving in to violence with gentleness are purely delicious and would almost inspire in us an unacknowledged jealousy if Medrano's vigor, her natural domination, and her mastery justified in all eyes this noble tribute. From a less psychological angle, if you like, the curve of their dance, its harmonious sequence, in turn its soft inflections and suddenly its nervousness create a spectacle of flawless distinction and rarity."
Bandoneon: Osvaldo Fresedo - Juan Salvatore - Carlos Esposito
Ramón and Rosita left New York in mid-May and brought their Stearns-Knight convertible to drive around France and elsewhere. We think they were at the Ambassadeurs on the opening week, though not as dancers but as part of the audience. We also think this is where they met the Crown Prince of Kapurthala. Paramjit's itinerary that Summer seems to coincide with that of Ramón and Rosita, so much so that when the trail of the dancers is lost one can extrapolate their location by finding the location of the Prince.
On May 30 Ernesto Famá was spotted in Paris sans Fresedo, singing at Chez Les Borgia on rue Laferrière (walking distance from El Garron). The famous French singer Lucienne Boyer sang in this cabaret since April. She had visited Buenos Aires the previous October, and was said to be close friends with Gardel. Little else is known about Famá's whereabouts that Summer, he resurfaced in October singing for the Orquesta Típica Victor in Buenos Aires.
In late May Ramón and Rosita were in Barcelona on the week of the opening of the Exposición Internacional. The Maharaja of Kapurthala, and presumably the Crown Prince, were there too. Ramón and Rosita were summoned to dance for King Alfonso XIII who effusively complimented their "L'Amour Tragique" act. An Argentine Orchestra played, most likely the one formed the previous year by Lucio Demare, and was playing at the Barcelona's Principal Palace Theater that month.
A week after their visit to the Barcelona Expo the Maharaja and the Crown Prince were back in Paris where June was a very busy month socially. In early July Ramón and Rosita were dancing at the Café de Paris in London where they reprised some of their success two years before. King Alfonso of Spain came to London too, and again summoned the couple to dance for him. The Maharaja and Prince Paramjit also came to London for an audience with the Prince of Wales. Ramón and Rosita were then asked to extend their run at the Café de Paris and the Hotel Savoy for a few weeks.
We think Fresedo met Ramón and Rosita at the Ambassadeurs, they had an obvious common friend in Juan Carlos Cobián. The show's reviews were good, yet other than Medrano and Donna the Children of China probably got more press than anyone else. A critic leveled a stinging complain about how pricey the dinner-plus-show event was, "they were charging post-prohibition prices for otherwise legal vintages". By mid-July many of the American performers in the original cast had either returned to the United States or left Paris, and they were replaced by a new group of performers that included Miss Florence, a vedette that was popular at the Casino de Paris the previous year; Howell, Harger and Naldi, a trio of acrobatic dancers; the Three Eddies, a comic dancing and singing act like few; and the fantastic act of Borrah Minevitch and his Vagabonds.
Ostend was a very popular beach resort on the Belgian coast, a 5-hour train ride from Paris. Half a million people visited the beaches every year and the season was filled with dances, competitions, concerts and social events. Edmond Sayag was part of the Management of the Kursaal. Alas, we found no conclusive evidence of Fresedo's dates in Ostend.
Notes
1. Fresedo told Zucchi: "This is from 1928, when the boys left me in Paris; I stayed and went to Paramount. Here is Nicolas Vaccaro, the pianist I made travel from the orchestra I had at the Casino Pigall. This is Juan Salvatore, bandoneon, this Carlos Esposito, also bandoneon, who was the brother of Tano Genaro Esposito, then Jose Lorito, violin, and Jean Koller, also violin, who had stayed in Paris with me. The others are French musicians. This cast played in the fabulous Ambassadeurs, where they spent four months, from which they went to Belgium in order to make the Summer season in the sophisticated beaches of Ostend, performing in the exclusive dances of the Casino Kursaal in the illuminated Belgian city”. It's almost certain he was talking about the same picture.
3. Fresedo also told Zucchi that Minervini stayed behind in France, still the evidence shows that Minervini came back to Buenos Aires with Rizzuti. Then he went back to Europe and was back in Buenos Aires in 1932, he got married and played in Spain, as Fresedo also mentioned. This is a cautionary tale on the dangers of using the stories told many years later, by the actors in these events, as hard evidence. It's even murkier when one takes into consideration the stories told by third-parties.
4. Enrique D. Cadícamo was friends with Juan Carlos Cobián and presumably with Osvaldo Fresedo too. A few decades later Cadícamo wrote La Historia del Tango en París, filled with anecdotes and some facts. Cadícamo himself was in Barcelona and in Paris from Summer 1928, and he says he returned to Buenos Aires on the Conte Verde. According to evidence at the Centro de Estudios Migratorios Latinoamericanos (CEMLA) the exact date of Cadícamo's return is January 19, 1929. This very likely means that Cadícamo left París before the end of 1928, and he barely spent time with Fresedo there. Maybe this explains the mangled timeline in Cadícamo's book when describing Fresedo's trip. Or maybe Fresedo was at the Ambassadeurs in January?
6. First the Broadman-Alfaro orchestra that recorded for Pathé/Columbia in Paris in 1929. They were locals but dressed like gauchos. And next is the Canaro Orchestra that played at the Casino Bellevue (with singer Carlos Dante).
7. According to Cadícamo Gardel was originally (April 1928?) staying at the Hotel Reynita on 71 Rue de Douai, one block from the Place de Clichy and walking distance from El Garron/Palermo and the Boulevard des Batignolles. The Hotel was in that address at least from 1913 to 1931. Other sources point to 23 Boulevard de Batignolles as the correct address but offer little details on that location.
9. Disclosures: we don't know what Fresedo played at El Garron; that's not Ramón and Rosita's real car, it's a similar model; and the videos of Don Parker and others are not from 1929, but close enough to illustrate what these artists did for a living.
1. Pablo Darío Taboada for contributing the picture of the telegram, and the picture of the Orchestra at the Ambassadeurs. Pablo is the main force behind Investigación Tango.
https://www.youtube.com/channel/UC2c1s9wjyfIEAAJRiml62-g/videos
7. The website Montmartre Secret has a full page on Rue (Pierre) Fontaine
https://www.montmartre-secret.com/2017/05/rue-fontaine.entre-pigalle-et-blanche.html
1. Anita Turón has an excellent blog that tells in great detail what the nights of Gardel in Paris were like
She did a deep-dive into the Bal de Petit Lit Blancs that is mandatory reading
http://ana-turon.blogspot.com/2019/06/gardel-en-el-bal-des-petits-lits-blancs.html
She also wrote an excellent piece on Gardel's nights at the Emprire
http://ana-turon.blogspot.com/2021/01/gardel-en-el-teatro-empire-de-paris-1929.html
She even covered Gardel in the Cote d'Azur
http://ana-turon.blogspot.com/2021/03/carlos-gardel-en-la-costa-azul.html
2. Jazz Age Club is an incredible source for material about the famous Jazz Clubs of the roaring 20s
http://www.jazzageclub.com
https://syncopatedtimes.com/noble-sissle-a-messenger-of-musical-uplift
4. Claude Esposito's website dedicated to his father Tano Genaro
https://genaroesposito.weebly.com/genaro-in-france.html
5. Enrique D. Cadícamo's La Historia del Tango en París
Corregidor, 1975
6. Milonga Ophelia's brilliant post "Gardel à Paris" (in French)
https://milongaophelia.wordpress.com/2023/11/19/carlos-gardel-a-paris
Dedicatory
To my brother Jean