When in early 1922 the directors of the Víctor company commissioned Fresedo to form an ensemble for a recording series Fresedo, Tito, Cobián and Zerrillo found Alberto Rodriguez as second bandoneon. He came to replace Minervi and stayed with Fresedo's ensemble for more then a decade. Later that year Manlio Francia came for Roberto Zerrillo who left to rejoin Warren’s orchestra in Montevideo. Later Francia even re-used the name "Cuarteto de Maestros" to form a different ensemble together with Cobián, De Caro and Roque Biafore.
new orquesta for the 1922 recordings included for the first time
double-bass and also saxophone - most likely in order to get some lower
frequencies on the -still acoustic- recorded discs.
Piano: Juan Carlos Cobián
Double bass: Leopoldo Thompson
Saxophone: Francisco Ortega
|Sexteto Fresedo in 1923 - already with Rizutti but still with Francia (left) and Ferrazzano (right)|
in 1923 Leopoldo Thompson and Francisco Ortega also left the orquesta, the
entire "bass section" of the music we can hear on the records of that time was weighted on the left
hand of Rizutti's piano play. We can tell in his play how his style of
playing developed typical rhythmical adoracions of the left hand. This was shaped
by the musical role Rizutti's obviously had taken in these days playing with Fresedo.
|Gracias! Carlos Picchio|
Bandoneons: Osvaldo Fresedo, Alberto Rodriguez and Pastor Trivelli
Violins: Manlio Francia, Adolfo Muzzi and Jean Koller
Piano: José María Rizzuti.
Double bass: Carmelo Mutarelli, alternating with Humberto Costanzo.
Drums: Raúl Fresedo
"The 11th Internship Dance"
On September 21st of that year 1924, Fresedo's orchestra was summoned to play at the eleventh dance of the Internship -which was the last one- and it took place at the Victoria Theatre, where the quoted director presented his tango "El once", whose subtitle was "A divertirse". Fresedo reminded us of that event:
With all the other things I had, I completely forgot what had been agreed and with seven days to go, I had not even began the tango.
So, we were playing in the cabaret and I said to the boys of the orchestra: "You are going to accompany me in A Major, and I will start and you follow me and I will tell you the tone. And so the tango "El once" came out, like an improvisation, with the accompaniment of the orchestra.
Then I wrote it, I published it and it could be out on time in four or five days.
The printing house, which was in Bartolomé Mitre and Riobamba, had it ready in two days.
Emilio's lyrics were added later".
In 1924, Prince Humberto of Savoy arrived in the country, before whom Osvaldo Fresedo performed with his orchestra in August. After hearing his congratulations, the Maestro Fresedo thanked him humbly: "Your Majesty, thank you. We do what we can".
Now with the cast of Odeón artists, Fresedo inaugurated the series as director with the tangos "Entrá nomás", by Juan Rezzano and Francisco Bastardi and of his own "Perdón viejita", with lyrics by [José Antonio] Saldías, plaque Nº5001, with its corresponding matrixes 3299 and 3302. Osvaldo Fresedo was already at that time one of the three most important conductors (the others were Roberto Firpo and Francisco Canaro, who recorded for "Disco Nacional") and the main star of Víctor label and who consolidated this label in the market of the tango. Its value was of such magnitude that, beginning the last quarter of 1925, Max Glücksmann decided to take it to his company Nacional Odeón allocating a substantial amount of money for it. Once the objective was achieved and as a welcome, in the first record that Fresedo recorded for his label, joined the orchestra with the voice of Carlos Gardel.
The mid 20s started full of work for Maestro Fresedo, Zucchi narrates in his book the following events:
“In 1925 Fresedo performed with his orchestra at the Errazuri’s Palace in front of Edward of Windsor, Prince of Wales.
During his stay in the Victor label the Maestro Fresedo had the chance to accompany the singer Ada Falcón in two acoustic recordings also from the year ‘25, with the tangos "Oro y seda" by Osvaldo Fresedo and Amadeo H. Canale, "Pobre chica" by Osvaldo and Emilio Fresedo on the first one and "Casquivana" by Ferreri and F. Martinelli Massa together with "Risas de cabaret" by José María Rizzuti on the second one, records No. 79592 and No. 79622 respectively.
the switch to Odeón, and judging by the matrix numbers, Fresedo’s very first
recordings in Odeón were made with Gardel. This was a brilliant move by
Odeón. Striking a contract with one of the biggest figures of the Victor label
and making him record with the most successful singer at the time would bring
great success to the newly incorporated, but already established Fresedo. This also might have effected Victor to form the OTV
with Manlio Francia, Julio De Caro, Ciriaco Ortíz, Luis Petrucelli and other
extremely talented musicians. The Orquesta Tipica Victor was under the direction
of Luis Petrucelli first and then later under Adolfo Carabelli's, without even stating the
director’s name in fear that a switch like Fresedo’s could happen again.
Also in 1925 he had the compliment of accompanying with his orchestra the Maximum Singer (Carlos Gardel) in a 78 rpm disc of 25cms made with the acoustic system that took the Nº18201, with the tangos "Fea" of [Horacio] Petorossi and Alfredo Navarrine, in the side A (matrix 3288) and in the back "Perdón viejita" of Osvaldo Fresedo and José Antonio Saldías (matrix 3289/1).
The opinion of the Maestro Fresedo with reference to his work with Gardel, was the following:
"I would have liked to do something else with the accompaniment, but Carlitos was used to sing with the guitars and with the sung tangos he sped up a lot. I wanted to restrain him a little bit and I could only play the rhythm. At that time you couldn't accompany in any other way".
“In the course of this year 1925 of so much activity for the Maestro Fresedo, his orchestra appeared on stage at the National Theatre, of the businessman Pascual Carcavallo, during the theatrical representation of the sainete of José Antonio Saldías entitled "La muchacha de Montmartre", in which he presented his tango "Muchachita de Montmartre" with lyrics by the same Saldías.”
Until November 1926 the Fresedo Sexteto recorded for the Disco Nacional Odeón record company in Argentina in acoustic recording technic. The switch to the new and better electric recording technic using microphones happened at that time. The first electric recording was on November 16th.
In the summer of 1926, Fresedo returned to his classic presentations in the refined clubs of Mar del Plata, then he performed at the Carnival dances of that year at the San Martín theatre in Esmeralda street, where the audience got to know his tango "Pinturita". Fresedo’s activity was so intense this year, he had to form another orchestra to play in different venues.
The maestro himself told Zucchi about it:
"By the year 26 I was playing in what had been the "Abdullah Club" and
when Lombart took it over it was called "Florida Dancing". Lombart
immediately called me to play there with my orchestra. The manager of
this place was Mr. Eduardo Calvo, who became a close friend of mine. So
close, in fact, that he decided to create a piece with me. One day he
gave me the lyrics and I, as if to get rid of him, made the music; it
was the tango "Arrabalero", which in the end turned out to be famous.
- "For bandoneons I put some boys Bianchi, Américo and Emilio, who were brothers; for violin there was José Pécora, for singer Juan Carlos Thorry and for double bass Ángel Corletto.
Later there were successive modifications:
Bandoneons: César Ginzo and Tito Landó
Violins: José Lorito, José Pécora and David Abramsky alternating with each other.
Piano: Carlos Di Sarli
Double bass: Luis Bernstein, then Abraham Krauss
-I operated this way: I had the car parked at the "Bar Fresedo" -Rivadavia and Alberti-, I played some pieces there and then, carrying a bandoneon, I got into the car and quickly left to the " Fénix" cinema in Flores.
I arrived at the cinema when the interval lights were switched on and I played with the orchestra, usually a tango.
When the lights went out to start the movie, I would leave my bandoneon there and disappear, the orchestra would follow without me.
I would then climb into the car that was waiting in front of the cinema and speed off back to the "Fresedo Bar"".
Alfonso Lacueva on piano, Luis Minervini and José Della Rocca on bandoneons, José Lorito and Juan Cruz Mateo on violins and bassist Carmelo Mutarelli would have passed by the "Bar Fresedo".
It has sometimes been said that Di Sarli would have recorded as a member of Fresedo's orchestra; this was the director's response: "No, he never recorded with me".
- "When Di Sarli started in my orchestra at the "Fénix" cinema in Flores, I did all the repertoire, the instrumentation and gave him a copy of everything, and he made his debut there as "Orquesta Fresedo".
Soon after, they requested my orchestra again to open the Paramount cinema, which was being refurbished.
He told me the same "story" of the previous case, "that I would have to play a tango in the interval and then the orchestra would go on".
I thought, "He who covers much, does not press much", and I answered that, given the commitment I had with Mr. Muscio, it was impossible for me to accept any other obligation, but in view of his insistence I asked him to let me think for a week and I would give him my answer.
When he returned for my reply after a week, I passed the offer on to Di Sarli, who made his debut there after a month, when the renovation of the hall was completed.
And that's where Di Sarli's orchestra came from".
In a report that Geno Diaz, writer and comedian made to Maestro Fresedo, Don Osvaldo's version is somewhat different:
-"I continued my nightly car tours from hall to hall," says the musician, "and a fourth offering appeared. It was a businessman from Paramount who wanted my orchestra for his hall. I couldn't hold four orchestras, so I refused. But the businessman skillfully convinced the Fenix musicians. All my orchestras played the same arrangements and that man liked my style. And the boys went to the Paramount. There were no hard feelings and Di Sarli and I always had a very strong friendship and mutual respect. He wrote his tango "Milonguero viejo" and subtitled it "Fresedo". I paid him back by recording the piece for him, as well as the beautiful "Bahía Blanca", which is a musical poem. Di Sarli was a man of great conduct. He was not capable of any compromise in his musical or political convictions. He was a gentleman."
|José Maria Rizutti|
So the "Sexteto" was accomplished to the line-up below and got extremely successful until late 1928 with up to 300 (!) recorded tracks between november 1926 and october 1928 until the Orquesta left for Paris.
This period we could fairly name the peak of the guardia nueva. This happened together with the cultural "roar" of the famous roaring
twenties - where in many big citys of the world the people were having a out going good time. Still happy after the
ending of Worldwar I and as a result of rebuilt. These times eclipsed "slowly" from mid 1928 in the huge financial crash
over the year 1929 which had a large effect on Argentina that used to be
one out of ten of the wealthiest countries in the world before this
crash. In 1926 they also had the tremendous increase of recording technology which made the
major step from acoustic to electric recording and this had a great effect, too.
And the orquesta's line-up that we hear on his Odeón recordings until 1928 was the famous Sexteto Osvaldo Fresedo :
- Bandoneon: Osvaldo Fresedo and Alberto Rodriguez
- Violin: Adolfo Muzzi and Jean Koller
- Piano: José Maria Rizzuti
- Doublebass: Humberto Costanzo
1928 Fresedo recorded many tunes with Ernesto Famá singing and also
many instrumentals. Adolfo Muzzi stays in the orquesta for the first
violin - and also at the end of the year for the tour to Europe.