Fresedo en 1922

Orquesta Típica Fresedo in 1922
left to right: Manlio Francia, Osvaldo Fresedo, Juan Carlos Cobián, "Tito" Roccagliata, 
Alberto Rodriguez, Francisco Ortega, Leopold Thompson
 
1922 Victor recordings with Juan Carlos Cobián (piano) and "Tito" Roccagliata (2nd violin)

1922 Victor recordings with José-Maria Rizzuti (piano) and Agesilao Ferrazzano (2nd violin) 

 
The influence...
of the multiple orquestas that Osvaldo Fresedo had formed throughout the important decades of tango music cannot be overrated. Looking at the early 1920's we find some very important musicians in his orquestas.Friends from the past, we have to mention „Tito“ Roccagliata (violin). He left the orquesta on nov,15th 1922 - just 2 months after Juan Carlos Cobián had already left. Cobián wasalso a longterm companion of Fresedo. Cobián was a fantastic piano player and we can hear his great solos i.e. in „Sollozos“ from 1922. But Cobián was drug addicted at that time, a „dopado“, and his last recording for Fresedo was on sep, 20th 1922. Therefor Fresedo's friend José-Maria Rizzuti (piano) had joined
the orquesta on oct, 4th 1922. Rizzuti developed with Fresedo a very unique style of piano playing
and it was not before early 1939 that Rizzuti left Fresedo. Manlio Francia (violin) was in that period the most important musician present, as his violin play was totally outstanding. When he left Fresedo a few years later, he started recording for OT Victor and „helped“ OT De Caro mostly in every recording from 1924-29.  So, with Manlio Francia at least three most influencing orquestas of the 1920's developed their style. OT Fresedo, OT De Caro, OT Victor and some of the most important musicians of that time developped their style, including Pedro Laurenz.
 

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