Orlando Goñi and his Marcación Bordoneada
It don't mean a thing if it ain't got that swing was the credo of Duke Ellington ’s orchestra, and that’s what we also could say about Orlando Goñi, one of the greatest tango pianists of all time whose influence on tango music has not been properly understood. Like Rodolfo Biagi on D’Arienzo and Osmar Maderna on Caló, Goñi made a permanent impact on Aníbal Troilo ’s music. His swinging and groovy piano texture creates a resilient basis for bandoneons and violins giving them impetus to Troilo’s rhythmic extravaganza. Let’s listen first how Goñi plays with Troilo in 1942. I would say that the recording where Goñi’s pianism shines at its best is the one of C.T.V. (aka Se te ve ) recorded on January 8, 1942. The tango was composed by Agustín Bardi in the early 1930s. Anibal Troilo - 1942 - C. T. V. Here Goñi plays mainly three kinds on texture: the melody in octaves with violins and bandoneons, e.g. beginning to 0:03 and 0:07 to 0:10, marcato accompa...