In the seventh week of this series, we turn our ears to one of the oldest — and most powerful — voices in the tango world. This week’s tanda is built entirely from instrumental tangos recorded by the orchestra of Juan Maglio, the Pacho (crazy), genius of early tango and one of my personal favorites.
Juan Maglio, widely known by his nickname Pacho, was one of the most influential figures of the Guardia Vieja era and a central force in the early history of tango. In the 1910s, it was common to hear customers at record shops say, “Give me a pacho,” a phrase that perfectly illustrates how widespread and popular his recordings were — his nickname had effectively become synonymous with a gramophone record itself. As one of the first musicians to record bandoneón solos on disc, Maglio captivated audiences with his refined technique, elegant phrasing, and clear rhythmic drive. Born in Palermo and raised in Boedo, Pacho encountered the bandoneón at a very young age; initially nicknamed Pazzo (“crazy”) by his father, the name gradually evolved into Pacho — a name that would soon be embraced by the entire tango world.
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