Michele Vietri - voice
Paolo Costanzo - violin
Massimiliano Tagliata - piano
Pedro Judkowski - double-bass
Tango Bailongo’s design was the re-shaping of the tango-canciòn that actually allowed the success of tango in the media in recent years.
Tango had had a remarkable impulse by recordings, radio programs and films since the 30s by Gardel and other “mythical” singers (until the 50s and beyond: Edmundo Rivero, Alberto Moran, Francisco Fiorentino, Alberto Podestà, Julio Sosa, Alberto Castle, Roberto Gocheneche...) who, at that time, succeeded in making this music in the form of song so loved and contributed to the imposition of a style that through the lyrics, described atmospheres, feelings and tensions.
This was the land for the cultivation of sublime poets that left us words so full of pathos: Alfredo Le Pera, Pascual Contursi, Catulo Castello, Homero Exposito, Enrique Santos Discepolo, Horacio Sanguinetti, Homero Manzi, Fedrerico Silva, José María Contursi, Julián Centeya, Horacio Ferrer.
This factor increased the charm of a dance that could not do without the atmosphere in which it was born and that is often described in those tangos with the use of the lunfardo, the typical street slang, the language of the “mala” and of immigrates, mostly Italian.
Therefore, The Tango Bailongo wants to focus exactly on that repertorio which is usually only played and not “explored” by bands.