{"id":1564,"date":"2024-02-24T00:01:00","date_gmt":"2024-02-24T03:01:00","guid":{"rendered":"https:\/\/dj-byc.com\/WP\/?p=1564"},"modified":"2024-02-27T14:13:38","modified_gmt":"2024-02-27T17:13:38","slug":"que-tiempo-aquel-1938-02-24-milonga-orquesta-francisco-lomuto-con-jorge-omar","status":"publish","type":"post","link":"https:\/\/dj-byc.com\/WP\/que-tiempo-aquel-1938-02-24-milonga-orquesta-francisco-lomuto-con-jorge-omar\/","title":{"rendered":"Qu\u00e9 tiempo aquel 1938-02-24 (Milonga) &#8211; Orquesta Francisco Lomuto con Jorge Omar"},"content":{"rendered":"<div class='watch-action'><div class='watch-position align-left'><div class='action-like'><a class='lbg-style1 like-1564 jlk' href='javascript:void(0)' data-task='like' data-post_id='1564' data-nonce='e6e2317e6c' rel='nofollow'><img class='wti-pixel' src='https:\/\/dj-byc.com\/WP\/wp-content\/plugins\/wti-like-post\/images\/pixel.gif' title='comme' \/><span class='lc-1564 lc'>+1<\/span><\/a><\/div><\/div> <div class='status-1564 status align-left'><\/div><\/div><div class='wti-clear'><\/div>\n<h2 class=\"wp-block-heading\">Francisco Lomuto Letra: Celedonio Esteban Flores<\/h2>\n\n\n\n<p><em>Francisco Lomuto et Jorge Omar vous proposent la milonga du jour. Ce titre agr\u00e9able \u00e0 danser nous permet de nous int\u00e9resser \u00e0 la mode masculine et au billard. Des souvenirs du bon vieux temps disparu (Qu\u00e9 tiempo aquel que no podremos ver m\u00e1s).<\/em><\/p>\n\n\n\n<p>Cette milonga, une de plus, d\u00e9crit un individu amateur de billard, sa tenue et sa fa\u00e7on de d\u00e9ambuler. C\u2019est en somme un portrait qui peut se danser de fa\u00e7on amusante. Tous les instruments jouent en appuyant la rythmique, ce qui est bien dans le style de Lomuto, la plupart du temps inspir\u00e9 du canyengue. Jorge Omar s\u2019inscrit dans cette puissante pr\u00e9sence du rythme, tout en en usant de sa diction parfaite pour mettre en valeur les syncopes de la partition. Quelques excursions du piano illuminent la musique C\u2019est le seul instrument qui semble s\u2019\u00e9chapper de la machine pour proposer quelques fioritures qui all\u00e8gent le r\u00e9sultat et offrent aux danseurs qui savent les saisir, des \u00e9l\u00e9ments ludiques.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Vous reprendrez bien un peu de <s>homard<\/s> Omar\u2009?<\/h2>\n\n\n\n<h2 class=\"wp-block-heading\">s reprendrez bien un peu de <s>homard<\/s> Omar\u2009?<\/h2>\n\n\n\n<p>Hier, j\u2019\u00e9voquais, Nelly Omar, la muse d\u2019Homero (encore Omar) et aujourd\u2019hui, le chanteur en vedette est Jorge Omar. Seraient-ils de la m\u00eame famille, fr\u00e8re et s\u0153ur, mari et femme\u2009?<\/p>\n\n\n\n<p>Que nenni. Mais ils sont d\u2019autres points communs. Ils sont n\u00e9s tous les deux en 1911, le 10 d\u2019un mois, \u00e0 Buenos Aires ou dans la province \u00e9ponyme, sont chanteurs de tango et ont \u00e9t\u00e9 au firmament dans les ann\u00e9es&nbsp;30-40. Mais leurs identit\u00e9s r\u00e9elles l\u00e8vent les doutes&nbsp;:<\/p>\n\n\n\n<ul>\n<li>Nilda Elvira Vattuone = Nelly Omar 1911-09-10<\/li>\n<\/ul>\n\n\n\n<ul>\n<li>Juan Manuel Ormaechea = Jorge Omar 1911-03-10<\/li>\n<\/ul>\n\n\n\n<p>Je vais donc me contenter de parler de Jorge, le chanteur h\u00e9ros du jour.<\/p>\n\n\n\n<p>Sa carri\u00e8re est essentiellement associ\u00e9e \u00e0 Francisco Lomuto. Lorsqu\u2019il a quitt\u00e9 cet orchestre, en 1943, il a repris une carri\u00e8re de chanteur soliste, mais sans le succ\u00e8s qu\u2019il m\u00e9ritait. Pour moi, il a donn\u00e9 un peu d\u2019\u00e2me \u00e0 l\u2019orchestre de Lomuto avec sa diction parfaite et son expressivit\u00e9.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Francisco Lomuto<\/h2>\n\n\n\n<p>N\u00e9 en 1893, Francico Lomuto est un ancien du tango. Il fait partie d\u2019une famille de musiciens. Son p\u00e8re, V\u00edctor Lomuto \u00e9tait violoniste et sa m\u00e8re Rosal\u00eda Narducci, pianiste. Parmi ses 9&nbsp;fr\u00e8res et s\u0153urs, plusieurs contribu\u00e8rent au tango.<br>Victor, qu\u2019il ne faut pas confondre avec son p\u00e8re qui porte le m\u00eame pr\u00e9nom \u00e9tait bandon\u00e9iste et a pass\u00e9 une partie importante de sa vie en France, notamment avec l\u2019orchestre de Manuel Pizarro.<br>H\u00e9ctor Antonio, pianiste (jazz) et compositeur. Il est l\u2019auteur de rancheras, pasodobles et foxtrots, mais aussi du tango <em>Yo ser\u00e9 como t\u00fa quieras<\/em> et de la superbe valse <em>El d\u00eda que te fuiste<\/em>.<br>Enrique, pianiste (tango), chef d\u2019orchestre et compositeur. Parmi ses compositions, les tr\u00e8s beaux tangos <em>B\u00e9same mi amor<\/em> ou <em>\u00c9ramos tres<\/em>.<br>Oscar (Pascual Tom\u00e1s) \u00e9tait pour sa part \u00e9crivain et journaliste et a \u00e9crit les paroles de quelques tangos comme Nunca m\u00e1s dont l\u2019interpr\u00e9tation par Maure avec l\u2019orchestre de D\u2019Arienzo est une merveille.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Francisco himself<\/h2>\n\n\n\n<p>Pour revenir \u00e0 Francisco, l\u2019auteur de la musique et le chef d\u2019orchestre du tango du jour, la milonga <strong><em>Qu\u00e9 tiempo aquel<\/em><\/strong>, il est un des \u00e9l\u00e9ments de ce qu\u2019il est convenu d\u2019appeler la Guardia Vieja (La vieille garde).<br>La rencontre de Francisco Lomuto et Jorge Omar a marqu\u00e9 un tournant dans le style de l\u2019orchestre. Progressivement en 1935 et surtout en 1936, avec l\u2019arriv\u00e9e de Mart\u00edn Darr\u00e9 en remplacement de Daniel Alvarez comme premier primer bandon\u00e9on et arrangeur, son style se modernise avec des chefs d\u2019\u0153uvres comme Nostalgias ou Otra vez.<br>Sur la fin de sa carri\u00e8re, son style s\u2019est encore adapt\u00e9, notamment avec la participation d\u2019Angel Vargas. On notera toutefois que la majorit\u00e9 de ses ultimes enregistrements concernent du jazz argentin. Encore un t\u00e9moignage du d\u00e9clin du tango de danse dans les ann\u00e9es&nbsp;50.<br>Mais dans l\u2019ensemble, il restera fid\u00e8le \u00e0 son esprit \u00ab\u2009vieille garde\u2009\u00bb comme en t\u00e9moigne <em>Callecita de mi novia<\/em> enregistr\u00e9 le m\u00eame jour que la milonga dont nous parlons aujourd\u2019hui.<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/dj-byc.com\/WP\/wp-content\/uploads\/2024\/02\/Nostalgias-1936-10-28-Orquesta-Francisco-Lomuto-con-Jorge-Omar.mp3\"><\/audio><figcaption class=\"wp-element-caption\">Nostalgias 1936-10-28 \u2014 Orquesta Francisco Lomuto con Jorge Omar. Un titre superbe dans un style relativement diff\u00e9rent du Lomuto habituel.<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/dj-byc.com\/WP\/wp-content\/uploads\/2024\/02\/Callecita-de-mi-novia-1938-02-24-Orquesta-Francisco-Lomuto-con-Jorge-Omar.mp3\"><\/audio><figcaption class=\"wp-element-caption\">Callecita de mi novia 1938-02-24 \u2014 Orquesta Francisco Lomuto con Jorge Omar. Le style tr\u00e8s impr\u00e9gn\u00e9 de canyengue persiste dans cet enregistrement.<\/figcaption><\/figure>\n\n\n\n<p>Ce style au rythme tr\u00e8s marqu\u00e9 plait beaucoup aux amateurs d\u2019encuentro, sans doute moins aux danseurs qui aiment improviser. Il faut de tout pour faire un monde et un DJ avis\u00e9 saura sortir en temps utile un bon Lomuto.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Extrait musical<\/h2>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/dj-byc.com\/WP\/wp-content\/uploads\/2024\/02\/Que-tiempo-aquel-1938-02-24-Orquesta-Francisco-Lomuto-con-Jorge-Omar.mp3\"><\/audio><figcaption class=\"wp-element-caption\">Qu\u00e9 tiempo aquel 1938-02-24 &#8211; Orquesta Francisco Lomuto con Jorge Omar<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">Les paroles<\/h2>\n\n\n\n<cite translate=\"no\">\n\n\n\n<blockquote class=\"wp-block-quote\">\n<p>Un \u00ab\u2009taco\u2009\u00bb va con sombrero<br>Requintado de ala corta,<br>Un gesto de \u201cqu\u00e9 me importa\u201d<br>Sobrador y pendenciero.<\/p>\n\n\n\n<p><mark style=\"background-color:rgba(0, 0, 0, 0);color:#ff0000\" class=\"has-inline-color\">Pantal\u00f3n \u201ca la francesa\u201d<\/mark><br>A cuadritos de fragacha,<br>Que iba pidi\u00e9ndole cancha<br>Al barro del arrabal.<\/p>\n\n\n\n<p>Qu\u00e9 tiempo aquel que no podremos ver m\u00e1s<br>Que si se fue, no volver\u00e1,<br>Qu\u00e9 tiempo aquel de nuestra vieja ciudad<br>El del mat\u00f3n del arrabal,<br>Que la biaba del progreso,<br>Igual que a cinco de queso<br>Me lo han dejado,<br>Y hoy se pierde lentamente,<br>Como el sol en el poniente<br>Triste y derrotado.<\/p>\n<cite><em>Francisco Lomuto Letra: Celedonio Esteban Flores<\/em><\/cite><\/blockquote>\n\n\n\n<cite translate=\"yes\">\n\n\n\n<p>Les paroles sont assez simples \u00e0 comprendre. Il y a toutefois quelques \u00e9l\u00e9ments qui peuvent m\u00e9riter une explication.<br><strong>Taco<\/strong>&nbsp;: C\u2019est \u00e0 la fois la queue du billard et un bon joueur de billard. Rien \u00e0 voir avec les talons dans le cas pr\u00e9sent, si ce n\u2019est le \u00ab\u2009tac\u2009\u00bb, le son du talon au sol ou des boules qui s\u2019entrechoquent.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure data-wp-context=\"{ &quot;core&quot;:\n\t\t\t\t{ &quot;image&quot;:\n\t\t\t\t\t{   &quot;imageLoaded&quot;: false,\n\t\t\t\t\t\t&quot;initialized&quot;: false,\n\t\t\t\t\t\t&quot;lightboxEnabled&quot;: false,\n\t\t\t\t\t\t&quot;hideAnimationEnabled&quot;: false,\n\t\t\t\t\t\t&quot;preloadInitialized&quot;: false,\n\t\t\t\t\t\t&quot;lightboxAnimation&quot;: &quot;zoom&quot;,\n\t\t\t\t\t\t&quot;imageUploadedSrc&quot;: &quot;https:\/\/dj-byc.com\/WP\/wp-content\/uploads\/2024\/02\/SEVERO-VIETRI-par-Angel-Vieyra.jpg&quot;,\n\t\t\t\t\t\t&quot;imageCurrentSrc&quot;: &quot;&quot;,\n\t\t\t\t\t\t&quot;targetWidth&quot;: &quot;355&quot;,\n\t\t\t\t\t\t&quot;targetHeight&quot;: &quot;670&quot;,\n\t\t\t\t\t\t&quot;scaleAttr&quot;: &quot;&quot;,\n\t\t\t\t\t\t&quot;dialogLabel&quot;: &quot;Image agrandie&quot;\n\t\t\t\t\t}\n\t\t\t\t}\n\t\t\t}\" data-wp-interactive class=\"alignleft size-medium wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"159\" height=\"300\" data-wp-effect--setStylesOnResize=\"effects.core.image.setStylesOnResize\" data-wp-effect=\"effects.core.image.setButtonStyles\" data-wp-init=\"effects.core.image.initOriginImage\" data-wp-on--click=\"actions.core.image.showLightbox\" data-wp-on--load=\"actions.core.image.handleLoad\" src=\"https:\/\/dj-byc.com\/WP\/wp-content\/uploads\/2024\/02\/SEVERO-VIETRI-par-Angel-Vieyra-159x300.jpg\" alt=\"\" class=\"wp-image-1589\" srcset=\"https:\/\/dj-byc.com\/WP\/wp-content\/uploads\/2024\/02\/SEVERO-VIETRI-par-Angel-Vieyra-159x300.jpg 159w, https:\/\/dj-byc.com\/WP\/wp-content\/uploads\/2024\/02\/SEVERO-VIETRI-par-Angel-Vieyra.jpg 355w\" sizes=\"(max-width: 159px) 100vw, 159px\" \/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\taria-label=\"Agrandir l\u2018image\"\n\t\t\tdata-wp-on--click=\"actions.core.image.showLightbox\"\n\t\t\tdata-wp-style--right=\"context.core.image.imageButtonRight\"\n\t\t\tdata-wp-style--top=\"context.core.image.imageButtonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><figcaption class=\"wp-element-caption\">Une caricature amicale de Severo Vietri par Angel Vieyra<\/figcaption>        <div data-wp-body=\"\" class=\"wp-lightbox-overlay zoom\"\n            data-wp-bind--role=\"selectors.core.image.roleAttribute\"\n            data-wp-bind--aria-label=\"selectors.core.image.dialogLabel\"\n            data-wp-class--initialized=\"context.core.image.initialized\"\n            data-wp-class--active=\"context.core.image.lightboxEnabled\"\n            data-wp-class--hideAnimationEnabled=\"context.core.image.hideAnimationEnabled\"\n            data-wp-bind--aria-modal=\"selectors.core.image.ariaModal\"\n            data-wp-effect=\"effects.core.image.initLightbox\"\n            data-wp-on--keydown=\"actions.core.image.handleKeydown\"\n            data-wp-on--touchstart=\"actions.core.image.handleTouchStart\"\n            data-wp-on--touchmove=\"actions.core.image.handleTouchMove\"\n            data-wp-on--touchend=\"actions.core.image.handleTouchEnd\"\n            data-wp-on--click=\"actions.core.image.hideLightbox\"\n            tabindex=\"-1\"\n            >\n                <button type=\"button\" aria-label=\"Fermer\" style=\"fill: #000\" class=\"close-button\" data-wp-on--click=\"actions.core.image.hideLightbox\">\n                    <svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 24 24\" width=\"20\" height=\"20\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M13 11.8l6.1-6.3-1-1-6.1 6.2-6.1-6.2-1 1 6.1 6.3-6.5 6.7 1 1 6.5-6.6 6.5 6.6 1-1z\"><\/path><\/svg>\n                <\/button>\n                <div class=\"lightbox-image-container\"><div class=\"wp-block-image\">\n<figure class=\"alignleft size-medium responsive-image\"><img decoding=\"async\" data-wp-bind--src=\"context.core.image.imageCurrentSrc\" data-wp-style--object-fit=\"selectors.core.image.lightboxObjectFit\" src=\"\" alt=\"\" class=\"wp-image-1589\"\/><figcaption class=\"wp-element-caption\">Une caricature amicale de Severo Vietri par Angel Vieyra<\/figcaption><\/figure><\/div><\/div>\n                <div class=\"lightbox-image-container\"><div class=\"wp-block-image\">\n<figure class=\"alignleft size-medium enlarged-image\"><img decoding=\"async\" data-wp-bind--src=\"selectors.core.image.enlargedImgSrc\" data-wp-style--object-fit=\"selectors.core.image.lightboxObjectFit\" src=\"\" alt=\"\" class=\"wp-image-1589\"\/><figcaption class=\"wp-element-caption\">Une caricature amicale de Severo Vietri par Angel Vieyra<\/figcaption><\/figure><\/div><\/div>\n                <div class=\"scrim\" style=\"background-color: #fff\" aria-hidden=\"true\"><\/div>\n        <\/div><\/figure><\/div>\n\n\n<p><strong>Pantal\u00f3n \u00ab\u2009a la francesa\u2009\u00bb<\/strong>&nbsp;: on retrouve ce pantalon \u00e0 la fran\u00e7aise dans au moins trois milongas. Celle qui nous occupe aujourd\u2019hui, mais aussi dans <strong><em>De anta\u00f1o<\/em><\/strong> une milonga \u00e9crite par <strong><em>Luis Rubistein<\/em><\/strong> (Juan D\u2019Arienzo avec Alberto Echag\u00fce, 1939-09-27) et dans <strong><em>Pantalon \u00ab\u2009a la francesa<\/em><\/strong><em>\u2009\u00bb <\/em>\u00e9crite par <strong><em>Luisa Rosa Gonz\u00e1lez<\/em><\/strong> sur une musique de <strong><em>Severo Vietri<\/em><\/strong>.<br>Vous n\u2019avez sans doute pas entendu parler de Vietri. <a href=\"https:\/\/aldocaseros.blogspot.com\/2011\/06\/severo-vietri-de-boedo-rio-cuarto.html\">Je vous invite \u00e0 consulter le blog du regrett\u00e9 Aldo Caseros<\/a> pour mieux conna\u00eetre ce bandon\u00e9oniste et compositeur.<br>Le pantalon \u00e0 la fran\u00e7aise est un pantalon large (plus confortable avec les tissus rigides, sans \u00e9lasthanne, de l\u2019\u00e9poque) et resserr\u00e9 \u00e0 la cheville. C\u2019est un peu le type bombacha campesina, le mod\u00e8le moins exag\u00e9r\u00e9 que la bombacha des danseurs professionnels de malambo et qui se vend toujours comme v\u00eatement de travail.<br>Beaucoup de danseurs de tango actuels adoptent ce type de pantalons amples avec cinq pinces, mais qui sont diff\u00e9rents \u00e0 la base.<br>Je n\u2019ai en revanche pas d\u2019explication pour les cuadritos de fragacha. Sans doute un motif de tissus quadrill\u00e9 (espagnol\u2009?) ou des pi\u00e8ces destin\u00e9es \u00e0 r\u00e9parer les accrocs.<br><strong>Que iba pidi\u00e9ndole cancha\/Al barro del arrabal<\/strong>. Marcher en se frayant un passage avec autorit\u00e9, ici \u00e0 la fange des faubourgs. On imagine bien le type marcher, charg\u00e9 de son \u00ab\u2009importance\u2009\u00bb.<br><strong>Que la biaba del progreso<\/strong>. Qui l\u2019assomme avec le progr\u00e8s. Biaba est pour moi au sens figur\u00e9, le tueur \u00e9voqu\u00e9 au vers pr\u00e9c\u00e9dent est \u00e9galement figur\u00e9.<br><strong>Igual que a cinco de queso<\/strong>. L\u2019expression usuelle est <strong><em>dejar chato como cinco de queso<\/em><\/strong>. C\u2019est-\u00e0-dire qu\u2019il laisse l\u2019autre interdit, sans voix. Mon interpr\u00e9tation de ce passage est que le passage et le verbiage de cet individu devaient estomaquer les gens, les laisser comme \u00ab\u2009<strong>deux ronds de flan<\/strong>\u2009\u00bb.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Les enregistrements de <em>Qu\u00e9 tiempo aquel<\/em><\/h2>\n\n\n\n<p>Il n\u2019y en a pas d\u2019autres \u00e0 ma connaissance. C\u2019est une milonga orpheline.<br>En revanche, Lomuto a enregistr\u00e9 quelques autres milongas comme&nbsp;:<\/p>\n\n\n\n<ul>\n<li>Aqu\u00ed me pongo a cantar 1945-08-08 &#8211; Orquesta Francisco Lomuto con Alberto Rivera<\/li>\n\n\n\n<li>No hay tierra como la m\u00eda 1939-08-08 &#8211; Orquesta Francisco Lomuto con Fernando D\u00edaz<\/li>\n\n\n\n<li>Parque Patricios 1941-06-27 \u2014 Orquesta Francisco Lomuto con Fernando D\u00edaz<\/li>\n\n\n\n<li>Et des milongas candombe. Lomuto est un assez bon choix pour une tanda de milonga.<\/li>\n<\/ul>\n\n\n\n<h2 class=\"wp-block-heading\">Autres titres enregistr\u00e9s un 24&nbsp;f\u00e9vrier<\/h2>\n\n\n\n<p>Il y plusieurs autres titres enregistr\u00e9s un 24&nbsp;f\u00e9vrier de Gloria de Canaro 1927-02-24, bien canyengue \u00e0 Y te parece todav\u00eda 1959-02-24 \u2014 Orquesta H\u00e9ctor Varela con Armando Laborde. Ce sera pour des 24&nbsp;f\u00e9vrier des ann\u00e9es \u00e0 venir, mais en attendant, \u00e9coutez ces deux titres, extr\u00eames qui t\u00e9moignent de la richesse du tango, aux limites de son r\u00e9pertoire traditionnel.<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/dj-byc.com\/WP\/wp-content\/uploads\/2024\/02\/Gloria-1927-02-24-Orquesta-Francisco-Canaro.mp3\"><\/audio><figcaption class=\"wp-element-caption\">Gloria 1927-02-24 \u2014 Orquesta Francisco Canaro<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/dj-byc.com\/WP\/wp-content\/uploads\/2024\/02\/Y-te-parece-todavia-1959-02-24-Orquesta-Hector-Varela-con-Armando-Laborde.mp3\"><\/audio><figcaption class=\"wp-element-caption\">Y te parece todav\u00eda 1959-02-24 &#8211; Orquesta H\u00e9ctor Varela con Armando Laborde<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/dj-byc.com\/WP\/wp-content\/uploads\/2024\/02\/Un-\u2009taco\u2009-pensant-au-temps-qui-a-disparu-1024x576.jpg\" alt=\"\" class=\"wp-image-1600\" srcset=\"https:\/\/dj-byc.com\/WP\/wp-content\/uploads\/2024\/02\/Un-\u2009taco\u2009-pensant-au-temps-qui-a-disparu-1024x576.jpg 1024w, https:\/\/dj-byc.com\/WP\/wp-content\/uploads\/2024\/02\/Un-\u2009taco\u2009-pensant-au-temps-qui-a-disparu-624x351.jpg 624w, https:\/\/dj-byc.com\/WP\/wp-content\/uploads\/2024\/02\/Un-\u2009taco\u2009-pensant-au-temps-qui-a-disparu-300x169.jpg 300w, https:\/\/dj-byc.com\/WP\/wp-content\/uploads\/2024\/02\/Un-\u2009taco\u2009-pensant-au-temps-qui-a-disparu-768x432.jpg 768w, https:\/\/dj-byc.com\/WP\/wp-content\/uploads\/2024\/02\/Un-\u2009taco\u2009-pensant-au-temps-qui-a-disparu.jpg 1290w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Un \u00ab\u2009taco\u2009\u00bb pensant au temps qui a disparu&#8230;<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>Francisco Lomuto et Jorge Omar vous proposent la milonga du jour, Qu\u00e9 tiempo aquel. Ce titre agr\u00e9able \u00e0 danser nous permet de nous int\u00e9resser \u00e0 la mode masculine et au billard. 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