It began as a mental review of dancing at Lo de Celia, making note of all tandas I danced — with whom and which orchestra, and when I can remember, specific titles. It has turned into my short-term memory test after every milonga.
I decided to wait until Monday to write my list from one Sunday’s milonga and see how I did on my memory test a day later.
Osvaldo Pugliese Orquesta with Julio Fortunato — I arrived at my table when the tanda started, and I was greeting my table companion Margarita. His big smile in my direction was difficult to miss. I don’t care what music is playing when Julio looks my way — I want to dance with him. His embrace is divine. After the first tune, I recognized it was Pugliese which I prefer listening to instead of dancing. Julio said that the milonga is where he can forget about all his problems at work and where he feels no pain.
Anibal Troilo Orquesta (’41) with Jorge De Gouvea — We usually dance milonga con traspie, but he invited me for tango after the first tune. I didn’t recognize the orquesta as Troilo with Fiorentino, so I asked Erwin the deejay. Then Jorge caught my attention to dance.
Juan D’Arienzo valses with Humberto Morales — He’s hidden behind the front row of men on the opposite corner of the floor. I’m so glad he came over. He said, I almost have to send you a letter to dance with you.
Chacarera with Margarita who joins me at my table. This is the only time I do the man’s role in a dance!
Carlos Di Sarli Orquesta (’50) with Tito Aquino — This tanda is reserved for Tito.
Juan D’Arienzo/Hector Maure with Jorge De Gouvea — I know it’s impossible for Jorge to stay seated during this tanda. I looked in his direction. The energy was incredible.
Dixieland Jazz with Julio Alejo — If Graciela isn’t at the milonga, I know that Julio will invite me for jazz. He doesn’t mind that I sing the tunes I know so well.
A night is complete for me with Di Sarli and Troilo tangos, and D’Arienzo valses.