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A vibrant tango: "Canaro en París"
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 n April 23, 1925 on the
stage of the Dancing Florida, on the Rue Clichy Nº 20, Paris -with
their Pampean garments- Francisco
Canaro and Agesilao Ferrazzano
(violins), Carlos Marcucci
and Juan Canaro (bandoneons),
Fioravanti Di Cicco (piano), Rafael
Canaro (double bass and doubling on musical saw), Romualdo Lomoro
(drums) and Teresa Asprella (vocals and guitar) were amazing the French
audience.
They were "Canaro et sa Symphonie" -that is to say the Orquesta Típica Canaro- according to a French name that did not fit with the gaucho garments that the musicians were forced by a contract to wear.
And while Canaro was a boom for the French public, in Buenos Aires the news of his success filled the newspapers. Juan Caldarella read one of those daily papers. He was a guitarist that, like Rafael Canaro, also managed to get notes out of the musical saw. By that time he was looking for a title for a tango he had composed in collaboration with the bandoneon player Alejandro Scarpino. The rest was told by Caldarella himself to Francisco García Jiménez, as follows: «I jumped from the bed and wrote the title on the music staves. I had just found it on the page of "Crítica" that, hanging open from the night table, scarcely allowed me to see the headline: "Canaro makes comments about tango in Paris". I tell you, what I was seeing was the corner of the page on which I only succeeded in reading the beginning of the two lines of the headline: "Canaro... in Paris".
Paradoxically, those lyrics had nothing to do with Canaro but referred to a countrywoman who had left her hut to unexpectedly go to Paris. Years later, Scarpino adapted a new lyric to it, which can be heard sung by Enzo Valentino and which tells us about the success of tango in Paris. But this time it does not refer to Canaro either. Anyway, despite its lyrics, "Canaro en París" has remained as an instrumental piece.
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When the tango was already given a title, 
Conjunto