Jorge Palacio (Faruk)

e was one of the good arrangers in tango, with a quite solid training of a level similar to the ones of Julio Rosemberg, Alejandro Gutiérrez del Barrio, Sebastián Lombardo and the brothers Julio and Francisco De Caro. Furthermore, as bandleader for several years he shared with Alfredo Malerba, Libertad Lamarque’s husband, the leadership of the aggregation that backed up the appearances of the female singer.

He was a musician that stood out in the difficult task of writing charts for a tango orchestra; his name was well known in that activity in the 30s and 40s.

The movie director Luis Moglia Barth, director of the first entirely sound film, ¡Tango!, connected him with people of our national film industry to compose the background music of other two of his motion pictures: El último encuentro and Senderos de fe, both with the actress and singer Amanda Ledesma which were premiered in 1938.

A large number of movies had his contribution, among them: two films with Libertad Lamarque, Luis César Amadori’s Madreselva that same year and the following year: Luis Saslavsky’s Puerta cerrada. Those two years were quite successful for his work because he was also in charge of writing the arrangements for the giant orchestra that blended the orchestra leaders Julio De Caro, Juan Canaro, Edgardo Donato, Ricardo Tanturi and Francisco Lomuto on Radio El Mundo.

The well-remembered Orquesta Típica Victor, comprised by outstanding musicians that worked for that label, that was put together only for recordings (it never appeared in public), began its career on November 9, 1925 and its creator was Adolfo Carabelli. Its activity ended after 444 recordings on May 9, 1944. On its last stage it was conducted by Maurano.

He composed some interesting numbers: “Cuatro campanadas”, “El embrujo de tu violín”, “Riendo”, “Por la señal de la cruz” and “Amor” are a few examples of his oeuvre.

As from 1938, Maurano led the orchestra that accompanied Libertad Lamarque on several occasions. That year he was in charge of the recording of the waltz “Frou frou” and the song “Pianito de juguete”. In 1939, only in “Caminito”. In 1940: in “Un amor”, “Cita en la frontera”, “Lonjazos”, “Cosas del amor”, “Riendo”. In 1941: “Mañanera”, “Cuando el amor muere”, “En esta tarde gris”, “Una vez en la vida”, “Canción de navidad”, “Canción de cuna”, “Te quiero”, “Casi como jugando”, “Bajo el cielo azul” and “Negra María”. In 1942: in “Caserón de tejas”, “La parrala”, “Pito Juan”, “Milonga del aguatero”, “Gricel”, “Tristezas de la calle Corrientes”, “Muchacha” and “Nido gaucho”. In 1943: “Mi pequeña canción”, “Cornetín”, “Cada vez que me recuerdes”, “Uno”, “Tango y copas”, “Rosario de Santa Fe”, “Tal vez será su voz”, “Tristeza marina”, “Soñar y nada más”, “Verdemar”, “Mi taza de café” and “Los muñequitos”. In 1944: “Donde irás ilusión”, “El borrachito”, “Luna”, “Después”, “Tabaco” and “Cuatro campanadas”. Finally, in 1945: “Maldito tango”, “Garras” and “Seis días”. In 1950 Libertad again recorded the tonada “Pito Juan” and was accompanied by Maurano. A total figure of 47 recordings.

We have already said that the last period of the Orquesta Típica Víctor —the last 18 recordings— were under his direction. In 1943: “Nene caprichoso”, “Tranquilo viejo tranquilo”, “Fascinación”, “Milonga del aguatero”, “Senda de abrojos”, “Una vez”, “Y no la puedo olvidar”, “Pena calé”, “El listón” and “El rancho de Don José”. In 1944: “Pobre mariposa”, “Lo vi en tus ojos”, “Te amo”, “Mi taza de café”, “Bajo el cono azul”, “Anoche a las cuatro”, “Uno que ha sido marino” and the waltz “Sobre las olas”.

He was a great musician that does not deserve the unfair oblivion he has fallen into and because of that we thought it was fair to remember him in this short portrayal.