In November and December, we’ll be listening to the beautiful music of Osvaldo Fresedo, who was born in a wealthy family. However, despite Osvaldo’s father was a rich businessman, at the age of ten, his family moved to La Paternal, a humble neighborhood, with flat houses in a popular surrounding which had its effect on his destiny. It was there where he started playing the bandoneon. His was the longest tango career ever found: over 1,250 recordings along 63 years. His most famous tango is the melodious “Vida mía” but also renowned were “Tango mío”, “El once”, “Aromas”, “Volverás”, “Sollozos”, “Siempre es carnaval”, and “Si de mi te has olvidado”.
In 1913 he started public performances as member of a trio of youngsters and later on formed a trio with Cobián and Roccatagliata, a group that proved decisive for the tango orchestra evolution in the 20s. The refined taste, legatos, soft nuances and fancy piano solos were targeted to the upper class ears, though embodying the deep “arrabal” message of the suburbs, always present in Fresedo’s art. Soon, Fresedo’s performances at Casino Pigall were so successful that his orchestra became the most fashionable.
In 1921, hired by the Víctor company, he traveled to the United States to join, with other musicians, the prestigious Orquesta Típica Select which recorded about fifty themes.
After 1925 he played a historic role. He joined Carlos Gardel in two recordings: the tangos “Perdón, viejita” and “Fea”. In 1927, Fresedo’s success was such that he kept five orchestras performing at the same time. One of these orchestras, which played in silent movies was directed by Carlos Di Sarli, who would later become extremely successful.
Fresedo dared to introduce new timbres and colors in tango, such as the harp and vibraphone, and to make a discreet use of drums. He also selected his singers carefully to match the refinement of his orchestral style.
Source: summarised from the excellent tango website todo tango.