It is a mark of his genius that, although perhaps his recordings on the whole might be heard at least as frequently as any other orchestra (because of teaching and practice use on the classic slow instrumentals), they last and last and never lose power and their inspiring sensuality.

Early, Di Sarli's arrangements were slow, cool walking rhythms; then he went through a fast period. Again he slowed everything down in the 50's. He was also another victim of the outrageous planned fire that swept away the warehouse containing his, and other greats such as Troilo's, precious original master recordings. Consumers' scratchy 78's became the only source material. Record companies have routinely issued atrocious reproductions of his originals. Generations have never heard what he really sounded like. That's why I'm on the restoration odyssey.

Many teachers around the world use Di Sarli's later music for teaching. It is an excellent assist for beginners who often have trouble hearing "the beat" of tango until they get acclimatized.

Even today, when I meet a new person I am interested in dancing with, I pray they put on Di Sarli so I can get her to slow down, open up and know my way of moving. He really gives great places to go and things to say. (Particular favorites of the slow ones? El Once', 'Nuevo Puntos', 'Bahia Blanca' and 'Comme Il Faut').