Thanks, David. The employment of pedal is a long-ignored problem.
I just listened to the tango. While it has much to commend it, I concur with Chris that you need to apply the pedal more carefully. This is true whenever the pianist encounters passing tones and chromatic neighboring tones within moving passage work. There are some major blurs in the sound in this recordings as it now stand. The approach will be different given the piano, the room acoustics, the style of the piece, matters of touch, and even the tempo. Usually it will involve some experimentation to discover the best possibilities for pedaling. Solutions might be half-pedal releases to spill excess and offending overtones from the sound. Or it might mean pedaling more strategically for mostly capturing the changing harmonies in the music. In an extreme case, you might be limited to no pedal while relying only on finger legato technique. The most important element of all is keenly listening and hearing as you play. Be aware that what you want to hear in your pedaling might differ from what you actually play! As you critically listen to yourself, your ears become the high court in all matters of pedaling. Generally speaking, less is more maybe with the exception of impressionistic music.