ctive in the second and third decade of the twentieth century, he played alongside the tough bandoneonists Eduardo Arolas, Genaro Espósito, Manuel Pizarro, Arturo Bernstein, Juan Maglio (Pacho), Domingo Santa Cruz, Ricardo González, Vicente Loduca, José Arturo Severino, and the Marmón brothers, whom, just from the start, he regarded as his peers. But it was not because of lack of respect but due to recognition to his evidenced swinging capacity that he thoroughly achieved straight right from Vicente Greco. The latter was his teacher and was linked to him for a long period of his musical existence.

In 1908 he appeared at the Café de El Griego (The Greek’s café) on Suárez and Necochea with the Garrote trio that included Agustín Bardi on piano.

In 1910 he went on playing in the orchestra headed by the same leader and appeared at the Café El Estribo, the San Martín dancehall, also known as salón Rodríguez Peña and they recorded for the Columbia label with the following musicians: Greco and Labissier (bandoneons), Juan Abatte and Francisco Canaro (violins), Vicente Pecci (flute) and Domingo Greco (guitar or piano).

In 1914, Garrote played at the early carnival balls held at the Teatro Nacional Norte. For that gig he put together an orchestra that featured: Greco, Labissier, Francisco Canaro, and Roberto Firpo, among others.

In 1916, he was member of the large orchestra that Francisco Canaro and Vicente Greco presented at the Teatro Politeama of Rosario to play at the carnival balls. Besides Pirincho on violin and Greco on bandoneon, it was comprised by Rafael Rinaldi, Rafael Canaro, Francisco Confeta (violins); Labissier, Osvaldo Fresedo, Pedro Polito (bandoneons); Juan Carlos Bazán (clarinet); Vicente Pecci (flute); Samuel Castriota (piano); José Martínez (harmonium); Pablo Laise (sandpaper) and Leopoldo Thompson (bass).

In 1921, he played at the carnival balls as member of the last orchestra led by Vicente Greco.

Later he settled in Montevideo, and continued his show business activity at the famous tenement houses and in several Uruguayan groups.

In 1922, he joined the aggregation that played at the carnival balls of the amusement center known as Haraganes con Producto fronted by the pianist Alfredo Fogazza, Genaro Nerón Domínguez and Lorenzo Labissier (bandoneons), Federico Lafemina and Vicente Conti (violins).

Thereafter he got seriously ill and was unable to recover and died when he was already retired at the Barrio de La Unión around 1950.

He was one of the close friends of the great composer Agustín Bardi (El chino) who dedicated to him the famous tango whose title has his second Christian name Lorenzo. Francisco Canaro paid his homage with “El chamuyo”.

And Labissier composed the tangos: “Aquí se vacuna”, “El charabón”, dedicated to his friend José Martínez, “La biyuya” with lyrics by Eduardo Moreno, “Pochita”, the latter two recorded by Firpo and the waltzes “Blanca nieve [b]”, dedicated to his sister and recorded by Eduardo Arolas in 1912, “Ensueño [b]”, “Ósculos de fuego” and “Recuerdo inolvidable”.