e belonged to the generation of singers that had to dance with the ugliest women. I turn to this metaphore to depict the difficult process that was beginning to become apparent in the genre in the mid- 50s. Slowly but in an inexorable way, young people preferred other beats and consequently the market for our urban music was turning smaller.

Because of that he lacked the suitable framework to showcase his interesting interpretive virtues. However, we can say that he possessed a very personal voice color and a correct intonation that made great tango orchestra leaders summon him for his services.

He was born in the city of Buenos Aires, in the neighborhood of Flores. In the late forties he began to sing appearing at different contests for vocalists which were organized by neighborhood clubs and tango venues.

In the early 1953 he was summoned by the violinist Hugo Baralis to join his orchestra that was appearing on LR3 Radio Belgrano. The other vocalist was Juan Carlos Rolón.

In 1954 the aggregation was dismembered because the leader had to travel to Japan as member of the Juan Canaro orchestra on a well-remembered tour which meant a definitive success for our music in those faraway lands.

Thereafter he was hired by Miguel Caló who needed a singer as substitute for Roberto Arrieta and then he shared the singing role with the already consecrated Alberto Podestá.

In October that year he made his debut in the recording studios with the tango “Los cosos de al lao” and, in May of the following year, he recorded the number “Por unos ojos negros” and, on the other side, he cut the Miguel Nijensohn’s waltz “La barquilla” along with the Trío Los Halcones. His last recording with the orchestra fronted by Caló was “Bien jaileife” in June 1955.

He reappeared with the Florindo Sassone Orchestra in the carnaval balls but his tenure was short. The awaited success never came and he quit looking for new horizons. In 1957 he was in the ranks of Ángel Domínguez with whom he appeared on LR4 Radio Splendid. In that aggregation his fellow vocalists were Alberto Rial and Osvaldo Ribó.

With Domínguez he recorded "Suerte loca" (1957) and "Porque te quiero así", tango composed by the leader with words by Luis Uncal.

After a short tenure in the orchestras led by Atilio Stampone and Osvaldo Piro he reached, I think, the most important stage of his career when he was hired by Rodolfo Biagi. In that outfit he shared the vocals with Hugo Duval.

In 1962 he was in the last recording of the banleader and cut the tangos “Si no estuvieras tú”, by Víctor Braña and Leo Lipesker, “Palermo”, “Y a mí qué” and “Duerme mi niña”, by Mario Canaro and Víctor Prestipino.

After that, when the Biagi orchestra was dismembered, he started his stage as soloist. The Magenta label hired him in 1966 for the recording of a disc entitled Milongas Reas with the accompaniment of the Cuarteto Puro Tango which was led by the pianist Miguel Nijensohn. Of that release we can mention: “Apronte”, “Andá que te cure Lola”, “Sin pensarlo” (Jorge Vidal, Raúl Cobián and Francisco Cittadino), “El desertor” (Alberto Cosentino and Juan Manuel Pombo) and “Sin novedad” (Ubaldo Martínez).

In the seventies he was a frequent figure of different tango venues. Some of them were: El Avión de la Boca, Vos Tango, Tango Bar de Flores, El Farol, El Rincón de los Artistas and Confitería El Olmo de Once.

In the following decade he recorded with maestro Víctor D'Amario, among other numbers: “Taximetreando”, by D'Amario and Jorge Moreira; “Filosofía barata” by Leopoldo Federico, Héctor Díaz Herrera and Alfredo Acerenza; “Estrella de ilusión”, by Ángel Milesi; “Gólgota” and “Romántico y azul”, by D'Amario, Rodolfo del Villar and Horacio Bianconi.