e was born in Villa Domínico, a locality near the city of Buenos Aires. His professional career started when he was very young, in 1929, by joining aggregations of the Radio Splendid cast that used to accompany the performances of singers. Furthermore, he was part of their appearances in the Buenos Aires venues and on their tours of the interior of the country.

Time later, in 1932, he joined the Federico Scorticati orchestra to appear on Radio Belgrano. The aggregation had a very good sound and was lined up by Jaime Gosis, later replaced by Héctor Stamponi (piano), Scorticati, Domingo Triguero and Horacio Gollino (bandoneons), Braña, Emilio González, Víctor Felice and Osvaldo Ponzoni (violins) and Fermín Fava (double bass).

As from 1936 he was playing in several orchestras. He joined the one led by Luis Brighenti; in the following decade he switched to the Juan Carlos Cobián aggregation —in 1943— and to the Ángel D'Agostino’s. He as well collaborated with other line-ups, in many of them as arranger, and fronted his own groups to appear in clubs and theaters.

In 1956 he was violinist and, on occasions, arranger, in the Alfredo De Angelis orchestra, in whose string section he played with Wenceslao Cinosi, Hipólito Carón, Ángel Raúl Vilar and the bass player Hugo Besnati.

Furthermore, he had a tenure in the Domingo Federico orchestra and, in 1958, was summoned by Fulvio Salamanca in whose orchestra he had outstanding musicians as fellow string players, among whom we can mention Elvino Vardaro, Hugo Baralis, José Nieso, Raúl Domínguez, Eugenio Nápoli and Benjamín Gisbert

In the early 1960 he formed a group to accompany Elena Maida and Rubén Cané as we can see in the photos that appeared in the magazines Cantando of February 16, 1960 and March 1 that same year.

In 1965, with his own orchestra, he backed up Carlos Dante in his last recordings for the J Music and Discofonía labels. They cut 14 tracks. He also played in the final recordings of Juan Carlos Cobos in 1978.

He composed “Pobre gato”, his first tango which dates back to 1927; later he teamed up with the lyricist Enrique Gaudino —the author of “San José de Flores”— and released: “Apadrinando” (waltz), “Voz de barrio”, “Jirón de suburbio”, “Con un silbido en los labios” —co-written with Tito Ribero—, “El día que regreses”, “En celeste y blanco”, “Lo llevo en la sangre”, “Me gusta un tango así”, “Nunca te podré olvidar” and “Tiento crudo”.

He also teamed up with the bandoneonist Damián Ficarra in order to compose tamgo pieces: “Milonga del setenta”, “Milonga para el noventa”, “Melodía infinita” —in collaboration with José Dames—, “Tiempos de antes” — in collaboration with Liber Carmelo Locascio—and “Yo soy de Leandro N. Alem”.

Besides the above: “Infierno de amor” and “Si me dejaras soñar” — in collaboration with Francisco Derkahez and Reinaldo Yiso—, “Dejame así” — in collaboration with Domingo Triguero and lyrics by Oscar Rubens—, “Ni el olvido” —with words by Carlos Antonio Russo—, “Nubes que pasan” —waltz with words by José Antonio Froján—, “Otra vez Percal” — in collaboration with Ángel Benito Baya and Reinaldo Yiso—, “Solamente él” — in collaboration with Derkahez and Ángel Di Rosa—, “Un piano en la noche” —with José Colángelo—, “Uno dos y tres” with Ricardo Malerba.

Our acknowledgement for our friend Daniel Araque —who began the research— and for the Colombian friends: José Duvel Gómez Giraldo, due to the information published in Todo Tango and Sergio Bravo Uribe, for the disc he sent me.