e started his career in San Pedro, province of Buenos Aires in 1907, along with Francisco Canaro on violin and a musician known as El Cuervo (The raven) that played flute.

In 1912, he formed a trio with Augusto Berto on bandoneon and Canaro to play at the stage of the Café Venturista located on Triunvirato and Serrano. Time later the flutist José Fuster was added when they appeared at the café De los Loros, on Corrientes and Medrano. With Berto he played in the recordings of the Quinteto Criollo Augusto for the Atlanta label.

One year later, in 1913, he appeared at the Café del Parque, with Berto and Antonio Scatasso on mandolin. Thereafter, in 1917, after his experience with the Berto’s outfit and when the guitar was no longer used to play in orchestras, he put together another trio with the bandoneonist José Servidio and his fellow guitarist Rafael Iriarte, El Ratita.

He composed a tango to honor the dancer Egidio Scarpino entitled “La Lora” (stage name of the dancer).

He was a friend and played together with the pianist Esteban González, composer of the shimmy “Sonrisas” that Gardel recorded.

He was among the founders of the Asociación Argentina de Autores y Compositores de Música.

His most renowned numbers are the tangos “Marianito” —probably his best piece, recorded by the Carlos Di Sarli Orchestra twice—, “Ñanduty”, “La Lora”, “Buen gaucho”, “Caprichosa [b]”, “El tropezón”, “Es el destino”, “Gurrumina [b]”, “La vendedora de Harrods”, “Noche callada [b]”, “Peor es nada”, “Raimundo”, “Siempre firme”, “Vadarkablar”, “Vuelo nocturno” and the milonga “Soy la milonga del centro”.

He died in Buenos Aires and was buried at the SADAIC’s pantheon in the Chacarita cemetery.