e played piano by ear. His debut was in 1915 at a kermess that the manufacturers of the Kalisay aperitif had organized on the old Corrientes Street. Because of that he was known with that sobriquet for 60 years.

Later he joined the orchestra led by Luis Mario Bassi —(Luiggin)— that used to play at the Academia Rincón.

Thereafter, in 1916, he was summoned by Genaro Espósito —(El Tano Genaro)—, with whom he stayed until 1918. They appeared at the Teatro Roma with a quartet that included Carlos Espósito —brother of the leader—, as second bandoneon and Alcides Palavecino on violin. With these sidemen and other changes of personnel Espósito recorded his last six recordings in our country for the Telephon label before he moved to Europe.

The following year he teamed up with Bernardo Germino to put together an aggregation that also included Agesilao Ferrazzano (violin), Luis D'Abbraccio and Enrique Pollet (bandoneons).

In 1919, he appeared at the café El Águila, in the province of Tucumán, fronting a trio with Luis Petrucelli (bandoneon) and Emilio Marchiano —(El Rengo)— (violin).
In 1923 Petrucelli put together —for a short time— an orchestra to play at the Abdullah Club to replace the one led by Juan Carlos Cobián who had traveled to the United States. Among others, besides Gorrese on piano, Pedro Maffia was on bandoneon.

When in November 1925 the Orquesta Típica Victor was formed he replaced its leader Adolfo Carabelli to play the piano, later he led the aggregation and thereafter he was replaced by José María Rizzuti. In that first line-up his fellow players were: Luis Petrucelli, Nicolás Primiani and Ciriaco Ortiz (bandoneons), Manlio Francia, Agesilao Ferrazzano and Eugenio Romano (violins) and Humberto Costanzo (double bass).

He was also the first pianist of the Juan D'Arienzo Orchestra in 1928 and played in the recording sessions for the Electra label; he was replaced by Nicolás Vaccaro.

He played again with Petrucelli and his new orchestra in the early thirties alongside Elvino Vardaro and Manlio Francia (violins), Pollet and the leader (bandoneons) and Hugo Ricardo Baralis on double bass.

In 1931, he went to Europe with Francisco Fiorentino, Bianchi, Landó and others. In Germany he led the Fojelman-Gorrese Orchestra to an erratic acclaim.

He appeared on Radio Splendid and on Radio París playing piano solos in 1937.

His oeuvre as composer began after 1920. Among the tangos committed to record we can mention: "Cola ‘e paja", recorded by the Orquesta Típica Porteña with Roberto Díaz on vocals (1931); "Criolla linda", in collaboration with Bernardo Germino and lyrics by Luis Rubistein. It was recorded by many artists, among others, by Alberto Gómez with guitars (1929), later as an instrumental by Julio De Caro (1950) and Juan D'Arienzo (1970); "Hojas que caen" recorded by Francisco Lomuto with Fernando Díaz on vocals in 1932; "Orgullosa" (1926),"La serenata" (1927), "Mala yerba" (1927) and "Tristezas de amor" (1931), in three renditions by the Típica Victor. The last with Roberto Díaz as refrain singer.

Sources:
1. Veniard, Juan María: en Antología del tango rioplatense - Desde los comienzos hasta 1920, Apéndice 4 «Principales autores e intérpretes» del Instituto Argentino de Estudio Sobre el Tango - Instituto de Musicología Carlos Vega, Buenos Aires 1980.

2. Ferrer, Horacio: El libro del tango, Antonio Tersol Editor. Barcelona, 1980.