e was born in Buenos Aires to a family of Italian origin in which almost everybody played some musical instrument.

He studied violin and at age eleven he was already playing in a trio with his father Miguel that played harp and his uncle Ángel Pécora who was flutist.

In 1913 he headed his own orchestra with which he recorded a series discs for the Odeon company and other labels of the many ones of that time.

He appeared on both banks of the River Plate with two aggregations he led for several years either in Buenos Aires or in Montevideo.

Some of those records mention that the recordings were made by the Orquesta Rodríguez: Director Pécora. After this outfit was dismembered, Pécora played in several orchestras.

He was a friend of Carlos Di Sarli’s and he introduced the latter to Osvaldo Fresedo so that he would join his orchestra. Later in the late 1927 he collaborated with El Señor del Tango to put together his own group and he joined the sextet up to 1931 when he quit show business.

Compositions: “Amargura [b]”, “A mis pagos”, “Berretín [b]”, “Decile a tu vieja”, “Don Alberto” —his first tango which was dedicated to the the conservative senator Alberto Barceló—, “El circo”, “El cuarto está por llegar”, “El pibe [b]” —the only number of his that Carlos Gardel recorded—, “Indomable”, “Lágrimas de arrabal”, “La de todas tu tardes”, “Locas payasadas”, “Me dejaron en la vía”, “Mirá lo que soy”, “1937”, “Paisaje de la ribera”, “Para vivir hay que contarla”, “¡Pelosi!”, “Plagiando”, “Pura milonga”, “Sacate el berretín”, “Tu pinta maleva”, “Un despojo” (tangos); “Milonga del 83”, “Milonga del recuerdo” (milongas); “Beso robado”, “No queremos melenas” (shimmies); “Braham jubily” (fox-trot); “Esas cosas”, “Negro [b]”, “Ora meu deu” (maxixes); “Adeus, guitarra amiga” (fado-maxixe).