e was born in Buenos Aires and achieved popularity between 1910 and 1925 but his show business career lasted up to 1950.

He was the younger brother of José Marmon aka Pepino but the former’s style was quite different from his brother who had a more legato playing. Nicolás —who was a disciple of Eduardo Arolas— played like his teacher in staccato phrases, with a more swinging rhythmic beat.

Few are the news about his appearances of noticeable acclaim. One of them took place in 1917 at a café on Garay Street across the garrison of the Infantry Regiment Nº 3. The ere he played along with Fausto Frontera –who had just started playing violin- and the guitarist Ismael Florentino Gómez aka Pireca.

He as well appeared in the early days of radio broadcasts on LS6 Radio del Pueblo. Since then other references have not been found until 1950 when he joined a quartet that included Onofre González (flute), José Sarmiento (violin) and Gerardo Zamboni (guitar).

As composer we have found some numbers: Tangos: "El buen mozo", "El Palomar", "Fibra tradicional" (with lyrics later added by Francisco Brancatti) and "Mi jefe". Also the milongas "Doña Flora", "Llanto de tango" and "Un bailongo en el suburbio" and the waltzes "Flor de Francia", dedicated to Gabriel Clausi, and "Una chispa". They were all published.

As for his recordings, they all date back to 1915 and were cut for the Favorite Record label under the name of Cuarteto José Marmón or Cuarteto Toyito: the tangos "El hortelano", "Tren rápido", "Qué quesito" and the polkas "La más compadre" and "La Argentina", all written by Juan Prudente; "San Lorenzo" (march); the tangos "De vuelta al pago", "El palomar", "Mi jefe" and a milonga of his own: "Doña Flora".