e was born in the neighborhood of Villa Crespo in the city of Buenos Aires. In his teen years he began to study music and guitar playing and he also attended singing classes.

At age sixteen he joined a quartet in his neighborhood with which he started to appear in shows and parties.

After the early forties he appeared in tearooms and clubs where he was accompanied by a guitar group. By that time he was known by the sobriquet Osvaldo Coronado.

In 1946 he was summoned by the orchestra leader Emilio Balcarce to substitute for the singer Jorge Durán who had just joined the Carlos Di Sarli orchestra.

The following year maestro Balcarce began to lead the Alberto Marino orchestra and Osvaldo switched to the aggregation led by the pianist Osvaldo Donato. By that time the singer changed his sobriquet into the one which would be the definitive one.

In the early 1949, a friend of his told him that Juan Sánchez Gorio was looking for a second singer for his orchestra. Luis Mendoza was the other singer. Because he had few gigs with Osvaldo Donato he decided to apply for the post and he told the leader what his trouble was. The latter auditioned him in a separate room of the local where he was appearing and immediately the leader invited him to come to the bandstand to sing “Lo han visto con otra”. His performance was so successful that the audience urged him to sing another number.

From that moment on he joined the orchestra and occupied the vacant place left by the singer Jorge Linares. Together with Luis Mendoza they began a very successful team of singers that sold many records in the fifties.

He appeared on LR1 Radio El Mundo of Buenos Aires and made his recording debut in the Orfeo label, a branch of CBS-Columbia, with the waltz “Comodoro Rivadavia”, written by Sánchez Gorio and Reinaldo Yiso, in September 1951. The first tango he recorded as soloist was “Calesita de barrio”.

Between 1952 and 1957 the consecrating period of the orchestra took place. In that time Bazán cut many recordings, among them I want to highlight the tangos: “Por qué me das dique”, “Corrientes y Esmeralda”, “Cuando me entrés a fallar”, “Doblando el codo”, (Eduardo Del Piano and Juan Manuel Mañueco), “Fatal y tanguera” and, in a duo with Luis Mendoza, the waltzes “La monjita” (Hilario Cuadros and Augusto Canstatt) and “Adiós palomita adiós” (Sánchez Gorio and Yiso), also the milonga “Señores permiso” (Alberto Mancione and Ángel Di Rosa).

Their success reached the interior of our country where they made several tours and appeared at the most important venues. The great number of people that used to go to their live shows was evidence of the popularity of the aggregation.

In 1955, the orchestra recorded the record that sold best and which was widely acclaimed by the public: “Gitana rusa” with Luis Mendoza on vocals. That same year Bazán recorded another tango with great acclaim, “Bailemos”, with which he displays all his interpretive maturity.

Thereafter in 1957 the orchestra made an important tour of Brazil. On its comeback the two vocalists decided to split with the group. Also the pianist Normando Lazzara, with whom Bazán had made tours of several provinces, quit.

In the late 1958 he joined again the Sánchez Gorio’s orchestra and the following year he appeared at the carnival balls in the Club Victoria of the locality of Tigre. The aggregation also had the vocalists Alberto Aguirre, (El Cholo) and Julio Fontana. They as well appeared for a season on Radio El Mundo and at the Cabaret El Avión de la Boca. It was by that time that he recorded once again and cut the tangos “Charlemos de amor” and “Mi madre y vos”, a number written by Norberto Ramos and Jorge Moreira.

His tenure with Sánchez Gorio was until the late 1959 and later he settled in the northern area of our country. Then he toured the provinces of the northwest of Argentina.