Abel Palermo

e was a precocious singer that, in his maturity, displayed a beautiful voice and a high interpretive technique. He began when he was a kid in a children group known as La Pandilla Marilyn that appeared on the radio. Thereafter he joined the similar but short-lived group called La Pandilla Corazón.

In 1935 he made his debut as «the boy singer» on LR5 Radio Mitre, later he switched to LR3 Radio Belgrano to appear in the radio program Matiné Federal. And, at age twelve, he had a brief tenure in the orchestra led by Edgardo Donato.

In 1943 Alfredo Gobbi reappeared in Buenos Aires after a long season in Montevideo with the Pintín Castellanos orchestra and put together his own aggregation that included Walter Cabral and Lozano on vocals. I don’t know how Pablo, who was then only 17 years old, joined the outfit of El Violín Romántico del Tango, but as a matter of fact he made his debut at the venue Sans Souci on Corrientes Street along with important musicians: Edelmiro D'Amario —Toto—, Deolindo Cazaux, Ernesto Rodríguez —Tito— and Mario Demarco (bandoneons), Gobbi, Bernardo Germino, Antonio Blanco and Juan Pro (violins), César Zagnoli (piano) and Juan José Fantín (double bass).

Later Gobbi disbanded the orchestra and he joined the ranks of the Francisco Lomuto’s aggregation for a short time. In 1945 he was summoned again by Donato together with, his peer, the singer Jorge Denis. On that occasion he succeeded in recording. In March he cut the tangos “Barrio tranquilo” and “La de los ojos tristes” written by Donato and Héctor Marcó. By the end of that year he quit the orchestra and was replaced by Alberto Podestá.

In 1947 he was hired by Antonio Ríos to sing in his quartet that used to appear at the Marzotto tearoom on Corrientes Street to great popular acclaim and on Radio Belgrano.

One year later he was summoned again by Gobbi to share the bill with a young singer called Héctor Maciel. In this new stage with the maestro he recorded: “Muchachos yo tengo un tango”, by Natty Paredes and, on the other side of the disc, Maciel cut “Tierrita”. This record meant for them a very important boom in sales.

This new orchestra led by Gobbi was lined up by: Ernesto Romero (piano), Mario Demarco, Mauricio Shulman —Budita—, Ernesto Rodríguez, Alberto Garralda and Ricardo Varela (bandoneons), Gobbi, Antonio Blanco, Luis Piersantelli, Miguel Silvestre, Osvaldo Monteverde and Agustín Carlevaro (violins), Juan Pecci (double bass).

In the late 1948 both vocalists split with the orchestra and were replaced by Jorge Maciel and Ángel Díaz. One year later Lozano reappeared at the Marzotto, accompanied by the Jorge Dragone quartet, and in 1950 he joined the orchestra fronted by the violinist Oscar de la Fuente.

After the carnival season of 1955 Jorge Casal split with the Aníbal Troilo orchestra. A short time before Raúl Berón, another member of that group of aces, had also quit. To fill the empty space of those great vocalists, El Gordo chose Carlos Olmedo, first, and Lozano, later.

Both vocalists had been closely watched by Troilo, surely, attracted by the interpretive quality and the good technique of both boys. On one side, the rhythmic phrasing of Pablo and, on the other side, the personal way of saying by Olmedo, were virtues that influenced that choice. Pichuco bet on them despite the big doubts he had concerning their behavior. They had earned a reputation of being bohemian and unreliable persons. Unfortunately, the singers failed him and, when the term of the contract finished, he was forced to get rid of them.

It was really a pity because they could have had a good career alongside El Gordo. Luckily, on the groove were left three little gems, truly tango masterpieces: “Viejo baldío”, by Lozano, and “Recordándote” and “El cantor de Buenos Aires”, by Olmedo.

After that time his show business career was slowly declining and he led a personal life bad and self-destructive. In the late seventies it was common to find him drunk on the bar of some downtown café or at the restaurant Pepito on Montevideo and Sarmiento which he used to frequent. His fall was inexorable.

Pablo Lozano’s case is like many ones of that time when the boys in the tango environment thought that life was everlasting, that binge and night life were harmless and that unrestrained pleasure had no consequences. He died soon after his 67th birthday.