e was a delicate singer, with a beautiful baritone timbre and the typical phrasing of the vocalist in the forties. His mezza voce and the rest of his vocal resources were complemented with a correct intonation. He was tall, with a rather big nose but he was good looking and with a great experience.

He was born in Buenos Aires, in the neighborhood of Mataderos. His parents, Domingo Amespil and Noemí Gauna, encouraged his liking for singing.

In the early fifties Francisco Lomuto died, then his pianist Juan Carlos Howard decided to put together a new aggregation, a sextet, and so he summoned the experienced Carlos Bermúdez, former singer of the Pedro Laurenz orchestra and the young Paz.

The debut was on Radio Belgrano. In 1953 they recorded two singles for the Orfeo label (branch of the CBS-Columbia record company). With Paz on vocals, the tangos: “Esta noche me emborracho” and “Quién más quién menos” and with Bermúdez, “Flor de fango” and “Un tropezón”.

In 1955 the sextet was dismembered because Howard was hired by Héctor Varela and due to that Marcelo had to look for new horizons.

When Manuel Buzón died his orchestra was taken over by the pianist Lalo Benítez and it was named Orquesta Símbolo Manuel Buzón. The new leader hired Marcelo but it was a very short tenure. Then he switched to the orchestra led by the Hermanos Talián as vocalist together with the singer Julio Rigal. With this aggregation, teaming as duo, they recorded Osmán Pérez Freire’s “Ay, ay, ay” for Odeon.

In October 1957 he was summoned by Francisco Canaro to sing at the Teatro Alvear in the musical Tangolandia, replacing Juan Carlos Rolón who was not feeling well. The cast included, among others: Jorge Vidal, Alba Solís, Tito Lusiardo, Beba Bidart, Francisco Amor and Isabel de Grana.

In March the following year Paz recorded with Pirincho the following tangos: “Buenas noches Buenos Aires” and “Un recuerdo nada más” written by José Ramón Sanmarco and Julián Porteño. And two months later, “Qué me importa tu pasado” and “Marinera”. In 1959 he went on an important tour of Chile alongside the other vocalist of the orchestra, Francisco Amor. This year he completed his recordings with the bandleader with two numbers: “No te doy bolilla” (lyrics and music by Canaro) and “Ay qué lindo es amar” (by Oscar Sabino).

In the sixties the singer began his career as soloist appearing at different night venues of downtown Buenos Aires. In 1964 he joined the cast of the mythical Caño 14 owned by Atilio Stampone, Rinaldo Martino and Pedro Aleandro. It was located on Uruguay Street but later moved to Talcahuano Street. On those unforgettable evenings he was backed up by Héctor Stamponi. Many tango stars passed through that venue: Aníbal Troilo, Roberto Grela, Enrique Francini, Horacio Salgán, among others.

With an orchestra conducted by the bandoneonist Juan Puey he recorded six tangos for the Discos Super label: the aggregation included well-known musicians: Néstor Marconi (bandoneon), Enrique Francini (violin), Armando Cupo (piano), Omar Murtagh (double bass). The numbers were: “Aquí febrero”, “De nuevo enero”, “Feliz abril”, “Festivo mayo”, “Marzo” and “Medio año en junio”, all of them with words and music by Juan Puey.

In 1978 he appeared at the night club Karina alongside Roberto Goyeneche, Juan Carlos Copes and María Nieves. Due to his health he was gradually quitting show business and passed away in autumn in Buenos Aires when he was nearing his 52nd birthday.