elonging to the generation of tango men of 1910, player of a primitive style but with great expression, he might have been born in the early days of the twentieth century. The peak of his career as musician took place in the early 20s and, especially, in the following decade.

His music career began in 1920 by playing in a tango trio with the pianist Casiano López and Mario Brugni, aka (El Pibe), on violin that appeared at the elegant Bar Victoria of the city of Córdoba. In 1921 he appeared at the renowned Palais de Glace as member of the Quinteto de Maestros, led by Ángel D’Agostino and Agesilao Ferrazzano and lined up by: Ángel D’Agostino (piano); Ferrazzano and Alfredo Mazzeo, aka El Loco (violins); Ernesto Bianchi and Abel D’Onofrio (bandoneons) and Teresita Asprella as female singer.

In the summer season of 1922 he joined the Juan Carlos Bazán orchestra that appeared at the Club Pueyrredón of Mar del Plata city. Let us remember that Bazán, aka El Gordo Mamadera, dedicated a tango to this venue. The group included: Bazán (clarinet), Raimundo Petillo (piano), Bernardo Germino and Vicente Russo (violins); Bianchi and Pascual Mazzeo (bandoneons); A. Fernández (drums) and Casimiro Aín, aka “El Vasquito” (dancer).

The following summer he returned to the Pueyrredón as member of the Bazán’s aggregation but with a different personnel: Bazán (clarinet), Vicente Gorrese (piano), Vicente Russo, Esteban Rovati (violins); Bianchi and the debutant Ciriaquito Ortiz (bandoneons), Domingo Martino (drums) and Nicolás Verona (banjo).

In 1924 he played in the tango groups of LS2 Radio Prieto and joined the giant orchestra led by Julio De Caro which appeared at the L’Aiglon tearoom, a huge venue where high class reunions were held and was located on 146 Florida Street.

In the sparkling bandoneon section were Luis Petrucelli, Pedro Maffia, Miguel Orlando, Ángel Danesi, Graciano De Leone, Ricardo Brignolo and Nicolás Primiani, aka Pindeca, among others.

In 1926 Bianchi joined a group that included Juan D’Arienzo and Alfredo Mazzeo (violins), Ángel D’Agostino (piano) and either Anselmo Aieta or Ernesto Bianchi (bandoneon) which was co-led by D’Arienzo and D’Agostino. When the pianist quit, D’Arienzo continued as the only leader and Vicente Gorresse replaced D’Agostino, being the first pianist with the popular Grillo. They appeared at the Cine Paramount.

That year he traveled to the United States as bandoneon player of Francisco Canaro to appear at the sumptuous Club Mirador of New York. The personnel was the following: Fioravanti Di Cicco (piano), Canaro and Emilio Puglisi (violins), Luis Petrucelli, Ernesto Bianchi and Juan Canaro (bandoneons), Romoaldo Lomoro (drums), Linda Thelma (female singer) —who was unable to perform— and was replaced by Carmen Alonso.

They also appeared at the Paramount cabaret of New York and at venues in the city of Philadelphia.

On his comeback, in 1928, Bianchi worked along with the outstanding bandoneonist Gabriel Clausi, aka El Chula, and Eduardo Pereyra on piano. Furthermore, he had a quite busy schedule as musician in theater orchestras, like the ones of the Maipo, Smart and others, and accompanied famous female singers such as Libertad Lamarque, Azucena Maizani and La Negra Sofía Bozán.

Around the thirties he also put together an orchestra of his own that he presented at different night venues like the Cabaret Lido, the Salón Imperio, the boite Le Chaumiere and Franz & Fritz.

In 1935 the billboards announced his appearance fronting a big orchesta in the national movie Noches de Buenos Aires. In 1936 he formed a revivalist quintet that appeared on the radio station LS9 La Voz del Aire.

He was not a very prolific composer and his pieces, save for the time of their publication and recording, neither had a wide broadcast nor were they well-remembered. Among his well-known tangos are: “Brisa marina”, with no recordings; “Pare cochero”, recorded by Roberto Firpo with Teófilo Ibáñez on vocals for Nacional Odeon disc 8779, in 1928; “Cosas que pasan”, with no recordings; “Queja campera”, lyrics by Adolfo Piancino, recorded by the Típica led by Minotto, Columbia disc 5030, in 1931; “Juan Carlos” (dedicated to Juan Carlos Bazán), recorded by Juan Maglio for Nacional disc 7444, in 1925; “Yo soy un tipo bien”, with no recordings and "Ecos del alma", waltz recorded by Antonio Bonavena orchestra, in 1930.