is name became popular when Juan Caldarella and Renzo Massobrio, a successful attractive duet with many jobs and recordings, were already widely known. Later Schelotto joined them and they became a trio. They were also a quartet and sometimes they played as a quintet. The fourth member used to be Elvino Vardaro, but they still were known as a trio. One played the musical saw, another played guitar and piano and Vardaro was on violin when he joined them. According to the label in which they recorded they were known as Trío Pampeano, Trío Los Nativos or Trío Los Provincianos.

His paternal aunt, Sara, was who taught him piano and music according to her knowledge. Thereafter he polished himself by working.

In 1927 he made his debut at the Cine Las Familias, a movie theater, with the Villarreal-Britos orchestra. The following year he played in a trio that included Norberto Péndola (bandoneon) and Ramón Chozas (violin). He appeared on the incipient Radio LOY Nacional —later LR3 Belgrano— with Cipriano Nava (bandoneon) and Ernesto Baratucci (violin) to back up the singers Carlos Viván, Raquel Notar, Lita Bianco, Loreta Darthes and Juan Alessio.

In 1929 he joined the Adolfo Pérez Pocholo orchestra that played in the same radio station. In 1930 he appeared at the balls held at the Club Boca Juniors as member of the orchestra led by Juan Maglio.

In 1931 he was member of the Trío Nava-Baratucci-Schelotto, which was deceptively named as Orquesta Schelotto. Furthermore, he put together a jazz group of his own to back up the appearances of the magician Fu-Man-Chú. In 1932, again with Maglio, he was in an aggregation with young players and Roberto Arrieta, on vocals, to appear at the Club Gimnasia y Esgrima of Villa del Parque.

Thereafter he switched to a group formed by Alejandro Scarpino and later he was with Vicente Romeo. He was the pianist of the Hollywood jazz group. Later he played on the Prieto and Argentina radio stations and played classical music with the violinist Mario Latero and the cellist Juan Castelví.

His career, as you may see, had a profuse schedule but he always was at a second level of importance. Save for Maglio, he never played in the great orchestras.

With experience and plenty of jobs, as from 1942 he began to put an end to his career. From Monday to Saturday he was an employee at the Peuser house and on weekends he played music.

He was the composer of a large number of pieces, among them: the waltzes “Corazón ingrato [b]”, with words by Juan Buscaglia; “Reproche de amor”, with Mary Franco; “Caminito de la iglesia”, co-written with Roberto Guisado and lyrics by Roberto Torres and “Castillo encantado”, with words by the publisher Bernardino Iadarola who signed it with the pen name of Adolfo Crosa.