Néstor Pinsón

e was a poet that sang to love and deception. He lacked the sacred fire of the great authors of his time, but he had the virtue of the regular correction of his rhymes and, of having captured popular taste through several hits that resulted in remarkable commercial achievements.

He was born in Libertad, district of Merlo (30 km west from the city of Buenos Aires). His father, a Spaniard from Aragon, was a railroad worker and played guitar and bandoneon.

Since an early age he worked with his father, who hoped he would graduate as chemical engineer. Aznar himself recalled: «My dad wanted for me an assured future and he besides foresaw that I had a future in the railway company. Because of that, he was completely against my inclination for poetry. In spite of that I managed to study violin from age 8 to 13. I went to school only up to sixth grade, but I very well learnt the English language with my mother that was Irish. But I liked nightlife, poetry and listening to Pacho (Juan Maglio), that at times toured throughout different towns with his orchestra».

After 1930 he was connected with the show business and met the actor Federico Mansilla, who was director of Radio El Abuelito. Thanks to his mediation he got to know the singers Antonio Maida and Nelly Omar.

By that time he composed his first tango “Igual te quiero”, to which he also added lyrics, it was premiered on radio by Nelly Omar, on June 28, 1936, four days after his father’s death.

The author meditates: «...I was unable to show my father that I had undertaken something serious in life, on my own way. Furthermore I had to assume the responsibility of my family». And he goes on saying: «Then, aside from my job in the railway, I was teaching English at home in the evenings. The singer Eduardo Farrel was among my students. I also helped Eloy Rébora to translate books. But, for that reason, I was going far away from the environment I liked. I had to start all over from scratch».

The pianist Armando Cupo introduced him to the female singer Laurita Esquivel, to the singer Roberto Chanel and, to whom later would be his colleague, Reinaldo Yiso.

By that period, Chanel was beginning with Pugliese, and on one occasion he presented the latter a number they had written together. When Pugliese read the lyric he told the poet:«If you keep on writing this way you’ll go nowhere». Aznar confesses that it hurt him, but time later he realized he ought to have thanked him. At that time the lyricist wrote far-fetched poetic verses far removed from popular taste.

Time later his friend Reinaldo Yiso brought for him a piece of music composed by the bandoneon player Luciano Leocata, to which he added lyrics. The number at issue was titled “Y volvemos a querernos”, the singer Jorge Casal became so enthusiastic with it that he brought it to the orchestra leader Florindo Sassone and it was then premiered at the Armonía barroom on Corrientes Street and they later recorded it on January 25, 1949.

Sassone’s orchestra recorded as well: his “Y mientes todavía”, also with music by Leocata, with Raúl Lavalle on vocals.

Osvaldo Ruggiero, Leocata’s nephew and bandoneonist of Pugliese, brought it to the maestro who recorded it with the singer Alberto Morán on May 31, 1949. Since then it became an outstanding hit. Pugliese had already recorded, with Roberto Chanel on vocals, “La mascota del barrio”, that Aznar wrote in collaboration with Reinaldo Yiso.

The team Aznar-Pugliese, continued with several numbers more: “Y mientes todavía” with Alberto Moran’s voice on 7/26/1950; “Y todavía te quiero” with Jorge Maciel’s voice, on 6/21/56; “Y no le erré” with the singer Ricardo Medina, on 7/24/1959; “Sueño malevo”, with Alfredo Belusi’s voice, in 1960; “Jamás lo vas a saber”, with Jorge Maciel’s voice, in October 1966.

He was a prolific author, that counted on the collaboration of important musicians, like the case of the above mentioned Luciano Leocata and many others. Carlos Di Sarli, with whom he wrote “De qué podemos hablar”, with Cholo Marcelino Hernández: “Sonatina”, with Azucena Maizani: “Y no somos nada”, with Manuel Sucher: “Nuestra última partida” and “Te doy un beso y me voy”.

Other important titles of his work are: “El último guapo”, “Qué tenés que hablar de mí”, “Y te parece todavía”, “Vos hacés lo que querés”, “El corsito del barrio”, “Azúcar, pimienta y sal”, “Anoche te soñé”, and many more.

In Cuadernos de difusión del tango No. 33, Tito Giglio tells us that Cholo Hernández lived with Aznar in his home in Merlo for ten years. In his portrayal of this author he describes his personality as very sensitive and with a deep longing for affection, and those who showed it were greatly rewarded by him.

He also tells us that he was a thin man, with little money in his pocket, that he hardly ate, but he used to drink coffee and smoke cigarettes excessively. He has a nervous behavior and his walking was fast, he usually wore a straightened hair.

With Leocata he wrote on previously composed melodies.

233 of his numbers are filed in SADAIC (Sociedad Argentina de Autores y Compositores - Argentine Society of Authors and Composers), but only 88 were published and recorded. He also made translations for Editorial Julio Korn.

Giglio finishes by commenting that he had an ignored facet, which expressed his fine sensitivity: painting.