e only composed one musical piece (the milonga “Mi regalo”), he put together his own orchestra nearing the end of his life and he neither succeeded in recording commercially nor in fully showcasing his playing in public performances. What was the reason of such artistic devotion among tango fans? What makes him be among the favorites alongside Francisco De Caro, Carlos Di Sarli or Horacio Salgán?

With soft sound, clean and paused phrasing, and a never-ending creative imagination, he had an inimitable way of «driving» the orchestra. He was used to a strange position seated at the piano, without orthodox postures, spreading his legs wide open, and generally not using the pedals. He had an informal attitude with his low-register left hand connecting phrases, sort of tired, with a close comping beat and legato chords in rubato tempo. He was influenced by jazz pianists of that time and the use of syncopation provided a different personality to his interpretations.

He started formal studies with Vicente Scaramuzza, piano playing and harmony. But soon later he discovered tango and an uncontrolled bohemia.

He made his debut as a professional at age 13 in the orchestra led by Alfredo Calabró and, immediately, together with his childhood friend, Alfredo Gobbi, put together a sextet to play at some locals. He performed later with Miguel Caló, with Manuel Buzón and with Anselmo Aieta at the café Nacional.

In the Buzón's orchestra he met Aníbal Troilo, whom he met again in 1936 in the Juan Carlos Cobián Orchestra. In 1937 Troilo decided to put together his own group and summoned his friend Goñi to be the pianist of the orchestra.

For him Troilo was another soul with the same musical ideas. He switched from one orchestra to another, but here he remained until September 1943. That was enough time to achieve a recognition that would last for decades.

He later put together his own orchestra lined-up with the bandoneon players Antonio Ríos, Roberto Di Filippo, Eduardo Rovira and Luis Bonnat; on violins: Rolando Curcel, José Amatriain, Antonio Blanco and Emilio González; Domingo Donaruma, on double bass. The following vocalists passed through its ranks: Francisco Fiorentino, Antonio Rodríguez Lesende, Osvaldo Cabrera and Raúl Aldao. With this line-up he appeared on Radio Belgrano and at some night venues.

Even though he did not record commercially, two acetate records with four pieces recorded were recovered: “Y siempre igual” (Raúl Aldao on vocals), “Mi regalo” (Osvaldo Cabrera on vocals) and the instrumentals “Chiqué” and “El taura”.

His life of bohemia drove him to «burn» his life prematurely. When he realized he was seriously ill he moved to the house of a friend musician in Uruguay where he passed away.