Abel Palermo

on of Adrián Corrales and Margarita Mac Micking, he was born in Buenos Aires. At age 18, he had his first stints as professional singer; they were with the orchestra led by Federico Scorticati on LR3 Radio Belgrano. Then he used his true name: Mario Corrales.

On May 8, 1939, he made his debut on record when he recorded with the Orquesta Típica Victor the waltz “Vuelve otra vez” written by María Teresa Lara and the ranchera “La mentirosa” composed by José Luis Padula with lyrics by Lito Bayardo. On May 10, 1940, he cut his last recording with this aggregation: the waltz “Temo”, by A. Gálvez and Aguariguay.

That same year he was summoned by Miguel Caló to replace his brother Roberto who was the vocalist in the orchestra. Unfortunately of this tenure there are no recordings because Caló only returned to the recording studios the following year, on Alberto Podestá’s comeback.

His new tenure was in the orchestra led by Joaquín Do Reyes, but his stay was brief and, only in 1943, he recorded again, this time with the orchestra led by the violinist Antonio Rodio. He recorded the milonga written by Tití Rossi and Ricardo Thompson, “Tabú”, and the tango “Canyengue” by Salvador Ripu and Julio Medrano. During his tenure with Rodio he sang alongside the excellent singer Alberto Serna.

In 1946 along with Enrique Campos he joined the Francisco Rotundo’s orchestra, and they appeared on LR4 Radio Splendid and at the Confitería La Armonía on Corrientes Street as exclusive artists.

In the mid- 1947 the singer Orlando Verri split with the notable pianist and leader Osmar Maderna. Because of that Maderna, who already knew Corrales when they both were members of the Caló’s orchestra, invited him to join his. The other vocalist was Pedro Dátila.

So he came back to the recording studios on November 20, 1947, with the tango “Ausencia” written by Alberto Castellanos and Mario Gomila. On the other side of the record was Agustín Bardi’s instrumental “El baquiano”.

In February 1951 an important event for tango took place. After two years of inactivity due to personal reasons, maestro Carlos Di Sarli decided to organize his orchestra again. Because of that he began to summon important musicians, among them, the bandoneonists Federico Scorticati, Félix Verdi, Ángel Ramos; the violinists Roberto Guisado, Simón Bajour, Adolfo Pérez and the double bassist Alfredo Sciarretta.

After auditioning many singers he chose two: Oscar Serpa, the experienced and brilliant vocalist who had performed in the orchestras led by Osvaldo Fresedo, Horacio Salgán and, at that time, Ricardo Pedevilla and Mario Corrales, who, after suggestion of Di Sarli himself, changed his name into the sobriquet Mario Pomar. On March 16, 1951, the orchestra leader returned to the Radio El Mundo big auditorium, with the vocalists Serpa and Pomar.

The other important news of Di Sarli’s reappearance had to do with the recording company. After a long career in the Victor company he split with that label to switch to the newly formed Music Hall company.

Pomar returned to the recording studios on November 15, 1951, with the tango “Nido gaucho”, a great hit composed by the leader with lyrics by Héctor Marcó.

His tenure with Di Sarli contributed unforgettable numbers: “Se muere de amor”, by Pedro Maffia and lyrics by Cátulo Castillo, “Tangueando te quiero”, written by the leader and Héctor Marcó and “Tengo un amigo”, by Arturo Gallucci and Julio Camilloni. But in the mid- 1954, Di Sarli returned to the label that released his historical masterpieces, RCA-Victor.

Among the most important pieces he recorded at this stage it’s worth mentioning the Di Sarli’s and Reynaldo Pignataro’s tango “No me pregunten por qué” that he recorded twice, one for Music Hall in 1952 and another for Victor in 1954 and, that same year, perhaps the most brilliant of his interpretations, “Tormenta”, one of the profound pieces of that superior poet of tango: Enrique Santos Discépolo.

Unfortunately, in the late 1955, due to contract problems, all the members of the orchestra quit. Pomar's last recording with them was his second rendering of “Nido gaucho” on September 16, 1955. This piece was premiered on record by Alberto Podestá in 1942.

After 1956, some of these musicians with Serpa and Pomar formed Los Señores del Tango. They appeared successfully on Radio Belgrano and recorded for Music Hall. But as from 1960 they underwent the consequences that tango in general experienced: they were systematically ignored by industry, radio stations and television channels. Because of that they disbanded.

He died in Buenos Aires, when he was just 67.