Abel Palermo

e was born in the neighborhood of San Andrés of San Martin's town, province of Buenos Aires. He studied with maestro Agustín Dellafranca and his main characteristic was his danceable phrasing with a great interpretive force.

His debut was at age 17 in an orchestra lined up by girls in the Confitería París of his hometown. Later he joined the orchestra led by the violinist Alberto Pugliese, Osvaldo's brother.

Soon thereafter, with the young pianist Alfredo De Angelis, he formed the Típica Florida and, in 1933, he joined the Alfredo Gobbi's sextet. Then his partners were the kid Aníbal Troilo, Orlando Goñi and José Goñi and the bassist Agustín Furchi. He continued later with the Ricardo Malerba's orchestra and, later on, he accompanied the singer Aldo Campoamor.

He was replacing a member in the orchestra led by the pianist Nicolás Vacaro, when he is summoned by Rodolfo Biagi to join his brand-new aggregation. There he wrote his first arrangements.

In 1939 he had a short tenure in the Armando Baliotti's orchestra as lead bandoneon in a remarkable bandoneon section: Argentino Galván, Armando Blasco, and Eduardo Del Piano. Subsequently his definitive consecration took place when he was called by Ángel D'Agostino to join his group as lead bandoneon and arranger. Let us remember that the vocalist was the incomparable Angelito Vargas and that through the ranks of that orchestra passed figures such as Eduardo Del Piano, Mario Perini, Víctor Félice, Alberto del Bagno, Francisco De Lorenzo, Víctor Braña, Alberto “Pajarito” García, Domingo Mattio and Alberto del Mónaco.

In the mid- 1943 he and Ángel Vargas split with that orchestra in order to put together their own aggregation. This musical partnership was short, a few months later the vocalist returned to D’Agostino. Attadía kept the musicians and went to Montevideo where he performed for a year. On his comeback he made different appearances with his vocalist Ricardo Gómez and the following year he hired Alberto Ortiz.

In 1947 he hired the singer Héctor Pacheco, after his tenure in the Pedro Maffia’s orchestra. Their debut was on Radio El Mundo and at the cabaret Chantecler, on 440 Paraná Street.

As soon as the election’s results were known, Attadía immediately identified himself with the popular government of colonel Juan Perón. In 1948 he was summoned by the Lince record label, and cut, with Pacheco on vocals, the tango “Descamisado”, written by Antonio Helú and Enrique Maroni and the Sebastián Piana’s and Maroni’s march, “Peronista”. Later, on December 23, he recorded for Odeon, also with Pacheco, “Milonga para Gardel” and with Jorge Beiró, “Senda florida”.

After these recordings, Héctor Pacheco quit because he disliked Beiró’s inclusion. The place was occupied by the successful Armando Moreno who had split with Roberto Garza. During his tenure in the orchestra he cut the tangos: “Araca corazón”, “El Yacaré” and “Las cuarenta”.

Their performances were growing more successful day by day, not only in the cycle on Radio Belgrano, but also in the Dancing Ocean on 279 25 de Mayo Street and at the cabaret Moulin Rouge. A new offer by the Pathé label was the confirmation of his deserved prestige. Montevideo as well witnessed this outstanding period of his through his appearances at the historical café El Ateneo, near the 18 de Julio Avenue and Plaza Cagancha.

When Armando Moreno quit, Enzo Valentino joined them. The latter had left the orchestra led by Domingo Federico. They recorded the successful tango written by Herminia and Juan Velich that the vocalist had already recorded with Federico: “Cualquier cosa”. It also became a cashbox hit like the previous one. On the other side of the disc is the instrumental “Color de rosa”. They also cut: the waltz “Recuerdo de mi madre”, the milonga “Betinoti” and the tango “Tus besos fueron míos”.

The appearances on Radio El Mundo and Belgrano in 1955 would be the last in our country. Many Argentines had to be exiled after the tragic coup d’état that overthrew Perón and, among them, our orchestra leader that settled in Caracas, Venezuela, where he died of a heart attack at age 68.

In his oeuvre as composer, his most important hits were “Tres esquinas”, “El Yacaré”, with Mario Soto, “Hay que vivirla compadre”, and “El cocherito”. Also “Y te dejé partir”, with words by José María Contursi, and the instrumentals “El negro Pintos”, “Compadreando”, “Entre copa y copa” and “Notas de bandoneón”.