Among the artists of a very long career in our popular music he had stood out by the hierarchy and the sustained inventiveness of his oeuvre as composer of amazing classics: it will suffice mentioning “Sobre el pucho”, “El pescante”, “Arco iris”, “Tinta roja” and “Milonga triste” to immediately appraise his talent, his heart of Buenos Aires man and the noble guarantee of his inspiration.
A figure of the Boedo school which tended to renew and improve the popular aesthetics around 1930, he shared with José González Castillo, Pedro Maffia, Homero Manzi and Cátulo Castillo the commitment to a movement that forced all the authors to selection and refinement. With Manzi, especially, he achieved what till then seemed to be impossible: finding a new path for an old genre known as milonga.
His output, as a whole, places him at the level of the major creators of our music. Continue reading.
I was born in Argentina. Through my family and the community that saw my upbringing, I have been intimately involved with Tango all my life, and have been an Argentine Tango dancer, choreographer and instructor for over 30 years. I profoundly love Tango dancing, music, and culture, particularly that of the Golden Era. I am a milonguero.