De Caro maintained the essence of the tango originated in the slums, brave and playful as in the beginnings, but blending it with a sentimental and melancholic expressivity unknown up to then, so reconciling the folk root with the pro-European influence.

His deeper academic training allowed him to dress his message in a polished musical language of unutterable enticement.

His sextet recordings, sometimes lazy, sometimes bright, bring us the sounds of watercolors of a Buenos Aires with low houses, gray facades, streets with trees, blossoming gardens, paving stones, and old streetcars.