“I was not influenced by any other bandoneonist.

My thing was catching the “bellows”, and play, play and study hard, but all alone.

Furthermore, we have to take into account that I reached the Osvaldo Pugliese Orchestra when I was seventeen.

Then, yes, Osvaldo shaped me, polished me, and marked me forever.

Pugliese’s orchestra was always an avant-garde team and in it, we were shaping our personality.

I had to do it because Osvaldo was very exacting. He used to tell me: “You have to study. Study!”.

I took it very seriously because I wanted to stand out.

Osvaldo insisted: “You have to be interesting as Anibal Troilo is”.

He told me about Troilo because he was the great figure of the bandoneon.

See what a challenge this man pushed me into!”

He was born in the neighborhood of Palermo, in the city of Buenos Aires, to a family home in which music and especially Tango had an important value.

In late 1943, a difficult situation occurred to Oscar Herrero when he was summoned by the unforgettable Alfredo Gobbi to join his aggregation, at the time of accepting the proposal from Osvaldo Pugliese orchestra.

Herrero’s attitude when joining Pugliese would make Gobbi very angry. And they reconciled many years later.

But he was right in his choice because he had a twenty-five-year tenure in the orchestra.

It is important to highlight his creative capacity, showed in works like “Nochero soy”.

In 1921 Arolas returned from Europe and remained in Uruguay.

Possibly, this is the year in which he composed what is considered his masterpiece: “La Cachila”.

It has everything.

After an intense first part, of incomparable beauty, comes a second part with vibrant renovating rhythms, piercing, rich, and tearing.

That is the way it was interpreted by Osvaldo Pugliese.

It had become one of the classics of the genre, of a permanent presence in the repertoire of orchestras of all times.

He was born in the city of Buenos Aires, son of Jean Teisseire, a native from France, and Maria Puzzi, born in Genoa (Italy).

Teisseire in his youth had a fighting temper. Music appeased his turbulent adolescence.

Among his compositions, we find unforgettable titles which total over 80 pieces.

His great move came when he joined the Osvaldo Pugliese Orchestra because there was a complete renewal in the bandoneon section.

Pugliese himself confessed that after auditioning different instrumentalists he chose Jorge because he was what he precisely needed, an element of vigorous personality and capable of driving, within the style of the orchestra, the other bandoneon players. 

At this stage, he as well evidenced his great capabilities as a composer which Pugliese knew how to take advantage of by premiering and recording his tango “Patético”.