e was born in the locality of Santiago Temple, in the province of Córdoba. Being a teenager he started singing folk tunes and some waltzes and tangos. Sometimes, he accompanied himself on guitar and on other occasions, he was backed up with groups of friend musicians of the area with whom he used to tour throughout the province.

After his military service he decided to travel to Buenos Aires. As soon as he arrived he joined the Fuster quartet and began to study singing techniques with maestro Eduardo Bonessi. The latter suggested the violinist Mario Azzerboni to include him in his orchestra.

In the mid- 1946, Alfredo Gobbi made changes in the personnel of his orchestra and included new vocalists. The latter were Hugo Soler and Carlos Heredia.

Due to the success of the orchestra at the Café Nacional and on Radio El Mundo, the managers of RCA-Victor hired it. So it shared the recording studios with the great aggregations of the 40s: Aníbal Troilo, Carlos Di Sarli, Juan D'Arienzo and Osvaldo Fresedo, no less.

In May 1947, in a duo with Soler, he recorded the waltz “La entrerriana”, composed by Alfredo Gobbi, Sr. In July he again recorded, once more as duo, the tango “Amor de forastero”, music by Guillermo López and lyrics by Domingo Roldán. In November they cut, also as duo, the Pedro Pidoto’s and Ramón Argüello’s waltz “Adoración” which was a hit, and in January the following year, “Amémonos”, by Carlos Montbrun Ocampo and Manuel Ceferino Flores.

After the carnaval balls Heredia was summoned to appear on Radio El Mundo as soloist with guitar accompaniment and, also at the mythical Tango Bar on Corrientes Avenue.

In 1950 he joined the orchestra led by Rodolfo Biagi and was its vocalist together with Hugo Duval. He succeeded in recording in April the tango “Matala” and teaming up with Duval “Serenata campera” in September, and in October the following year, again “Adoración”. Previously, in September, he had recorded the tango “Caricias” and on the other side of the disc: “Bailarina de tango”, a hit with Hugo Duval on vocals.

In May 1953 he split with Biagi. In 1954 he appeared as soloist on Radio El Mundo and at venues in the interior of the country.

In 1955 he joined the orchestra headed by Rubén Sosa and recorded for the T.K. label. Later, in 1958, he recorded for the Bemol label, accompanied by the orchestra fronted by his former partner in Biagi’s orchestra, the violinist and arranger, Oscar de La Fuente.

He made his latter appearances in Buenos Aires in the late sixties with the Eduardo Risso quartet.

He would later return to his province of Córdoba and from there he would made tours of different places of the country.

With this short portrayal I tried to brick back to our memory a singer of the 40s which deserves all our respect and admiration.