ery little we know about his life and career and we only have the testimony of some music sheet copies.
The only appearance that is found in the chronicles about his work in a tango orchestra was when he was playing an unusual instrument, the "lija" (a scraper).
He played in the gigantic —for that time— aggregation that Vicente Greco and Francisco Canaro put together for the carnival balls at the Teatro Politeama of the city of Rosario in 1916.
It’s worthwhile mentioning the important figures that were included in that orchestra: Vicente Greco, Juan Labissier, Osvaldo Fresedo, Pedro Polito (bandoneons), Francisco Canaro, Rafael Rinaldi, Rafael Canaro, Francisco Confeta (violins), Juan Carlos Bazán (clarinet), Vicente Pecci (flute), Samuel Castriota (piano), José Martínez (harmonium) and Leopoldo Thompson (string bass).
The following are some of his tangos: "Barceló", "El Tito", "El triunfo radical", "Ginebrita", "Laborda", "Molinari".
Many of his pieces were inspired by horse races: "Don Santiago" (whose dedication said: «Dedicated to the honorable sportsman and founder of the Hipódromo San Martín (racetrack), Don Santiago Fontanilla and the general administrator Don Esteban Habiaque, with respect»); "Mamita Segunda" («Dedicated to the renowned sportsman Mr. Justo C. Saavedra and the composer Mr. Honorio Valdez»); "Stud Los Cardos" («Dedicated to the great jockey David Englander»); "Viejo pillo" («Dedicated to the well-known sportsman Mr. Ernesto Dufour and the trainer Juan Lapistoy and the jockey Luis P. Menini»), "Peregrino" («Dedicated to the honorable Mr. Eladio Vidal, owner of the said horse»). They are all tangos.