e was born in the neighborhood of La Paternal and his parents were named Juan Rodríguez and María Colucci.

He was a singer with a tenor range and possessed a great interpretative drive. With a ductile voice —at times a whispering one and sometimes very expressive— he handled sotto voce in an interesting way which was a trademark of the forties.

His debut was at age sixteen in the orchestra of the violinist José Pedro Castillo that played at the matinees of the Café El Nacional on Corrientes Street which had been recently widened.

A few years later he started a stage as soloist, accompanied by a guitar trio with which he toured the interior of the country. That activity kept him far from the Capital for many years. In the early fifties his show business launching took place before the large audiences of Buenos Aires.

After the carnival balls of 1950, the bandoneon player Héctor Varela split with the Juan D'Arienzo Orchestra to put together his own aggregation. With him the singer Armando Laborde also quit and they made their debut at the cabaret El Chantecler on Paraná Street. With them also was the vocalist Rodolfo Lesica.

By the mid-1952 Laborde returned to D'Arienzo because of a previous agreement between the two bandleaders and, immediately, Varela hired Jorge Garré who made his debut on LR3 Radio Belgrano and he nightly appeared at the Maipú Pigall cabaret on 300 Maipú Street.

One week later he recorded his first disc “Yuyo brujo” which would be a landmark in Laborde’s career but he never succeeded in recording it with Varela. Regrettably, the singer’s tenure in the orchestra was short —it was less than a year— and he was replaced by Argentino Ledesma.

After a 17-year spell the pianist Fulvio Salamanca quit the orchestra of El Rey del Compás (The King of the Beat). The pianist left to put together his own orchestra. His debut was in May 1957 with Garré and Andrés Peyró on vocals at the Club Glorias Argentinas in the largely populated neighborhood of Mataderos.

In July of the same year they appeared on LR4 Radio Splendid and recorded the instrumental “Chiqué”. On the other side of the record was “Alma de loca” that included the two vocalists. One month later Garré recorded “Mano cruel” in a duo with Armando Guerrico, substitute for Peyró, and “Barra de oro”. But the tango that consecrated him and was a smash hit was, no doubt, “Qué te pasa Buenos Aires”.

In the early 1959 he switched to the orchestra fronted by the pianist Miguel Nijensohn. He shared the singing role, firstly, with Mario Bonet and later with José Berón. They appeared on Radio Belgrano. During his stay in this aggregation he recorded the Víctor Soliño’s and Adolfo Mondino’s tango “Patoteros”.

By the end of the year he swapped to the Rodolfo Biagi’s orchestra to appear again on Radio Belgrano. He was until the late 1960 with Manos brujas (Biagi) but he made no recordings.

In 1961 and 1962 he joined the orchestra led by the violinist Oscar de la Fuente. As from 1963 he resumed singing as soloist and toured Argentina, Chile and Uruguay.

He died at a young age of a heart attack when he was only 57. Unfortunately, his wandering unstable spirit did not allow him to become one of the good voices of the fifties.