e was born in the city of Buenos Aires but was brought up in its suburbs, in Villa Ballester, county of General San Martín, where he moved with his family. He began to study bandoneon playing with a teacher of his neighborhood when he was only eight years old.

At age fourteen a friend of his parents introduced him to Ricardo Ivaldi who headed a sextet modeled after the one led by Julio De Caro and which used to appear on LS6 Radio del Pueblo. After he was auditioned the band leader hired him and he joined the aggregation together with another talented young man, the pianist Osvaldo Tarantino, who was some years his senior and whose father played the double bass in that group.

Some time later he and Tarantino switched to the orchestra fronted by Tito Martín, «El D’Arienzo Chico del Tango» as he was used to be announced. With that aggregation he had his first experience on disc for the Pampa label. On some page of the web it is said that Tito Martín never made recordings but that it is not true. Ricardo García Blaya has several recordings of this orchestra and I myself remember having owned a record with the tango “Yuyo brujo” with Osvaldo Barbé on vocals.

He also played in the orchestras led by Víctor de Capua, Ricardo Pedevilla and Aldo Ballarini, a great pianist and arranger, among others.

When Oscar Castagniaro split with the Osvaldo Pugliese orchestra the former hired him as second bandoneon and it coincided with the inclusion of the singer Roberto Chanel in that aggregation. Thereafter he and the singer switched to the orchestra headed by Ángel Domínguez.

Later he was summoned by Héctor Varela who had already split with Juan D'Arienzo and recorded a large number of tangos when his vocalists were Argentino Ledesma and Rodolfo Lesica. A time later Ledesma quit the orchestra and was replaced by Raúl Lavié.

In the mid- sixties he quit show business for good due to his ailing health and then he devoted himself to commercial activities.

It turns out curious that an artist with his capabilities did not compose any piece of music. Instead, his brother Miguel —excuse my comment—, despite his academic training, wrote several tangos, among them, “Tuyo soy” and “Como la flor”. Nowadays, the latter is based in Granada, Spain, and performs classical music concerts.

Evidently, musical composition was not a vocation for Eduardo but he stood out as a virtuoso of bandoneon playing. His work as soloist is noted for the quality of his phrasing and his impeccable technique.