e was born in the locality of Beccar which belongs to the San Isidro county in the province of Buenos Aires. With brightly clear eyes and rather sparse light brown hair, he has the figure of a gringo but with a tango soul.

In the 60s he put together a jazz group to play in the carnaval balls in the neighborhood clubs alongside the important tango orchestras. By that time he began to study music but he admitted it turned out difficult for him to stick to music reading. He preferred to follow the road his ear recommended.

After an informal chat he said the following: «I was always with music. Since I began to understand things I used to listen to my Dad, an Italian from Venice with a privileged ear. He sang everything trying to emulate the Argentine singers in his awkward Italian pronuntiation, like a sainete scene. He had a facility to sing a third voice to anything that was sung. He had a mood that made you love him and he was cut out for being a leader. His personality was the inspiration for the lyrics of a tango: “Qué me querés vender” and my Mom, with her way, inspired me for another one: “Vamos, Doña Rosario”. Not long ago, I met a grade school fellow student and he reminded me that I used to sing tangos during recess times. For my neighborhood gang I used to play accordion, but I pretended it was bandoneon because I admired Aníbal Troilo, firstly, later Carlos Di Sarli, Alfredo Gobbi and Horacio Salgán.»

His beginnings as professional lyricist started in 1972 but writing folk songs and recording zambas and chacareras with the Huanca Hua. But he used to say: «My field, since a was a kid, has always been tango».

One year later he decided to write for tango. One of his first lyrics, entitled “Dos ilusos”, was successfully committed to record by Nestor Fabián who was accompanied by the aggregation fronted by Osvaldo Tarantino. Thereafter, with the same performers was cut: “Vamos todavía” with music by Tarantino.

«It was Fabián who opened for me the gates to tango around 1974. He was already a singer who used to premiere new tangos by those unknown songwriters».

Later he was summoned by Leopoldo Federico, Osvaldo Pugliese, Héctor Stamponi, Edmundo Rivero, Rubén Juárez, María Garay and others. From among nearly fifty numbers published, we found: “La última esquina”, “Qué me querés vender”, “Se llama tango”, “Vamos Buenos Aires”, “Vientos del ochenta”, “El segundo violín”, “Después del ensayo”, “Tiempo de madurez”.

On one occasion he said: «Generally I write at night because the elves are different. But when at daylight I read what I have written I see it’s a different thing and I begin to make corrections».

His pieces reached several countries of Latin America and even Japan. A long-playing record entitled Cosas de barrio includes the voice of the actor Alberto de Mendoza who, between one tango and another, reads his texts that are like a tale of his neighborhood.

Also, thinking of his daughters when they were little children, he wrote about a hundred children songs. He always wrote songs by playing some notes on the piano keyboard and he admitted that he played it as if he were a boxing fighter.

Published by the Clarín newspaper in the 80s.

Director’s Note: His first tango was “Sueño de hollín”, followed later by “Pastillas de dormir”, “Mordiendo el puño” and the above “Dos ilusos”. In 1970, for the Huanca Hua, he wrote the zamba “Aroma del cerro”. His most recorded tangos were: “Quinto año”, by Adrián Guida with Pugliese, twice (1981 and 1986) and Roberto Goyeneche with Raúl Garello (1990); “Vamos todavía” by Rubén Juárez (1979) and “Vientos del ochenta” by Juárez (1987) and Patricia Barone (1990), among other renditions. He also wrote songs of other genres.