hen he was almost a teenager, he began his professional career in the orchestra led by Lorenzo Barbero, in his province of Córdoba, by singing at clubs and local radio stations. In 1945 he split with that aggregation to travel to Buenos Aires in order to sing with the Pedro Maffia orchestra. With the latter he did not make recordings but began to be widely known because they appeared at the best known venues of the period.

Before one year had passed he split with Maffia and switched to the Pedro Laurenz orchestra in which his tenure was also short. Thereafter he joined the aggregation led by Alberto Mancione with which he played for four years but he did not succeed in recording.

In 1950 he was summoned by Lucio Demare to be the only vocalist in his orchestra and they recorded for the Columbia company.

He was the classic tenorino —so much in vogue in previous years—, with a good range and dramatic expression. Although his vibrato, in some pieces, was stressed and became most noticeable than what was convenient. There were four numbers he committed to record: “Pa´ mí es igual”, “Noche de reyes” (September 1950), “Bailongo de los domingos” (May 1951) and “Malena” (September 1951).

In 1954 he joined again the orchestra fronted by Mancione after having appeared in several aggregations. He shared the vocal responsibility with the singer Jorge Ledesma. He came back to the recording studios with seven new tracks.

Now as soloist —along with José Canet- they put together the Quinteto Garufa— that appeared on television and, in 1959 he added for more pieces to his discography.

Gradually he was withdrawing from show business but he accepted all the invitations made to sing in meetings of friends. He never stopped vocalizing.

So much so that, despite the passing of time, in 2011 he was invited to the Festival de Tango de La Falda (Córdoba), where he appeared when he was 86 years old, accompanied by three guitarists.

And furthermore, he also recorded a disc with classic tangos: “Berretín”, “Malena”, “Naranjo en flor”, “El cantor de Buenos Aires”, “Che bandoneón”, “Ventanita de arrabal”, “Contramarca”, “Tiempos viejos”, “Bandoneón arrabalero”, “Tinta roja”, “Cómo se pianta la vida”.

The following year, precisely on October 12, 2012 the authorities of his province paid him homage on his 87th birthday.