e was born in the city of Buenos Aires, in the popular neighborhood of La Boca. He studied music at the Santa Cecilia conservatory and, when still a teenager, he furthered his training empirically, and appeared alongside the already important musicians with formal training like Juan José Castro, Julio Perceval, Ennio Bolognini, Remo Bolognini, Luis Gianneo, among others.

Those were tango days, and somehow, all of them, despite their training, were attracted by our music. Furthermore, there was the possibility of getting some money because there was easy to get a job then. Armani, as violinist, played with the Orquesta Típica Victor, Francisco Lomuto and Juan Carlos Cobián.

Without quitting tango, he began to move towards jazz, to which he finally devoted himself for the rest of his career.

A longtime friend of Osvaldo Fresedo’s, he was his partner in the elegant cabaret named Rendez Vous. The composer of “Vida mía” recorded several pieces by Armani: “Bajo el disfraz”, an instrumental but which bears lyrics by Nicolás Vaccaro and Escariz Méndez, recorded on March 6, 1928); “Inquietud” (instrumental), in 1926; “Oh corazón” (instrumental), January 24, 1928; “Mi última noche”, Ernesto Famá on vocals, on July 17, 1928; “Normiña”, recorded by Gardel on December 24, 1926; “No te olvidarás” (instrumental), on November 8, 1927; “Victoria [c]” (instrumental), on April 24, 1929; “Migaja”, Carlos Barrios on vocals, on May 2, 1963. To the above we must add, among others: “Soltero soltero”, “Un caprichito” and “Vidita”.

Another facet, taking advantage of their popularity, were the movies, in which he appeared as actor in Eduardo Morera’s Así es el tango, the script is an excuse to show some musical numbers, for example, the brand-new tango “Nostalgias”, premiered in 1936, almost at the same time when the film was being shot and which was shown at movie theaters on February 24, 1937. It was sung by the lead actress, Luisa Vehil, while she was going down a luxurious stairway in order to meet her lover, Fernando Ochoa, after they had got rid of Jorge, the bad guy in the movie, impersonated by Eduardo Armani.

As musician, conducting his own orchestra, he appears in Ven, mi corazón te llama, a film by Manuel Romero, premiered on September 9, 1942. In it, the bolero singer Elvira Ríos along with Tito Lusiardo, Alicia Barrié and the Spanish dancer Carmen Amaya were starred. Here he conducts his orchestra. And, finally, Dringue, Castrito y la lámpara maravillosa, directed by Luis Moglia Barth, premiered on February 18, 1954, for which Armani wrote the soundtrack.

As for jazz, he and René Cóspito, in the early 30s, were a team of orchestra leaders that were successful for several years, not only due to their musical excellence but also for their distinguished presences. Thereafter, they continued their careers separately.

The several orchestras led by Armani were the obligatory accompaniment for the international visitors, such as Bing Crosby, Maurice Chevalier, Mistinguette, Anna Pavlova, Isadora Duncan, to mention a few examples.

As a finale, it is worthwhile saying that he was a complete artist, a great musician who gave an important contribution to our tango and popular music, in general.