e studied violín with Giuseppe De Caro, the father of the De Caros. But he soon put aside that instrument and devoted himself to bandoneon, and his first teacher was Genaro Espósito. Of a bohemian nature, they say he wasted the great capabilities he had to play bandoneon.

He appeared at several cafés and other venues near La Boca, Barracas and San Telmo. One of his first jobs was as member of the quartet fronted by Ernesto Ponzio.

Manuel Parada tells us about his beginnings: «And I also was with the most picturesque guy who stepped on San Telmo, El Yepi José María Bianchi, who, was a kid like me, he cared for me and protected me. He, instead, didn’t take care of himself at all. He was much fond of drinking. On one occasion he called me for a baptism in La Boca. They would pay us three pesos. We were playing “El apache argentino”, “Royal Pigall”, that sort of pieces, when somebody with a beer passed by. He drank. I didn’t. Soon later another guy came with brandy. He drank and so did I. Wow! The only thing I remember is that El Yepi told me: “Manolito, you belong to my kind”».

In 1933 he joined the Orquesta Típica de la Guardia Vieja Ponzio-Bazán, led by Ernesto Ponzio and Juan Carlos Bazán. With the latter he appeared in the staging of the Ivo Pelay’s play De Gabino a Gardel

He played with the orchestra fronted by Juan Carlos Bazán at the aristocratic Club General Pueyrredón of Mar del Plata. The advertising announced the Juan Carlos Bazán’s Orquesta Típica Criolla y Americana and mentioned its members: A. Fernández, on drums, Raymundo Petillo (piano), José María Bianchi (bandoneon), Bernardo Germino (concertmaster), Vicente Russo (violin), Pascual Mazzeo (bandoneon).

He appeared with Lopecito in several plays written by the latter at small venues of the city of Buenos Aires and in a large number of towns of the interior. There were many groups which were put together for these shows. For example, there was an orchestra that included Nicolás Vaccaro (piano), Domingo Petillo (violin), Juan Bautista Guido and Bianchi (bandoneons) and, on some occasions, also Esteban Rovatti and Vicente Sabio (violins).

In 1937, always with Lopecito, the Quinteto del Centenario, led by Teodoro Espósito (piano), Vicente Pecci (flute), Emilio Fernández (guitar), Emilio Magrini (violin), Eduardo Arbol Erezcano (double bass) and José María Bianchi (bandoneon). Between 1939 and 1940, the Cuarteto del 900 with: Emilio Fernández (guitar), Vicente Pecci (flute) and Emilio Magrini (violin).

Thereafter, in 1942, always with Lopecito’s shows, he joined an orchestra which appeared on LR2 Radio Argentina, with: Juan Santa Cruz (piano), Pepe Guerriero (flute), Esteban Rovatti (violin), Humberto Canataro (guitar), Emilio Branca, Bianchi and Luis Bossi [h] (bandoneons).

He did not stand out as composer, and he wrote very few tangos: “El curdelón”, “El chiche de San Telmo”, “El garbanzo”, “El maramfi”, “Rica dame más”.