This musician was known in the milieu with the nickname of 'El Gallego', about which he used to say: «That is ridiculous, I am porteño. I have a Spanish family name but my parents, my grandparents and great-grandparents were Argentine».
He attended up to the third year of high school. For three years he worked in a notary's office. Parallel to that, because he was self-taught, he practiced piano at the place of some friends of his despite he had no previous music instruction.
Here we have to highlight something very important for this portrayal: Eduardo Arolas, the one capable of playing weeping sounds in a bandoneon, called him to replace no less than AgustÃn Bardi in his group to play at the 'Royal' cabaret which later became the 'TabarÃs'.
Six months later he decided to withdraw from the music business, tired of that activity. He worked in Bunge & Born as cereal receiver but when the harvest ended, he could not resist the spell of music and returned to tango.
He put together a trio in which he played piano, Osvaldo Fresedo was on bandoneon and Rafael Rinaldi on violin. Those were hard times and they had to play for a popular pot located in the neighborhood of Once, Viamonte and Larrea, where they were paid 10 cents for each piece. The experience lasted eight months.
Then a gig at the 'Montmartre' cabaret of Corrientes Street sprang up, so the MartÃnez-Canaro quartet was born by adding Canaro to the trio. When the engagement finished, Canaro formed his orchestra. With the latter they returned to the 'Royal' cabaret where they had a five-year tenure. (Hide extended text)...(Read all) Source : Wikipedia