Bandoneonist, composer, and orchestra leader, Bachicha was born on March 2, 1890, in La Plata, the capital of Buenos Aires Province, and passed away on November 28, 1963. He was married to Emilia García, who also served as his female vocalist. It is important to note that he should not be confused with his son, Tito, who adopted the nickname "Bachicha" for his own musical endeavors.
As a young musician, Bachicha was instrumental in bringing tango to Paris, joining fellow Argentine musicians such as Manuel Pizarro, Eduardo Bianco, and Genaro Espósito as pioneers of the genre. His passion for the bandoneon began in his teenage years, leading him to receive initial training before studying under Alfredo Bevilacqua. Despite his commitment to music, he faced the challenges of working in a foundry at the age of thirteen, where he formed a friendship with Roberto Firpo, a fellow music enthusiast six years his senior. According to Enrique Cadícamo, it was Bachicha who introduced Firpo to his teacher, allowing them to study together.
In 1914, Bachicha debuted as the bandoneon player in Firpo's orchestra, following their initial performances in 1911 at the Café Centenario on Avenida de Mayo, known as “Taka Taka,” and later at “La Castellana.” They gained further recognition at venues such as Armenonville and Palais de Glace, often appearing as a duo. Their trajectory included a gig in Montevideo in 1916, which led to the addition of Tito Roccatagliata and Agesilao Ferrazzano to their ensemble. Some scholars cite their performance at Café La Giralda as the premiere of “La Cumparsita.”
Bachicha later led his own orchestra, Orquesta Royal’s, and engaged in theatrical performances. As a musician, he exhibited significant technical skill, characterized by a strong sound, fluid fingering, and precise legato phrasing. These qualities became particularly evident in his European recordings, benefiting from advancements in recording technology.
Alongside Firpo, he accompanied the popular duo Gardel-Razzano, along with guitarist José Ricardo, on a tour of provincial cities, performing in movie theaters managed by Max Glücksmann. During a stop in Punta Alta, they discovered bandoneonist Pedro Maffia, who was subsequently included in their ensemble, forming a quartet.
Bachicha's orchestra performed in two notable theater productions that featured the tangos they introduced. The first was “Los dientes del perro,” staged at the Teatro Buenos Aires on April 16, 1918, where they accompanied Manolita Poli in her performance of “Mi noche triste.” The second was “Delikatessen House,” a sainete written by Samuel Linnig and Alberto Weisbach, which premiered on May 12, 1920, at the Teatro Ópera, featuring the actress María Esther Podestá singing “Milonguita.” The orchestra expanded during this period, adding members such as Leopoldo Thompson (double bass), Juan Carlos Bazán (clarinet), and Adolfo Muzzi (second violin).
Bachicha played a role in the first recording of “La Cumparsita” with Firpo, which featured him along with Ferrazzano, Roccatagliata, and flutist Alejandro Michetti. After the group disbanded in 1921, Bachicha entered a phase of his career focused on Europe. He initially joined “Los de la raza,” a troupe of actors and singers that included Emilia García Alba and a music group led by Horacio Pettorossi, Bachicha, Mario Melfi, and Bartolomé Chapella. They toured Spain for nearly a year before some members returned to Argentina, while others remained in Europe.
Bachicha was later invited to Paris by Eduardo Bianco, who included Pettorossi and Melfi, both of whom had studied bandoneon under him. Together, they formed the “Bianco-Bachicha” Orchestra, which garnered acclaim in prominent Parisian venues and recorded for the Odeon label until 1928, when they parted ways. Subsequently, he briefly collaborated with Ferrazzano before establishing the “Orchestre Argentin Bachicha,” performing in Paris and touring Europe, Africa, and the Middle East—an uncommon venture for that era. He recorded in various countries, primarily for Odeon, but also for labels such as Cristal, Riviera, and Typic.
In the 1950s, Bachicha returned to Argentina briefly before resettling in Paris, where he passed away in 1963. His widow, Emilia García, who had been his vocalist, survived him, and they had several children, including Tito, a pianist who took over the group. Throughout his career, Bachicha worked with various vocalists, many of whom were musicians hired for specific performances. Among those who recorded with him were Juan Raggi, Pettorossi, Melfi, Bianco, César Alberú, and both Bachicha and Emilia. Although he composed over thirty pieces, only one, “Bandoneón arrabalero,” achieved significant acclaim, a composition he was persuaded to accept as repayment for a loan from Pettorossi.
