Osvaldo Pedro Pugliese was born on December 02, 1905 with the Crespo Villa in Buenos Aires.

As of the 9 years age, it played of ear on the violin which his/her father had offered to him, flutist amateur. It realized quickly that it preferred the piano. It had as professors Vincente Scaramuzza and Pedro Rubionne. As of, the 15 years age it plays in a coffee of district, "the cueva del Chancho" which it will give up rather quickly to accompany with the piano the adventures by max Linder and Charlie Chaplin on the dumb screens by the cinema by then.

Then, it works with various musicians of which the bandoneonist, Paquita Bernado, Enrique Pollet and Pedro Maffia of 1926 to 1929. It joins the violonist Elvino Vardaro to create a first sextet which will intègrera gradually, Alfredo Gobbi and Anibal Troilo It leaves this unit to join the orchestra of Alfredo Gobbi then, those of Roberto Firpo and Miguel Calo.

It is in 1939, that it creates, definitively, its orchestra which from the very start functions in co-operative, i.e., by the division of the incomes. As of, at the time one can, without fear, to affirm that there is before and afterwards orchestration-tango; as one can say in the same way for the musical writing with creation into 1925 of its first tango, "Recuerdo", piece taken again without stopping until today. But the sign of its absolute modernity it is that it is noticed as of the first hour by Pedro Laurenz at the time of a concert of Pugliese to the ABC which runs to carry it in Julio de Caro which records it with Laurenz like first bandoneon. This recording with value of history bus Pugliese to the glance, amongst other things, of its political engagement in the leading authorities of the Argentinian Communist Party will be seen prohibiting the studios until 1943, date of the first known recording of "Recuerdo" by itself. It is not doubtful that the recording of Caro was faithful to the creator. Let us leave him to it word: " Recuerdo opened a new way for the tango. Because it offered an unforeseen unfolding of the melody line, a modern design of the harmonic structures, color of the sounds, changes of tone, arpeggios, variation ".

This new esthetics fits in that of renovating tango that are, then, Juan Carlos Cobian, Agustin Bardi, Enrique Delfino, Julio de caro. Pugliese will declare: " I come from the school from Julio and Francisco de Caro, of that of Perdro Maffia and Pedro Laurenz. Their sides, I made mien a style based on the adaptation and the incorporation of musical forms answering the tango. My style is the cultural heritage of these creators. My way of playing resembles much that of Francisco de Caro, creator exquisite of an unequalled musical richness. I insist for saying that my repertory is the fruit of this original root. I was based on this repertory as of my beginnings, about 1939. One cannot omit the movement with the head of which was Julio de Caro and which gave to the tango well defined arrangements and a musical quality ".

Its talent of innovator is confirmed in 1946 with the creation of "the yumba", onomatopoeia meaning for him that the tango is played like that: "yum... Ba, yum... Ba"; left deep halètement which, carried by the bandonions, raises the whole of the orchestra in a movement of great size a such gigantic inspiration contained and slackened with force.

Its influence is certain on the beginnings of Piazzolla andHoracio Salgan. It composes "Adios Bardi" in homage to Augustin Bardi, the beba, El encopao, Maladranca, Negracha, Corazoneando. If it is obvious that it is the heart, it does not have its similar to find the fine flower of the musicians Several of them will accompany during about thirty years such Osvaldo Ruggiero, the first bandoneon. the violonist Herrero Oscar, let us name the bandoneonists, Enrique Alessio, Antonio Roscini, Luis Bonnat, Jorge Caldara, Oscar Castagniaro, the violonists, Julio Carrasco, Enrique Camerano, first violin and Jaime Tursky, the double bass player, Anicet Rossi. We named all these musicians of the period 39-68 bus Pugliese encouraged and helped its musicians to create and found their own orchestra if it wished it.When the orchestra undergoes deep changes in the Seventies, there will enter of the musicians like Juan Jose Mosalini, Daniel Binelli and Roberto Alvarez, the founder of the orchestra "Color tango.

It is necessary, also, to make the place with the singers who will be of this adventure, start with Roberto Channel with the hot voice of Compadrito, it is necessary to listen to its interpretation of "Farol" then, Alberto Moran with the voice larmoyante which cries and makes you cry by singing "Pasional", Enrique Maciel with the lyric voice on "El panuelito", Miguel Montero with the powerful voice on "acquaforte" like that of Jorge Vidal on the endiablée milonga "a baile has beneficio", the gouailleuse voice of Alfredo Belusi then, the completion of this tradition of power with Abel Cordoba whom it is necessary to listen to to sing "Contame una historia" on the most fabulous album of tango of the twentieth century that is, in 1989, the recording live with the Royal Carré theatre of Amsterdam on which Pugliese plays with Astor Piazzolla a version of Yumba which by magic is transformed into "Adios Nonino".