Ricardo Pedevilla

Ricardo Ángel Pedevilla was born on 22 November 1915 in the Almagro neighborhood of Buenos Aires. He belonged to the generation of bandleaders who formed their own orchestras in the 1950s, alongside figures such as Armando Cupo, Carlos Demaría, Alfredo Attadía, Eduardo del Piano, Enrique Alessio, Roberto Caló, and Ángel Domínguez. His early professional activity in the 1930s involved numerous groups, making a complete listing of every ensemble difficult.^[1][2]

In 1934 he performed in Daniel Álvarez’s group with fellow bandoneonist Nicolás Pepe and pianist Armando Baliotti; the singer was Agustín Volpe. He formed a trio with pianist Samuel Averbuj and violinist Oscar de la Fuente (composer of “Bailarina de tango” and the instrumental “Intermezzo” later recorded by Troilo). In 1935 and 1936 this trio accompanied singers and actresses Elena Lucena and Aída Luz on Radio La Nación (later Radio Mitre). With Pepe he also participated in a bandoneon trio created for Radio Stentor programs; the third musician is not identified in available accounts. In 1936 he joined Joaquín Mora’s orchestra. In 1938 he played in Oscar Rossano’s orchestra, which appeared on Radio Belgrano. He later joined Miguel Padula’s group on Radio Splendid and collaborated with the ensembles of Ricardo Malerba and Rodolfo Biagi (the latter’s arrangements by Oscar de la Fuente).^[1][2]

In 1950 Pedevilla formed his own orchestra and began recording for the Pampa label. The style and repertoire showed a clear influence from Carlos Di Sarli. Examples cited include versions of “Nueve puntos,” “Cuidado con los cincuenta,” “El pollo Ricardo,” and “El incendio.” In the bandoneon section were established players such as José Dames and promising young musicians such as Osvaldo Piro, who debuted with Pedevilla at age fifteen. The orchestra accompanied Roberto Quiroga on the tango “Agonía de amor” (H. Vescio). In 1952 it recorded “Misa de once” with singer Jorge Ortiz for Pampa.^[1][2]

Many singers passed through the orchestra. Hugo Soler, Roberto Beltrán, and Carlos Yanel each stayed briefly. Luis Omar Zunino, Mario D’Elía, and Hugo del Valle recorded some sides. Carlos Olmedo sang with the group in 1952–1953 before joining Osvaldo Pugliese. Oscar Serpa recorded three numbers and then moved to Di Sarli. Héctor Omar was the vocalist at the Marabú cabaret; Roberto Mancini sang at El Avión de La Boca. Carlos Paiva made his professional debut with the orchestra in 1954. Mario Luna remained for six years. Other possible singers are noted in biographical accounts but not fully detailed.^[1][2]

As a composer Pedevilla wrote several tangos, though few achieved commercial success or known recordings beyond a couple of sides. Works include “Profecía” (lyrics by León Jadlli), “Antes que sea tarde” (Casimiro García), “Del viejo San Telmo” (with Atilio Cresta, lyrics by Carlos Bahr), “Ginebra” (Reinaldo Yiso), “Hoy brindo por ellos” (with Julio Martel, lyrics by Alberto Lago), “El tango es eso” (with Susana Accorinti; music by Víctor Laudari), and the instrumental “Algo más.” Recorded compositions of his include “Y siempre pasa igual” (lyrics by Yiso, sung by Mario D’Elía in 1951) and the instrumental “Para ella” (1952). No death date is documented in the principal sources.^[1][2]

Discographic records show activity on Pampa between approximately 1950 and 1953, with titles such as “El pollo Ricardo,” “El amanecer,” “Organito de la tarde,” “Cuidao con los 50,” “El Cachafaz” (recorded 5 December 1951), “Marianito,” “Ventanita de arrabal” (with Oscar Serpa), “Mascotita de marfil,” “Vida mía,” “Siete palabras,” and others. Compilations later reissued some of this material. The orchestra’s sound and choice of repertoire aligned it with the Di Sarli school while remaining a working típica of the early 1950s.^[1][2][3]

Early career in the 1930s

Pedevilla’s documented activity begins in 1934 with Daniel Álvarez’s ensemble alongside Nicolás Pepe and Armando Baliotti (singer Agustín Volpe). The 1935–1936 trio with Samuel Averbuj and Oscar de la Fuente accompanied Elena Lucena and Aída Luz on Radio La Nación/Mitre. He played in Joaquín Mora’s orchestra (1936), Oscar Rossano’s on Radio Belgrano (1938), Miguel Padula’s on Radio Splendid, and groups led by Ricardo Malerba and Rodolfo Biagi. These years provided broad experience in radio and working orchestras before he formed his own group.^[1][2]

Own orchestra and Pampa recordings

In 1950 he formed his own orchestra and recorded for Pampa. The style and repertoire reflected Carlos Di Sarli’s influence, as heard in versions of “Nueve puntos,” “Cuidado con los cincuenta,” “El pollo Ricardo,” and “El incendio.” Bandoneonists included José Dames and the young Osvaldo Piro (debut at fifteen). Known sides include “El Cachafaz” (5 December 1951), “Misa de once” with Jorge Ortiz (1952), and others with various singers. Activity on Pampa appears concentrated in 1950–1953.^[1][2][3]

Singers and venues

Singers associated with the orchestra included Jorge Ortiz (“Misa de once,” 1952), Carlos Olmedo (1952–1953, then to Pugliese), Oscar Serpa (three recordings, then to Di Sarli), Carlos Paiva (professional debut 1954), Mario Luna (six years), Héctor Omar (Marabú), Roberto Mancini (El Avión de La Boca), and shorter stints by Hugo Soler, Roberto Beltrán, Carlos Yanel, Luis Omar Zunino, Mario D’Elía, and Hugo del Valle. The orchestra worked radio, cabarets, and recordings.^[1][2]

Compositions and style

Pedevilla composed several tangos and at least one instrumental. Few reached commercial prominence. Recorded examples are “Y siempre pasa igual” (with Mario D’Elía, 1951) and “Para ella” (1952). Biographical accounts emphasize the Di Sarli influence on his own orchestra’s sound and repertoire choices during the early 1950s. No death date is recorded in the principal sources consulted.^[1][2]