SOME HISTORY

A trunk with more than 2000 handwritten scores of a Big Band, Hector and his great Argentine jazz orchestra, one of the most popular formations in Buenos Aires during the decades of the ' 40 and '50, was found in the year 2000 in a rubble container.

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Directed by Héctor Lomuto (brother of the famous tango man and founder of SADAIC, Francisco Lomuto) and with magnificent arrangements by Martín Darré, Roberto Pansera and Carlos García (three of the best arrangers of the first half of the 20th Century) the orchestra reached the sonority and importance of the great American bands in the style of Glenn Miller, Benny Goodmann or Artie Shaw, with a formation of exceptional musicians such as Lois Blue, Pepe Corriale, Mario Sansone, Luis Comitini or Eddy Pequenhino to name a few (the formation came to have almost 30 musicians on stage).
 

The first public presentation of Lomuto's big band dates from 1941 at the Mar del Plata Casino and offered an eclectic repertoire that included both fox trots and some tango. Later the formation reaches its particular profile of danceable jazz or North American white jazz and is able to conquer the public who is eager for swing. But the tastes change and Hector knew how to adjust to fashions for two decades adding to his repertoire boleros, cha cha cha and other Latin rhythms as well as some double step without ever leaving the elegance and that particular style that made it the best orchestra of the time , granted without a doubt by the professionalism and talent of Matin Darré. Later this type of musical bets would become in what was known as Characteristic  Orchestras, formations intended only to make people dance and to listen to popular songs)
 

From 1944 until the end of the 50s, Hector and his jazz record around 500 titles for RCA Victor and broadcast every afternoon from Radio El Mundo, which gives them popularity and a chance to reach a huge audience in all over the country, in the words of the historian Sergio Pujol.
 

The discovery of these unique, invaluable historical documents only fills us with questions: what happened to this formation? What was its destiny? When and why did it disappear? Where are its musicians? Why were these scores thrown away ?Who treasures and protects today the memory of Argentine jazz ?.