When he was ten when he persuaded his mother into buying a bandoneon for him. And they got it at 140 pesos of that time, to be paid in 14 installments, but after the fourth payment, the shopkeeper died and no one ever claimed for the rest. With that instrument he played almost during his whole lifetime, (pichuco) took tango to new heights of sophistication. He elevated the bandoneon to new expressions of emotions. He demonstrates how sweet and big tango can be.

His entry into the professional world came when he played in the Pugliese/Vardaro group when he was just 15 years old. Here Troilo's bandoneon exhibited a unique style; melodious is one word, at the same time, revealing its power.

His work with vocalists, especially Roberto Goyeneche, gave Tango a refined splendor. One of the most favorite recordings is Troilo's "Romance de Barrio" with vocalist Floreal Ruiz.

He helped take Tango in a startling new direction by letting young Astor Piazzolla arrange for him.

It is part of Tango history. In the 60s at RCA recording warehouse in Buenos Aires , the manager Ricardo Mejia torched thousand of original disks of tango records. The reasons for this senseless act are still not very clear, but it was related with the need for more room for the rehearsal of the music group that this producer was launching, El club del Clan. Whether it was for this reason or not, the fact was that priceless master records were burned and lost forever. Fortunately, Troilo recorded a great deal of his music again during the 60's.