From his native Catalonia he arrived in Buenos Aires in 1908, perhaps with the idea of imposing the cuplé on the porteño or gaining a position with it. He was already a master of Spanish music when he landed on our shores. After teaching music and singing in particular, he went on to accompany stellar figures of the cuplé such as Lola Membrives (in the beginning she was a cupletist), Raquel Meller, La Goya, etc. along with performances in cafes, cafeterias and other places. The cinemas and theatres of Buenos Aires, as well as some in Montevideo and the interior, knew him supporting the work of the duo Las Porteñas. He directed revue shows in the National, Cervantes and Florida theatres, also performing in the Coliseo, Royal, Smart and several others, directing orchestras from the pit or as a director of shows. As a composer he would surely have started in Spain with some motif from his land and here he continued with “Adiós Celipe”, “La azafata de la reina”, “La perra de Chaplin”, “Díguili qui vingui”, “Todo verdadero”, “Q.L.B.L.P.”, “Campanita, campanita”, “Dos gitanas”, “Mi reja”, in schottisch rhythms, cuplé, fado, pasodoble, etc., which were premiered on the popular stages by singers. He dared to go for the Creole style with “Deseo”, waltz, “Tucumanita” and “Decime negro que sí”, zambas, with some other titles, but his strong point was undoubtedly the tango where he left indelible pages such as “Patotero sentimental”, “Nubes de humo (Fume compadre)” and “Buenos Aires”; successes that perhaps owed more to Manuel Romero's verses, but where he demonstrated his creative capacity and artistic sensitivity. The more or less complete list of his tangos is the following: “Armenonville viejo”, “Apreete que va la marca”, “A mí lo me me'smo da”, “El matrero”, “El gran puntador”, “Que estrilo me la waterdié”, “La más tigrera”, “El radinte”, “Flor de yuyo”, “Cualquier cosa [b]”, “La patotera”, “Mi gloria eres tú”, “Venga champagne”, “Verás pebeta”, “Vení pebeta”, “El dormilón”, “Por tu culpa”, “Chicof”, “Haz de volver a mí”, “El muscovita”, “Con los 9”, “Yerba seca”, “Celosa”, “La midinette”, “Pingo mío”, “Carnationito rojo”, “Te mirar a ella”, “Pare cochero”, “Poor china”, “Poor heart”, “Poor French girl”, “Poor percanta”, “Poor old man”, “Poor women”, “Blanquita”, “Rosa de fuego”, “¡Una más!”, “Que el otro te querer igual”, “¡Por qué?”, “Loca”, “Pobre milonga”, “La provinciana”, “Corazón de arrabal”, “Patotero sentimental”, “Nubes de humo (Fume compadre)”, “Buenos Aires”. The last seven were recorded by Carlos Gardel with whom, despite not having been able to know exactly any anecdote between them, he must have had without a doubt a sincere friendship, since the same artistic work guided them through the stages, in one of which they acted together on some occasion. His musical works had as lyricists popular theatrical authors, this proves that he was always linked to our theater. In addition to Manuel Romero, Antonio Viergol, Enrique Maroni, César Bourel, Ernesto Morales, Lorenzo Traverso, Diego Flores, Luis Bayón Herrera, Pedro Numa Córdoba, Carlos González Illescas, Ivo Pelay collaborated on the song. Jovés was born in Manresa (Barcelona, Spain) on March 8, 1886 and died in Buenos Aires on August 26, 1927.
