Antônio Maria Passos

Famous, completed, and most-requested flutist Antonio Maria Passos transformed for the sax due to the then-popular American foxtrots. Also an impeccable traditional flutist, Passos got unique importance in the engendering of choro, still a means of playing in his period. Like a composer, he remaining several important functions, like the valse “Ela Dorme.” From 1910 on, as mind of his Grupo perform Passos, he documented many albums for Casa Edison in the yellowish label series (120,000). Flutist from the orchestra from the advanced Teatro Rio Branco, Passos skipped some shows, which produced the violonista Tute (who also performed there) present the youthful Pixinguinha (who was simply around 14) towards the movie theater owners (Auler and Quintela). Pixinguinha impressed the experienced and well-known musicians along with his amazing sight-reading and technique, as well as used to put his normal choro improvisations in the shows. When Passos came back to his work, the market complained about the missing from the improvisations. Annoyed, Passos empty the orchestra and Pixinguinha continued to be in his capability. But Passos and Pixinguinha became great close friends, as noted in the affectionate dedicatory of Pixinguinha’s choro “Passinha.” In 1918, Passos became a member of the essential trombonist Candinho Silva (who, as well as Pixinguinha, later created the 32-club choro) in his Conjunto Carioca, which also acquired Nelson dos Santos Alves (cavaquinho) as well as the well-known pioneer sambista Donga (violão). As well as Tute, Nelson dos Santos Alves, and Chiquinha Gonzaga (piano), produced the Grupo de Chiquinha Gonzaga, which documented many albums for the American label Columbia in the 1920s.