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Armandinho was perhaps one of the most important statistics from the choro developed in the town of São Paulo. Together with his importance as an accompanist and radio musician, he has already established his compositions documented by Antônio Rago and Geraldo Ribeiro (who committed a whole LP to Armandinho’s compositions). His choro “Mafuá” was documented by Zé Menezes in 1957 and by Aimoré in 1966. After Armandinho’s demise, a number of important performers, including Paulinho da Viola, teamed up to record an record of his music. Since he was a kid, Armandinho frequented the house of violin instructor Antônio Paula de Souza. Understanding how to play the violão by hearing, he never discovered music theory. Originally a soccer participant, he proved helpful as a specialist for Ponte Preta and Guarani. When he turned towards the Corinthians he was relocated to the town of São Paulo, and in 1919 empty soccer. For the reason that town, he researched violão along with his brothers, José Matoso and Joaquim Matoso, and in 1926 with Larosa Sobrinho. Musically illiterate, his gifted intuition allowed him to create advanced compositions. In 1926, Sobrinho got him to Rádio Educadora Paulista, where Armandinho shaped the first local of the town of São Paulo. The group participated in the 1st radio broadcast between Rio and São Paulo that yr. The next yr, he joined Operating-system Turunas Paulistas, an organization led by Canhoto (Américo Jacomino) who was simply considered the very best of the time. In 1928, he performed with João Pernambuco, João dos Santos, Levino da Conceição, while others. In this season he assumed path from the Rádio Record group, staying there until 1956, an interval when the air enjoyed regional projection. In 1930 he performed for Paraguayan virtuoso violonista Agustin Barrios and documented two albums through Parlophon with Larosa Sobrinho. An achieved accompanist, Armandinho documented just one single recording, a 78 for Decelith, in 1938.

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