Buci Moreira was among the great samba composers from the ’30s and ’40s. As well as Wilson Batista and Raul Marques, he was among the best-known samba retailers (the exchange of authorship for peanuts), a practice that impeded any expectations of fully recognizing his innovative potential. Grandson from the historical number Tia Ciata, by whom he grew up, Buci Moreira got an intensive samba teaching in a residence where in fact the Carioca samba was incepted, afterwards learning to be a professional composer and percussionist. He was an associate from the Bloco Deixa Falar and among the founders and diretor de harmonia from the Vê Se Pode samba college of São Carlos Hill. Released being a composer by Francisco Alves, who documented his samba “Palhaço” with Nelson Alves in 1930, he also acquired several other strikes: “Anda, Vem Cá” (documented by Mário Reis and Francisco Alves in 1932), “Gosto e Desgosto,” “Não É Assim Que Se Procede” (documented by Francisco Alves in 1945), “Não Põe a Mão” (with Arnô Canegal/Mutt, documented by himself in 1951 and by many others after him), “Quem Pode, Pode,” “Não Precisa Pagar,” and “Por Que É Que Você Chora.” Being a program musician, he proved helpful regularly using the Columbia Orchestra, along with all sorts of sporadic gigs, such as for example films aimed by Moacir Fenelon and Oscar Welles’ film Jangada.