Franklin da Flauta started as a specialist musician in the ’60s; witnessing the results from the bossa nova motion, he participated in the first documenting of “Águas de Março” with Tom Jobim. Like a sideman and program musician, he spent some time working with Baden Powell, Dom Salvador, Chico Buarque, Geraldo Azevedo, Naná Vasconcelos, Sérgio Ricardo, Toquinho, Vinícius de Moraes, Clara Nunes, Miúcha, Francis Hime, Gal Costa, Quarteto em Cy, Maria Bethânia, and Lisa Ono. With Daniel Jobim, he documented Tom Jobim’s posthumous functions. Being a composer, he has already established his songs documented with the Quarteto em Cy, Miúcha, Aldir Blanc, Luiz Cláudio Ramos, and Kim Ribeiro. As an arranger, he spent some time working with Geraldo Azevedo (1980, 1989), Flautistas da Pro-Arte (1992, 1999), Quinteto Pixinguinha (1997, 1999), and Quarteto Popular de Câmara (unpublished). He began to enjoy his grandfather’s flute in 1964, at 15, copying Bebeto’s (Tamba Trio) solos. Drawn to jazz, he became a normal in the viewers from the Clube de Jazz e Bossa, arranged by Jorginho Guinle and Sylvio Túlio Cardoso, where Orlando Cipó, Aurino Ferreira, Vítor Assis Brasil, Cláudio Roditi, Fernando Martins, Juarez Araújo, Edison Machado, and various other great instrumentalists performed. He continuing his formation being a self-taught flutist, taking part in the recordings of well-known performers. In 1968, he was asked by Baden Powell to become listed on his band to get a season on the Teatro Opinião. Signing up for the Musicanossa motion, he documented his first single monitor, “Meu Fraco É Café Forte” (Dom Salvador), followed by Salvador’s trio (Sérgio Barroso, bass and Pascoal Meirelles, drums). As well as Antônio Adolfo (piano), Novelli (bass), and Vítor Manga (drums), he supported Chico Buarque. Still in 1968, as well as Geraldo Azevedo, Nelson Ângelo, and Naná Vasconcelos, he shaped the Quarteto Livre, support Geraldo Vandré. In 1972, he documented with Sérgio Ricardo and participated in the initial documenting of “Águas de Março” with Tom Jobim, for O Pasquim’s Disco de Bolso series. Between 1972 and 1974, he toured with Toquinho, Vinícius de Moraes, and Clara Nunes through Brazil and SOUTH USA. In 1975, he documented his second single monitor, “Tanto Mar” (Chico Buarque). In 1989, he had written plans for Geraldo Azevedo’s recording, including “Casa Brasileira.” He also caused vocalist Simone Guimarãsera and organizations Quinteto Pixinguinha and Quarteto Well-known de Câmara.