Perhaps one of the most underrated, important, and influential arrangers of Brazilian popular music following the 1950s, Leo Peracchi began to donate to the soon-to-be bossa nova in 1956 when he arranged “Foi a Noite,” with the then-novice composer Tom Jobim (with Newton Mendonça), recorded by Silvinha Telles. Having created the plans for Ary Barroso’s Meu Brasil Brasileiro (1959), in the same yr he also organized 13 tunes from the duo Jobim/Vinícius de Moraes, which would become immortal classics. The tunes were documented by Peracchi’s wife, Lenita Bruno, for the LP Por Toda a Minha Vida, as well as the same orchestrations re-recorded inside a cautious creation in 2002 by Ná Ozzetti, Mônica Salmaso, Vânia Bastos, Tetê Espíndola, Jane Duboc, Cécollection Imbert, Myriam Peracchi, as well as the Orquestra Jazz Sinfônica. Like a conductor, orchestrator, and composer at Rádio Nacional, Peracchi experienced a mentioned contribution in the extremely influential part of Nacional in the modernization of Brazilian radio, since it was the Nacional which, using its enormous resources and countrywide reach, infused in to the Brazilian target audience the flavor for advanced orchestrations and agreements for symphonic orchestras and little chamber groups shown live from its studios, which finished up as a documenting standard of the time expanded through the ’40s before past due ’50s. Peracchi began as a specialist pianist and conductor at Rádio Cosmos, São Paulo (São Paulo), having proved helpful also at radios Bandeirantes and Educadora Paulista. In 1941, he joined up with the regular ensemble from the effective Rádio Nacional (Rio de Janeiro, Rio de Janeiro) as an orchestrator, conductor, and composer, offering a significant contribution towards the modernization from the criteria of conversation in radio. Among the number of programs he proved helpful in deserving talk about had been Dona Música, made by him (with Haroldo Barbosa/José Mauro); the Festivais GE, a display focused on the traditional repertory where, for a decade, Peracchi executed live a symphonic orchestra; Quando operating-system Maestros se Encontram, where Peracchi was met with various other conductors from the ensemble like Alexandre Gnattali, Lyrio Panicali, Alberto Lazzoli, and Alceu Bocchino; and Quickâneos Musicais, developed by Almirante at Rádio Nacional. As an arranger, he worked well for several performers and groups on the recordings and live shows, just like the Trio Surdina on its LP focused on Ary Barroso’s tracks, having also documented several specific albums before different orchestras from 1955 to 1968. In 1959, he led the next musical caravan structured from the Brazilian authorities by effort of Humberto Teixeira to market Brazilian music in European countries. In the ’50s, he also became the music movie director in the Musidisc label.