Leonel Azevedo had prominence being a author of classics disputed by among the better interpreters of the Golden Age group of Brazilian music. Since his early youth, Azevedo showed curiosity for music, and a lady cousin presented him towards the piano. At 16 he examined the first quality of theory, but empty the course. Understanding how to play the violão (classical guitar) by himself, Azevedo was offered the device by an uncle. He opened up in the air in a present hosted by his friend Nilton Meireles. Dario Murce (Renato Murce’s sibling) asked him for Renato’s present Horas perform Outro Mundo, provided twice weekly. Learning to be a regular, Azevedo was occasionally associated with Ary Barroso. He also performed frequently on the Programa Casé, as well as Sílvio Caldas, Francisco Alves, Moacir Bueno Rocha, Castro Barbosa, Luís Barbosa, Noel Rosa among others. Azevedo was presented to his potential partner J. Cascata in 1935. Both performed within the Hora Sertaneja, composing music to sing there. Orlando Silva documented “Mágoas de Caboclo” and “História Joanina” with the duo, starting some hits. Within the next calendar year, Silva documented the duo’s samba “Juramento Falso” as well as the valse “Lábios Que Beijei.” With Sá Roris, Azevedo composed the choro “Apanhei um Resfriado” (documented by Almirante), the samba “European union Vou Dizer” (documented by Odete Amaral), as well as the valse “Maria Fulô” (documented by Gastão Formenti, his long-time idol). With Luís Bittencourt, he composed “Lua Triste,” documented by Sílvio Caldas. The march “Não Pago o Bonde” (with J. Cascata), documented by Odete Amaral, was a big strike within the Carnival of 1938. “Quem Foi” (with J. Cascata) was documented by Carlos Galhardo in 1939. Using the same partner, Azevedo composed the samba “Símbolo Sagrado” as well as the valse “Quero Voltar Aos Braçoperating-system Teus” in 1940. With Sá Roris, Azevedo composed a satire in regards to the Nazi soldiers, “Passo de Avestruz,” documented for the Carnival of 1942 by Almirante. Orlando Silva documented many compositions by Azevedo/Cascata in the next years: in 1945, “Ela Vai Voltar”; in 1952, the valse “Pedras Dispersas”; in 1953, the samba “Escravo perform Amor”; in 1954, “De Que Vale a Vida Sem Amor.” Carlos Augusto documented an record for Sinter focused on the duo’s compositions, Músicas de J. Cascata and Leonel Azevedo. Within the ’60s, using the demise of his primary partner, Azevedo just retook the compositional procedure in 1962, composing the samba-canção “Só” (documented by Dorinha Freitas) with Adelmo Lima, “Vamos Sambar” (documented by Dilermando Pinheiro) with Nelson Fonseca, as well as the samba-canção “Sonho Desfeito” (documented being a tango by Dorinha Freitas) with Adelmo Lima. He also was documented with success for the reason that 10 years by Sílvio Caldas and Orlando Silva. Some five LPs premiered along with his unpublished tracks, Histórias de Amor.