Luciano Perrone is known as by many because the dad of Brazilian drumming. He was the first ever to record a samba for the snare drums, and helped his longtime collaborator, Radamés Gnattali, to refurbish the Brazilian orchestrating design by using even more space for the drums. The boy of conductor Luís Perrone and pianist Noêmia Franklin Batista Perrone, he began to consider music lessons extremely early along with his dad, and, at seven, being a choir soloist, performed with Enrico Caruso and Gilda Dallarizza within the opera Lodoletta. At 14, he began to play appropriately on the Movie theater Odeon. Shortly, he was dealing with consecrated brands like Simon Boutman, Rafael Romano, Chamek, and, a decade afterwards, Osvaldo Cardoso de Meneses; he performed frequently in the very best cinemas, casinos, and theaters, with the very best orchestras and jazz rings. In 1927, he begun to record at Odeon (implemented two years afterwards by Victor and Columbia), when he released the samba defeat towards the snare drum while documenting. In 1929, he fulfilled Radamés Gnattali, with whom he’d develop a significant cooperation within the years to come. Within this cooperation, orchestration was innovated with the liberation of drums for embellishments with the percussive usage of the orchestra. Gnattali focused on him “The Samba em Três Andamentos” and “Bate-Papo a Três Vozes,” where Perrone was highlighted as soloist. In 1931, he supported Sílvio Caldas within the Brasil perform Amor revue, and 3 years afterwards became area of the ensemble from the Rádio Cajuti as an orchestral member, accompanied by an appearance on Rádio Transmissora. He was employed by Rádio Nacional during their base in 1936, employed in practically all formations until 1961. In 1938, he had written “Ritmo de Samba na Cidade” for percussion and orchestra, and, within the next season, participated within the historical documenting of “Aquarela perform Brasil” (Ary Barroso), interpreted by Francisco Alves with preparations by Gnattali. In 1941, he performed at the air Mundial (Buenos Aires, Argentina). Nine years afterwards he was elected by well-known vote within a contest to discover the best drummer of the entire year, duplicating the deed in 1951 and 1952. In 1960, with Radamés and his sister, Aída Gnattali; Edu da Gaita; Chiquinho perform Acordeon; José Menezes; Vidal; and Luís Bandeira, he toured Portugal, France, Britain, and Italy in another Caravana Oficial da Música Popular Brasileira. In Lisbon, Portugal, he performed with the neighborhood symphony and made an appearance on Portuguese Television. In Paris, France, he performed on the UNESCO, on the Sorbonne, and was on Television aswell. In London, Britain, he performed in the University or college of Oxford, the Royal University of Artwork, Alhambra, and Wilgmore. In Rome, Italy, he performed in the Antici Palace and was presented on Italian radio and Television. He worked well at Rádio MEC from 1961 to 1968, when he retired. In 1963, he was employed by Television Excelsior and, in 1967, along with his LP, Batucada Fantástica (Musidisc), received the Charles Cros Academy International Record Honor. He commemorated 50 years of professional activity in 1972 by documenting Batucada Fantástica, Vol. III. In 1994, he was paid tribute for his 70-12 months profession when he retired definitively.