Turunas da Mauricéia

Vocal/instrumental group shaped in Recife, Pernambuco, in 1926 by Augusto Calheiros (vocals), João Frazão (musical director/guitar), the blind Manoel de Lima (guitar), and brothers João Miranda (guitar) and Romualdo Miranda (violão), the Turunas da Mauricéia extensively influenced the metropolitan music of Rio de Janeiro using their ostensive Northeastern culture. This is noticed through the looks of organizations mirrored within their overall performance and compositions, such as for example Bando de Tangarás created by Noel Rosa, Almirante, João de Barro, and additional important performers who mirrored the Turunas within their early shows. Relating to Almirante, Luperce Miranda (mandolin) was by no means an effective person in the group, notwithstanding the ubiquitous recommendations affirming the in contrast. Regardless of their brief existence (1927-1929), these were an absolute achievement in their period, touring the south of Brazil along with Argentina and Uruguay, having documented 17 78 rpms with 34 tunes. Their biggest strikes had been “A Canção da Sertaneja” (Adauto Belo, 1929), “É Boi!” (Augusto Calheiros, 1929), “Helena” (Luperce Miranda, 1927), “Muié Teimosa” (Augusto Calheiros, 1929), “Oia! Oia! O Tombo perform Ganzá” (João Frazão, 1929), “O Pequeno Tururu” (Luperce Miranda/Augusto Calheiros, 1927), “Pandeiro Furado” (unfamiliar, 1927), “Pinião” (Augusto Calheiros/Luperce Miranda, 1927), and “Samba da Pesqueira” (João Frazão, 1929). In 1927, the group relocated to Rio de Janeiro without Luperce Miranda, who join them weeks later. For the reason that town, they opened in the Teatro Lírico, sponsored from the Correio da Manhã daily. Discovering the exoticism from the Northeastern “standard” cowboy clothing as well as the folkloric repertory of cocos, emboladas, and toadas — until after that unfamiliar in the Southeast (apart from toadas like “Luar perform Sertão” by João Pernambuco/Catulo da Paixão Cearense) — that they had tremendous success right away. Soon employed for the Rádio Clube, they truly became increasingly more popular plus they had popular using the embolada “Pinião” (Luperce Miranda), which became the best success from the Carnaval of 1928. The group was dissolved in 1929 plus some of its associates came back to Recife.