(Coromandel / MG, February 13, 1915 - Rio de Janeiro, April 13, 1980)

            The traditional bands of bandstand aroused in the inner boy an interest in music. Listening to the radio, he was enchanted by the clarinet of the master Luiz Americano and the sax of Pixinguinha, his main preferences. From a poor family, he worked from an early age and received some guidance from a local teacher, becoming practically self-taught. From 1935, it began to show itself in São Paulo, Belo Horizonte, and in other cities of Minas Gerais. He made his debut in the phonographic market, when he launched the label Columbia (1942) of his own: choro Chorando Baixinho (which would become one of his greatest hits) and Vânia waltz.

The following year, he moved to Rio de Janeiro, performing in an orchestra at the Casino of Urca and later, in those of Vicente Paiva and Bené Nunes. In 1949, he joined Radio Nacional, becoming the leader of "Turma do Sereno", and with his companion, the singer Paulo Tapajós formed the "School of Rhythms" in 1952, touring all over Brazil. In forming his own ensemble, Abel Ferreira toured Portugal in 1957 and recorded countless authorial successes and the repertoire of others, starting in 1958, began the LPs: Acariciando (seal Todamérica), with the participation of the daughter and singer Vânia Ferreira In the bands Constantemente (partnership with Luiz Bittencourt), Melancolia (with Vânia Ferreira), Que Passou Passou (with Marlene); Dancin '(Copacabana label), featured in international pieces I Only Have Eyes For You (Harry Warren, Al Dubin), Besame Mucho (Consuelo Velasquez) and the national Is Good To Stop (Rubens Soares, Noel Rosa), Alas, Saudades da Amélia (Ataulfo ​​Alves, Mário Lago); Dinner Dancer No. 2 (Copacabana, 1959), in the repertoire: On the Board of Baiana (Ary Barroso), The Whistle On Samba (Luiz Bandeira, Luis Antônio), Copacabana (João de Barro, Alberto Ribeiro), Evocation (Nelson Ferreira).

In 1960, with the aforementioned pianist Bené Nunes, he traveled through the United States and Hawaii, and the following year with the set of Waldir Azevedo, by Argentina. In the 60s, two great albums were released, in Odeon label: Abel Ferreira and Turma do Sereno (1962), among the tracks: Corta Jaca (Chiquinha Gonzaga), Luar de Paquetá (Freire Júnior, Hermes Fontes), Iara Anacleto de Medeiros) and Abel Ferreira and his group: Chorando Baixinho (1965), to applaud: Saxophone Why Do You Cry? (Little Mouse), Little Pieces of Heaven (Waldir Azevedo, Miguel Lima), Doce Melodia (author). Still in 1964/1965, he returned to Europe, and in 1968, visited the former USSR and other European countries.

In the 70's, four notable releases: In the Time of the Cabaret (CID, 1975), a true and lively dance festival: Gosto Que Me Enrosco (Sinhô), Tatu Subiu No Pau (Eduardo Souto), By Phone (Donga, Mauro de Almeida ), Seu Rafael (Caninha), Midnight Tango (autoral); The album Abel Ferreira: Brazil, Sax and Clarineta (Marcos Pereira, 1976), with outstanding readings of Sorriso de Cristal (Luiz Americano), Rapaziada do Brás (Alberto Marino) and the author Sai da Frente, Haroldo No Choro; (WEA, 1977), recorded live in the João Caetano Theater, with the clarinetist applauded in André de Sapato Novo (André Victor Correia), and the second album Choro Na Praça: Waldir Azevedo, Zé da Velha, Abel Ferreira, Paulo Moura, Copinha and Joel Nascimento ), Cavaquinho Seresteiro (Waldir Azevedo) in duo with the author, among other interventions; The sophisticated LP Altamiro Carrilho, Abel Ferreira, Formiga and Paulo Moura play Vivaldi, Weber, Purcell, and Villa-Lobos (Som Livre, 1977), with the Brazilian Symphonic Orchestra, conducted by Julio Medaglia, the exciting LP Abel Ferreira e Filhos Marcos Pereira, 1977), with vocal appearances of the children in the author Luar de Coromandel (Leonardo Bruno), Acariciando - coautoria by Lourival Faissal (Vânia Ferreira), and the repertoire of. Leonardo and Vânia. Still in 1977, Abel Ferreira and singer Ademilde Fonseca provided a memorable performance for the historic Pixinguinha Project, entirely dedicated to crying.

With presentations in Rio de Janeiro, São Paulo, Curitiba and Porto Alegre, the duo shared the stage with anthological interpretations of Tico-Tico No Fubá (Zequinha de Abreu, Eurico Barreiros), I Caused Cavaquinho (Ernesto Nazareth, Darci de Oliveira) , Brazilian (Waldir Azevedo, Pereira Costa), Urubu Malandro (traditional, adapted by Lourival de Carvalho, with lyrics by João de Barro), and solo readings, accompanied by a regional one. His last participation in the album was the CD Chorando Baixinho, a historical meeting: Arthur Moreira Lima, Abel Ferreira, Copinha, Zé da Velha, Joel Nascimento, Época de Ouro (Kuarup, 1979), recorded live at the Hotel Nacional In the previous year, when his already mentioned works Chorando Baixinho (accompanied by Arthur Moreira Lima and Época de Ouro), Sai da Frente (with the Golden Age group) were interpreted.

With his passing, Abel Ferreira, an accomplished instrumentalist, deep and enveloping, inspired and melodious composer of a fundamental role in the creation of the national repertoire of choro and serenade wheels, left his name in the history of popular music as an example to be followed by the new Generations. In 1998, the CD Abel Ferreira and his ensemble, Vol. 2 (RGE), a collection extracted from 78 rpm (seal of the Americas) featuring pearls such as: Polquinha Mineira, Chorinho Ao Luar, Mexidinho and others Galo Garnizé Almeida, Luiz Gonzaga, Miguel Lima), Crazy of Love (Norival Reis), and much more.

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