(Recife / PE, July 28, 1904 - Rio de Janeiro, April 5, 1977)

            Born and raised in the Afogados neighborhood, at the age of eight, Luperce Bezerra Pessoa de Miranda participated with his older siblings in the rehearsals that his father, a multi-instrumentalist, promoted every day for the repertoire to be played in clubs and cabarets . From 1916, the talented Luperce began to work as a professional musician of the night of Recife, having realized his first recital of mandolin in the famous Theater Santa Isabel. Three years later, he became director of the North Lion Jazz Band, the main attraction of the historic and sophisticated Glory Confectionery, where João Pessoa, president of the state of Paraíba, was murdered in 1930.

In 1927, invited by João Pernambuco and under the patronage of the Correio da Manhã newspaper, the group Turunas da Mauricéia arrived in Rio de Janeiro, with sertanejos costumes and straw hat facing upwards, identifying its components: Patativa do Norte (Augusto (Tango), Periquito (Joao Frazão - guitar), Guajurema (Manoel de Lima - guitar), Tan (Romualdo Miranda - guitar), Riachão (João Miranda - cavaquinho and mandolim), disseminating northeastern rhythms and songs, little known in the region southeast. The presentation in the Teatro Lírico, of great repercussion, came to influence the emerging Admiral, Noel Rosa, Braguinha, among others, who formed the similar Bando dos Tangarás. In the same year, the Turunas launched (seal Odeon) the embarrassed Pinião (Luperce Miranda, Augusto Calheiros), great success of the carioca carnival, the following year.

In 1928, free from his professional commitments in Recife, Luperce came to Rio de Janeiro, accompanied by the Voz do Sertão group (in which guitarist and composer Jaime Florence "Meira" and singer Minona Carneiro would emerge). Immediately, he recorded several 78 rpm (Odeon label), with songs of his own: choros A Farra do Olegário, Aguenta Meu Bem, Cavaquinho de Ouro, There Goes Wood, Me Deixa Xavier, Não Me Eu, Frente Se Que Se Walks, waltzes Soul and Heart, Lindete, Lucinete, the march Lucia, the polka Do not Tear, the fox Primoroso, among others. Invited by Francisco Alves, he traveled in 1932 to Argentina, where he was much applauded, accompanying the singer or performing solo. From 1936, he began to work on Radio Mayrink Veiga in his famous program Cazé, which aired on Sunday mornings.

In this station, he organized the Brazil Quartet (1943/1944), including Romualdo Miranda, Tute and Zé Menezes, with their members performing guitar. From September to November 1946, he was hired by Rádio Nacional. The following year, Luperce returned to Recife, working on the powerful Rádio Jornal do Comércio, in addition to presentations in several capitals such as Salvador and Fortaleza. Back in Rio de Janeiro, in 1955, he returned to the cast of Radio Nacional, and recorded his first LP, Ritmos Brasileiros, Vol. II - Choros e Valsas: Luperce Miranda on mandolin soles (Sinter label), totally authoritative including pearls Like the choros Bate Palmas, Picadinho à Baiana and the waltzes Tézinha and When I Remember. The following year, he installed the Luperce Miranda Music Academy in his home in Nilópolis, acting as a teacher of mandolin and other string instruments (among students Déo Rian and Evandro do Bandolim).

In 1964, in Odeon label, the precious Luperce Miranda was published: the eternal seresta, where he strolls with all his instrumental technique for the repertoire of others such as Last Inspiration (Peterpan), Favela (Roberto Martins, Waldemar Silva), Velho Realejo Mesquita, Sady Cabral), Doll (Benedito Lacerda, Aldo Cabral), and many more. For the Museum of Image and Sound (MIS), in 1969 he recorded the LP Luperce Miranda: from yesterday and always, to justify the suggestive title he presented among others: Santinha (Anacleto de Medeiros), Dear for All (Joaquim Callado), Odeon Ernesto Nazareth), Little Pieces of Heaven (Waldir Azevedo), Fala Coração, Janet, A Kiss for You, those of his own. The following year, accompanied by his regional, including his son Jorge Luperce (guitar), Iter (cavaquinho), among other young musicians, he published the Mandolin and the Master (Prodigious label), when he exhibited unpublished pieces such as Martelando, Domingo Cheerful, In The House Of The Athayde, Little Princess. He then released Luperce Miranda (Sound, Copacabana, 1971), garimpo of pearls as Norival Aos Sixenta, Risonha, in addition to Reviewing the Past (Freire Junior), Bambino (Ernesto Nazareth). In 1973, retired by National Radio , Already presenting problems of heart, but still in activity recording the LP Luperce Miranda: the history of a mandolin (Discos Marcos Pereira, 1974), in which presented pieces of the previous album and added Subindo Ao Céu (Aristides Borges), Bernardino and History Of A Mandolin (Luperce Miranda), At That Time (Pixinguinha, Benedito Lacerda), and others. After his death, Luperce Miranda was released Luperce Miranda (MIS, 1978), among his 14 tracks: Reboliço, No Meu Sertão, Salve o Rei, Caboclo Brasileiro.

Already in 1995, the great CD Pedro Amorim played Luperce Miranda (Saci label), readings of Bumba Meu Boi, Semper Te Amando, and special appearances of Teca Calazans in Ai Maria, Pinião and Joel Nascimento in Responde Moacir.Luperce Miranda , A genius of our popular music, composer of countless masterpieces, unrivaled technique, exquisite and vigorous, known as "The Paganini of the Mandolin", for the speed with which he played his instrument, remains fundamental in the current "rodas de choro".

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