(Jatobá / PE, November 2, 1883 - Rio de Janeiro, October 16, 1947)

            At approximately eight years of age, João Teixeira Guimarães followed with his mother, brothers and stepfather to Recife, where they settled in the old neighborhood of the Tower. While working as a blacksmith, he began to attend, in the evening, a traditional roda de violeiros, singers and repentistas in the market of the Patio São Pedro. Talented, he soon learned to play the guitar and mastered it. In 1904, without ever having studied, but with knowledge of popular culture, he landed in the port of Rio de Janeiro, and lived with one of the sisters in Rio Comprido. After some work in foundries, he moved to a pension in Lapa, corner of the streets of the Invalides with Riachuelo, meeting Donga and Pixinguinha, resident there.

From 1908, he began to work as a knitter of the City Hall, having more time to dedicate himself to his art. The cycle of friendship with celebrities of popular music was increasing, and in 1910, already included Satyr Billiards, Quincas Laranjeiras, Catulo da Paixão Cearense, among others, besides participating in the dances of the carnival clubs like Democráticos, and of the famous Feast of Penha. At this time, already an author of choros, songs, toadas sertanejas, began to display the coconut Engenho de Humaitá, which would become the famous song "Luar do Sertão" and "Cabocla de Caxangá" (a great carnival success in 1914) By Catulo da Paixão Cearense. From that year, he organized the Caxangá Group, of northeastern inspiration both in themes and in clothing, with each musician of the animated group adopting a codename sertanejo. Showing the main points of Avenida Rio Branco, among the members were: João Pernambuco (Guajurema), Caninha (Mané Riachão), Pixinguinha (Chico Dunga), Donga (Zé Vicente) and Jacob Palmieri (Zeca Lima).

The group remained always very bright, until 1919, when they performed for the last time in an armed bandstand in Largo da Carioca. He then taught guitar at the Cavaquinho de Ouro instrument house and participated in the group Os Oito Batutas (until 1921) in several cities of São Paulo, Minas Gerais, northeast, Niterói and Rio de Janeiro. In 1926, by the record company Odeon, it launched of his own the Maxixes Mimoso and Tears and the choros Magoado and Sounds of Carrilhões, another great success of its race.

In 1930, a series of 78 rpm (Columbia label) was edited with the composer accompanied also to the guitar by Zezinho (later known as Zé Carioca), who originated the historical LP O Som e o Música de João Pernambuco (Continental label, 1979), of several pearls, like: the choros Recalling, Reboliço, Powder of Mico and the waltz Suspiro Passionate. In 1934, invited by Villa-Lobos (admirer of his work), he transferred as a continuation to the Superintendency of Music and Artistic Education, created by him, to the prefecture of the former Federal District, where he remained with the humble function until the end of your life.

In 1983, Funarte paid him a fair homage with the publication of the album João Pernambuco - 100 years: Antônio Adolfo and Nó In Pingo d'Água, with anthological readings for the waltzes Dream of Magic, Waltz In There, the cries Graúna, Brasileirinho among others. His genial and versatile work, continues deserving countless recordings: Caio Cezar interprets João Pernambuco (Carrilhões, 1992), in highlight: the tango Feeling, the jongo Interrogando and the choro Dengoso; Duo Barbieri-Schneiter in Caraça (Rob Digital, 1996), recorded in the Church of the Sanctuary of Caraça (MG), with exciting presentations of Sounds of Carrilhões, Choro Nº 2, Brasileirinho and Interrogando; Leandro Carvalho: João Pernambuco, the guitar poet (Eldorado, 1997), re-readings of the classic Luar do Sertão and A Cabocla de Caxangá, besidesdraditional My Engagement (adaptation); Leandro Carvalho: discovering João Pernambuco (Eldorado, 1999), with contributions from the Paraíba Quintet, revisiting Estrada do Sertão, Lamentos, Nocturne; Baden: João Pernambuco and the Sertão (Sesc / SP, 2000), the late Baden Powell in his last records Study 1 among others already cited; Nelson Latif: tribute to João Pernambuco (Independente, 2010), homage to the idol in Uma Toada for João (Nelson Latif), João for João (João Bosco de Oliveira). Internationally revered by great masters such as the Spaniards Pepe Romero, Paco Peña, Argentina's Maria Luisa Anido, the Greeks Paul Vondiziano and Eleftheria Kotzia, the Cuban Leo Brower, the Canadian Liona Boyd and our Villa-Lobos and Turíbio Santos, who connect the Classic to popular, testimonies of the reach of the immortal work of João Pernambuco.

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