Biography
Armandinho stood among the leading architects of choro in São Paulo. Beyond his stature as a sought-after accompanist and radio performer, his works found their way onto recordings by Antônio Rago and Geraldo Ribeiro, the latter dedicating an entire LP to the composer’s output. Zé Menezes captured “Mafuá” in 1957, and Aimoré followed with another version in 1966. Following Armandinho’s death, an ensemble that included Paulinho da Viola issued a full album of his pieces. From childhood onward he regularly visited the residence of violin instructor Antônio Paula de Souza. He acquired his violão technique solely by ear and never studied written music. Before turning fully to music he played professional soccer for Ponte Preta and Guarani; after transferring to Corinthians he moved to São Paulo and left the sport in 1919. There he took violão lessons from his brothers José Matoso and Joaquim Matoso and, in 1926, from Larosa Sobrinho. Though unable to read music, his intuitive grasp produced harmonically refined works. That same year Sobrinho introduced him to Rádio Educadora Paulista, where Armandinho assembled the city’s first regional ensemble. The group took part in the inaugural radio link between Rio and São Paulo. In 1927 he entered Os Turunas Paulistas, directed by Canhoto (Américo Jacomino), widely regarded as the foremost musician of the era. During 1928 he appeared alongside João Pernambuco, João dos Santos, Levino da Conceição, and additional players. Also in 1928 he assumed leadership of the Rádio Record ensemble, a post he held through 1956 while the station reached its peak local influence. In 1930 he performed for the Paraguayan virtuoso violonista Agustin Barrios and, together with Larosa Sobrinho, cut two Parlophon sides. Despite his reputation as a premier accompanist, Armandinho released only a single solo 78, issued by Decelith in 1938.