Canhoto

Américo Jacomino, known throughout his life as Canhoto, earned lasting recognition as a foundational figure in Brazilian instrumental guitar traditions. Instrumentalists continue to hold two of his works, “Abismo de Rosas” and “Marcha dos Marinheiros,” in high esteem despite their age, while several carnival marches he composed also achieved notable success.

He acquired his first guitar lessons from an older brother. Because he was left-handed, Canhoto kept the strings in their standard order and played the violão upside down, an unorthodox posture that supplied his enduring nickname, meaning “left-handed man.” In 1907 he encountered the celebrated vocalist Paraguaçu and began supporting him during live accompaniment for silent films. By 1913 Canhoto already enjoyed widespread local recognition and made his debut recordings for Odeon. Three years afterward he introduced one of his earliest pieces, “Acordes do Violão,” later retitled “Abismo de Rosas” and now regarded as a cornerstone of the Brazilian violão repertory.

Alongside the emerging lyrical singer Abigail Alessio and the actor Viterbo Azevedo he assembled a trio that performed across numerous cities; the group disbanded after Azevedo’s murder. Canhoto’s contributions to carnival repertoire proved equally productive: he released the successful numbers “Ai, Balbina” (with Arlindo Leal, 1920) and “Já Se Acabô” (also with Leal, 1921). In 1926 he committed his second enduring guitar classic, “Marcha dos Marinheiros,” to disc. Francisco Alves later covered Canhoto’s samba “Só na Bahia É Que Tem.” After winning a Rio de Janeiro contest that crowned him King of the Brazilian Violão, he returned to São Paulo and organized the ensemble Turunas Paulistas. Canhoto maintained an active schedule of recordings and performances until his death.