Biography
From the earliest days of Brazil's recording industry, Louro ranked among its most prolific session musicians. He first studied music in the ensemble sponsored by Companhia Manufatora Fluminense, the clothing factory that employed him. At age 16 he left that group to lead the seventy-piece Euterpe Rio-Bonitense.
Louro fashioned his own treatment of a familiar melody, which he named "Dança do Urubu"; Pixinguinha and his Oito Batutas later recorded it in 1922 as "Urubu Malandro." The piece endures as a choro favorite because its structure and harmony invite improvisation, and it remains popular to this day.
Through engagements throughout Rio de Janeiro and Niterói, Louro attracted wide notice. Aided by Chiquinha Gonzaga, he organized Grupo do Louro, whose lineup of clarinet, cavaquinho, and guitar cut numerous titles for Casa Edison, among them the hit original "Moleque Vagabundo." He had already made the first recording of "Urubu Malandro" in 1914. In 1919 the ensemble appeared at João Caetano theater for the revues A Juriti (Viriato/Chiquinha Gonzaga) and As Pastorinhas (Abadie Faria Rosa/Paulino Sacramento).
Two years later Louro sailed to Europe and performed with a newly formed group at Lisbon's Olímpia theater. Back in Brazil he resumed recording while playing saxophone and clarinet in multiple orchestras.
Louro fashioned his own treatment of a familiar melody, which he named "Dança do Urubu"; Pixinguinha and his Oito Batutas later recorded it in 1922 as "Urubu Malandro." The piece endures as a choro favorite because its structure and harmony invite improvisation, and it remains popular to this day.
Through engagements throughout Rio de Janeiro and Niterói, Louro attracted wide notice. Aided by Chiquinha Gonzaga, he organized Grupo do Louro, whose lineup of clarinet, cavaquinho, and guitar cut numerous titles for Casa Edison, among them the hit original "Moleque Vagabundo." He had already made the first recording of "Urubu Malandro" in 1914. In 1919 the ensemble appeared at João Caetano theater for the revues A Juriti (Viriato/Chiquinha Gonzaga) and As Pastorinhas (Abadie Faria Rosa/Paulino Sacramento).
Two years later Louro sailed to Europe and performed with a newly formed group at Lisbon's Olímpia theater. Back in Brazil he resumed recording while playing saxophone and clarinet in multiple orchestras.
Singles
