Américo Jacomino, the Canhoto, is revered as an old-time master of the Brazilian instrumental guitar. At least two of his compositions, "Abismo de Rosas" and "Marcha dos Marinheiros," although somewhat dated, are still today affectionately regarded by instrumentalists. He also left behind some successful carnival marches. Canhoto learned to play the guitar with his older brother. As a left-hander, Canhoto never changed the order of the strings, playing the violão (guitar) in the inverted position, which granted his lifelong nickname (which means "left-handed man"). In 1907, he met the famous singer Paraguaçu and started to accompany him in performances during silent movies. In 1913, Canhoto was already enjoying good fame and recorded for the first time for the label Odeon. Three years later, one of his two earliest pieces was "Acordes do Violão," later known as "Abismo de Rosas," one of the classic pieces of the instrumental repertory of the Brazilian violão. With the soon-to-be lyrical singer Abigail Alessio and the actor Viterbo Azevedo, he formed a trio which toured through several cities but was dissolved with Azebedo's murder. Canhoto's production of music for the carnival also had expression; he successfully launched "Ai, Balbina" (with Arlindo Leal, 1920) and "Já Se Acabô" (also with Leal, 1921). Canhoto recorded his other instrumental classic for the guitar, "Marcha dos Marinheiros," in 1926. Francisco Alves re-recorded his samba "Só na Bahia É Que Tem." Voted the King of the Barzilian Violão in a contest in Rio de Janeiro, he returned to São Paulo and formed the Turunas Paulistas group. Canhoto continued to record and perform until his demise. ~ Alvaro Neder, Rovi