Luís Americano was a virtuoso of clarinet and a fundamental composer in the genre of choro. His classics are present in every self-respecting choro discography, and he has been re-recorded extensively by choro interpreters worldwide. Son of band conductor Jorge Americano, Luís began his musical studies on clarinet and saxophone very early. He joined the Army as a musician and was transferred to Rio in 1921. He was discharged the next year, when he became a professional musician, playing in nightclubs and dances. Americano joined the most important orchestras of those times, such as with Simon Boutman and Romeu Silva. He began to record in the '20s for Odeon and worked for American drummer and bandleader Gordon Stretton, with whom he toured Argentina in 1928. He stayed there, joining the Adolfo Carabelli Orchestra. In 1930, he came back to Rio, where he joined Rádio Mayrink Veiga's orchestra and formed the American Jazz Orchestra, which recorded for Victor. In 1932, he began to write great choro hits that firmly established him as a major composer (such as "É do Que há"), along with his exceptional capabilities as a clarinetist. In the same year, he joined Grupo da Guarda Velha. In 1936, he formed Trio Carioca with Radamés Gnattali (piano), Luciano Perrone (drums) to play American standards in the choro idiom. In August 1940, he was one of the talents chosen by Pixinguinha for Stokowski's recordings representing Latin America, where he interpreted his "Intrigas no Buteco do Padilha," "Tocando pra Você," and "Luís Americano no Lido" (Native Brazilian Music, Vol. 2 and Columbia album Luis Americano: Tocanda Pra Você). In 1950, Americano joined Rádio Nacional as a supporting musician with its varied ensembles and orchestras, where he worked and composed until his death. ~ Alvaro Neder, Rovi