Denis Brean, one of the best composers from São Paulo and one of the very few from that city to be recorded by Carioca interpreters, wrote hits that became classics; like his first and biggest hit "Boogie-Woogie na Favela" (recorded in 1945 by Ciro Monteiro, and recorded later by many artists like Zacarias e sua Orquestra, Roberto Silva, and Anjos do Inferno). His beginning was with "Poesia da Uva," awarded in a local contest and then recorded by Ciro Monteiro. In the next year, the Conjunto X recorded his samba "Brazilian Clipper," and in 1938, "O Modelo de Beleza." In 1944, his valse "No Tempo da Onça" had much success in Carlos Galhardo's rendition. The marcha "Minha Linda Salomé" (with Vitor Simon) was another hit in 1945. In 1947, Francisco Alves recorded with success the samba "Bahia com H" (recorded later by João Gilberto, Caetano Veloso, and Gilberto Gil). "Onde Há Fumaça Há Fogo" (with Osvaldo Guilherme) was recorded by Joel e Gaúcho, who included on the same record "Boogie-Woogie do Rato." Isaura Garcia had success with the toada "Marrequinha" (with Raul Duarte) in 1950. In 1951, Dircinha Batista recorded "La Vie en Samba" (with Blota Júnior) and, in the next year, the baião "Mambo Não" (with Luiz Gonzaga). Brean also had success as a composer of carnival marches, like the hit "Grande Caruso," recorded by João Dias in 1952. Brean also wrote two classics, "Conselho" and "Franqueza," recorded by Nora Ney and Maysa, and later re-recorded by several other interpreters.