Patrício Teixeira

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With the advent of radio in Brazil, Patrício Teixeira pioneered the new medium initially participating as a singer at the Rádio Clube do Brasil and then switching to Guanabara, Cajuti, Sociedade, Mayrink…
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Artist Biography by

With the advent of radio in Brazil, Patrício Teixeira pioneered the new medium initially participating as a singer at the Rádio Clube do Brasil and then switching to Guanabara, Cajuti, Sociedade, Mayrink Veiga, and others, working in radio stations for almost 30 years. Owner of a vast and diversified repertory, his large discography is comprised of modinhas, partido-alto sambas, emboladas, toadas sertanejas, and Carnaval music recorded after 1918 through Odeon, Parlophon, Columbia, and Victor. He was a close friend of the famous chorões (choro players) of his time, such as Pixinguinha and Donga (with whom he toured Brazil in 1928), Villa-Lobos, Catulo da Paixão Cearense, and João Pernambuco. A highly popular artist, he had preference for the repertory of Brazilian folkloric songs.

Living in the Carioca borough of Estácio, where the modern samba was born in the 1930s, Teixeira taught himself the guitar starting at 11. From 1910 to 1915, he did serenatas (serenades) in Vila Isabel and Praça 11. Also a music professor, he had as pupils Olga Praguer Coelho, Linda Batista, Aurora Miranda, and later Nara Leão and her sister Danuza Leão. In 1927, he had success with "Casinha Pequenina" (public domain) and "Caboca Bunita" (Catulo da Paixão Cearense). In the next year, he recorded with the Oito Batutas the samba "Pé de Mulata" (Pixinguinha). From 1928 to 1956, he had several hits, such as "Gavião Calçudo" (Pixinguinha, 1929), "Xoxô" (Luperce Miranda, 1930), "Cabide de Molambo" (João da Baiana, 1932), "Não Tenho Lágrimas" (Milton de Oliveira/Max Bulhões, 1937), "Desengano" (Haroldo Lobo/Milton de Oliveira, 1938), and "Azulão" (Heckel Tavares/Luís Peixoto), among others.