Composer of Maria, Carnaval e Cinzas, recorded by Roberto Carlos, and De Amor e Paz (written with Adauto Santos; interpreted by Elza Soares, with which he made himself present in the historic festivals of the '60s), Luís Carlos Paraná also had some success as an interpreter. Especially, he was the musical producer and owner of the Jogral club in São Paulo, an influential center of music and culture where Jorge Ben Jor and Martinho da Vila launched their careers. Having been a peasant until 19 and then a commercial employee, Paraná taught himself the guitar, playing for a living in the streets and then in clubs. Moving to São Paulo, with the help of some friends he opened the club Jogral, which would became historically important as a spot for good music (and a precursor to the clubs dedicated to samba), starting a duo with Paulo Vanzolini.

In 1966, Paraná participated in the II Festival de Música Popular (Festival of Popular Music, TV Record), with De Amor e Paz (written with Adauto Santos), which, interpreted by Elza Soares, earned second place. In the next year, he recorded his first single with two songs by Vanzolini, Capoeira do Arnaldo and Napoleão. Still in 1967, Roberto Carlos presented Paraná's Maria, Carnaval e Cinzas at the III Festival de Música Popular Brasileira (Festival of Brazilian Popular Music), earning fifth place. The song was recorded by Carlos, and then by Paraná himself, the latter on the LP III Festival de MPB. Paraná also recorded in that período Vanzolini's Samba do Suicídio, included on the LP I Bienal do Samba. He also staged at the TBC theater (São Paulo) the musical +Jogral 69 ou Os Homens Verdes da Noite, producing in the next year the LP Jogral 70. Five years after his early death, the label Marcus Pereira released the album A Música de Carlos Paraná, with liner notes by Paulo Vanzolini. ~ Alvaro Neder, Rovi