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Index

Choro Chiquinha Gonzaga Ernesto Nazateth Pixinguinha Zequinha de Abreu Jocob do Bandolim Waldir Azevedo

Bossa Nova Tom Jobim Vivicius de Moraes

Forr Luiz Gonzaga Jackson do Pandeiro

Samba

Chiquinha Gonzaga (Rio de Janeiro, 1847 1935).

Primeira grande compositora que (Rio de Janeiro, 1847-1935 ) was the first great brazilian composer. Her activity was extraordinary in all sectors. Only for the theater she wrote no fewer than 77 music scores, almost all staged and many of them quite successfully

. Was the author of nearly two thousand compositions in genres as varied as waltzes , polkas , tangos , lundus , maxixes , fado , quadrilles , mazurkas , choros and serenades .

Chiquinha devoted herself exclusively to music : spent the day teaching and at night she began to participate in balls and chores reunions, normally reserved

for men. Chiquinha was an active citizen, involved in all kinds of social movements that took place during her age in Brazil, such as the Abolition of Slavery and even the Republican movement. Her song Aperte o boto (Push the button ) was considered subversive . Chiquinha had an arrest warrant and had her songs apprehended.

In 1899, she lived in Andara, near the headquarters of the carnivalesque cord Golden Rose. She was asked then to compose a music for the next carnaval. Chiquinha, with the help of percussion instruments, wrote a simple short song, easy to memorize called O Abre Alas!. This song stil is one of the most played songs during Carnaval in Brazil.

Gacho or Corta Jaca is Chiquinha Gonzagas most recorded song. It was a song from the burlesque operetta Zizinha Maxixe first staget in 1895. The original music score published by Vieira Machado & Cia got the subtitle Brazilian tango, which was more palatable to polite society than maxixe.

The original title being Gaucho, the song had the

Choro (cry or lament), popularly called chorinho (little cry or little lament), is an instrumental Brazilian popular music genre which originated in 19th century Rio de Janeiro. Despite its name, the music often has a fast and happy rhythm. Choro resulted from the

style of playing several musical genres (polka, schottische, waltz, mazurka and habanera) by carioca musicians, who were already strongly influenced by African rhythms.

The Maxixe (also known as Brazilian Tango) is a type of brazilian ballroom dancing strongly influenced by African rhythms. Emerged in Rio de Janeiro in the 1870s, more or less when the tango also gave its first steps in Argentina and Uruguay. The pace, according to hypothesis raised by some scholars, was influenced by the music brought by slaves from Mozambique, whose name was borrowed from a Mozambican city.

In the late nineteenth and early twentieth centuries, the term choro was used informally at first to refer to the style of playing, or a particular instrumental ensemble, (e.g. in the 1870s flutist Joaquim Antnio da Silva Callado formed an ensemble called Choro Carioca, with flute, two guitars and cavaquinho),[3][4] and later the term referred to the music genre of these ensembles.

Tango Brasileiro was created by the chores (serenaders who play choro) as a variant of the highly syncopated habanera, Cuban gender that was also called tango-habanera, and that in its Brazilian variant, was named Brazilian tango. In its dance form has been termed maxixe, forbidden dance or frowned upon at the time of Nazareth. Gave the name Tango Brasileiro to hide the relationship with gherkin these compositions. Some reports also claim a difference with respect to harmony, with the Brazilian Tango a little more complex than his brother, the Maxixe.

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subtitle Dana do Corta-jaca. Eventually Corta jaca had become the best known title of the song. The dance in question is a Brazilian traditional dance, characterized by energetic individual spins, gymnastic moves, and percussive footwork. The expression corta jaca literally means cut the jackfruit and has a sexual innuendo, seen in the number Gacho itself.Ernesto Nazareth (Rio de Janeiro, 1863 1934).

(March 20, 1863 February 5, 1934) was a Brazilian composer and pianist, especially noted for his creative Maxixe and Choro compositions. Influenced by African rhythms and many musical styles like the Lundu and the Choro. He never fully accepted this influence, refusing to give popular names to his compositions. A musician of classical training, he classified his music as Brazilian tangos, since the Argentine tango and polka dances were considered fashionable at the time. His mother, Carolina da Cunha gave him his first piano lessons.

In 1893, Casa Vieira Machado launched a new catalogue of his compositions, including the tango Brejeiro, which achieved national and even international success, in that the Republican Guard band of Paris began to include it in their repertoire, coming even to record it.

In 1919 he began to teach private piano lessons and was hired as a pianist for Casa Gomes, owned by the pianist and composer Eduardo Souto, with the function

to perform songs to be sold. At the time, the most common way to become aware of new music was through the music houses and their music pianists demonstrators. There was no radio, the disks were rare, and cinema, silent. In 1920, Heitor Villa-Lobos dedicated to him the play Choros No. 1, for guitar.

Constant performer of his own compositions , Nazareth appeared as pianist also in theaters , dances , meetings and social ceremonies . From 1909 to 1913 , and from 1917 to 1918 , he worked in the waiting room of the old Odeon Cinema (prior to modern building

of the Municipal Theater ) , where many illustrious personalities went only to hear him . Nazareth named his most famous composition , the tango Odeon .

His compositions , though extremely pianistic , often portrayed the musical environment of serenades and choro , making him the revealer of the Brazilian soul , or more specifically Rio. Pixinguinha (Rio de Janeiro, 1897 1973).

was a composer, a r r a n g e r , flautist and saxophonist born in Rio de Janeiro. P i x i n g u i n h a is considered one of the greatest Brazilian composers of popular music, particularly within the genre of music known as choro.

He authored dozens of waltzes, sambas, polkas and cries. Composed orchestrations for film, theater and circus, as well as arrangements for famous performers, including Carmen Miranda, Francisco Alves and Mrio Reis.

Pixinguinha learned to play the flute at home but soon became a pupil of Irineu de Almeida, composing his first piece at age 14 and making his first recording at age 16. In 1912 he began to perform in cabarets and revues in the Rio de Janeiro neighborhood of Lapa. He then became the flautist in the house orchestra at the Cine Rio Branco movie theater (silent films at that time were often accompanied by live music). In 1914 he joined with his friends Joo Pernambuco and Donga to form the group Caxang, a group which gained considerable attention before it disbanded in 1919.

Five years later in 1919, Pixinguinha, along with his brother China, Donga, Joo Pernambuco, and other prominent musicians, formed the revolutionary musical group Os Oito Batutas (The Eight Amazing Players). Performing in the lobby of the Cine Palais movie theater, Os Oito Batutas soon become a more popular attraction than the films themselves.Their repertoire

Zequinha de Abreu (So Paulo, 1880 1935).

was a musician, composer and brazilian instrumentalist. Played the flute , clarinet and refines. One of the greatest composers of choro, Zequinha is the author of the famous song Tico - Tico no Fuba which was widely reported abroad in the 40s by Carmen Miranda . Abreu was the organizer and conductor of orchestras and bands in the interior of So Paulo.

It was released in 1942 the film Aquarela do Brazil , a short American animation film, showing for the first time the character of the parrot Z Carioca , created specifically for this movie . The drawing shows Z Carioca introducing the samba - through song Aquarela do Brazil and Tico - Tico no Fuba and introducing the cachaa (Brazilian rum) to Donald Duck in his visit to Brazil .

To develop this animation, the designers of Disney, including Walt Disney himself , traveled to Rio de Janeiro . Flashes of this visit are shown before the film begins. This production is related to U.S. efforts to gather allies during the Second World War (1939-1945), effort known as good neighborhood policy .

In 1952 , Adolfo Celi filmed Tico tico no Fuba , a production of Vera Cruz Film Company. The screenplay is a biography of the composer Zequinha Abreu , which earned her a nomination for the Cannes Film Festival that year .Jacob do Bandolim (Rio de Janeiro, 1918 1969).

As a child , living in Lapa , he heard a french and blind neighbor play the violin . This turned out to be , at 12 years old , his first instrument . Because he didnt adapted to the bow of the violin, Jacob began to play it using hairpins. Largest Brazilian reference in the instrument that became part of his name , Jacob lifted the mandolin to a place of honor in Brazilian music . This work was being developed before by other instrumentalists such as Luperce Miranda , but it was Jacob who definitely put the mandolin as a solo instrument.

was diverse, encompassing folk music from northeast Brasil, sambas, maxixes, waltzes, polkas, and brasilian tangos (the term choro was not yet established as a genre).

They were discovered by the wealthy Arnaldo Guinle who sponsored their first European tour in 1921. In Paris they served as ambassadors of Brazilian music, performing for six months at the Schhrazade cabaret

In the late 1920s, Pixinguinha was hired by RCA Victor to lead the Orquestra Victor Brasileira, and during his tenure there he refined his skills as an arranger.[9] It was common for choro musicians at the time to improvise their parts based on a simple piano score, but the growing demand for radio music from large ensembles required fully realized written scores for every instrument, and Pixinguinha was one of the few composers with this skill.

His arrangements were likely influenced by the sound of ragtime and American jazz bands that became popular early in his career. When he released Carinhoso in 1930 and Lamentos in 1928, Pixinguinha was criticized for incorporating too much of a jazz sound into his work. Today these famous compositions have become a respected part of the choro canon.

Pixinguinha died in 1973 in the Church of Nossa Senhora da Paz in Ipanema while attending a baptism. The Banda de Ipanema was making one of its liveliest parades at the time of his death. Until today, the carnival block Banda de Ipanema plays carinhoso when its near the church Nossa Senhora da Paz in honor of Pixinguinha.

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Apesar de se apresentar tocando em conjuntos instrumentais desde cedo, nunca se profissionalizou totalmente, tendo sempre outros empregos no relacionados msica. Foi vendedor, prtico de farmcia, corretor de seguros, comerciante e escrivo de polcia, cargo que ocupou at morrer. Por no depender financeiramente da msica, Jacob pde tocar e compor com mais liberdade, sem sofrer presses de gravadoras ou editoras.

Jacob never fully professionalized , always having other jobs unrelated to music . Because he didnt dependent on music , Jacob could play and compose more freely without suffering pressure from record labels or publishers .

Rigid and disciplined , both in personality and in the music, he researched and rescued part of the traditional repertoire of chorinho. He composed Noites Cariocas, Receita de Samba, A Ginga do Man, Doce de Coco, Assanhado, Treme-treme, Vibraes and O Vo da Mosca.

After assembling the group Jacob e Sua Gente (Jacob and His People) , integrate the Conjunto da Rdio Ipanema (Set Radio Ipanema) and regional Csar Faria and participate in historical recordings such as Ataulfo Alves for Ai, que Saudade da Amlia Oh, How I miss Amelia ( Ataulfo / Mrio Lago ) and Nelson Gonalves to Marina ( Dorival Caymmi ) , recorded in 1947 his first solo , followed by two others in the following years by Continental . In the 50s he moved to Victor , where he recorded his LP .

A perfectionist, Jacob was able to achieve from his band poca de Ouro the highest levels of quality. Jacob hated the stereotype of the dishevelled, drunk folk musician and required commitment and impeccable

dress from his musicians wo, like himself, all held day jobs.

He spent his last afternoon in the neighborhood of Ramos , visiting his friend composer and conductor Pixinguinha . He died of a heart attack, when coming back from spending the day with Pixinguinha, planning a recording project to benefit his friend. Waldir Azevedo (Rio de Janeiro, 1923 1980).

was a Brazilian composer and musician. He wrote 130 compositions during his lifetime and played the cavaquinho. Cavaquinho was never considered a solo instrument before Waldir who explored an unprecedented capabilities of the instrument.

During the 1950s he made it big with compositions like Brasileirinho, Pedacinhos do Cu, Delicado, Chiquita e V Se Gostas . For 11 years he traveled with his band by South America and Europe. His compositions were recorded in Japan , Germany and the United States , where Percy Faith and his orchestra reached the milestone of one million copies sold with a recording of Delicado . Waldir participated in a program on BBC London broadcast to 52 countries .

In 1964 , with the death of his daughter Miriam at age 18, he walked away from the music. Moved to Braslia in 1971 , at age 48 , where he suffered an accident with a lawn mower nearly losing his finger. He couldnt playfor a year and a half . After surgery and physical therapy , he recovered.

Bossa NovaBossa nova is a well-known style of Brazilian music developed and popularized in the 1950s and 1960s. The phrase bossa nova means literally new trend. At the end of 1957, a show at the Hebraica Club with Carlos Lyra, Ronaldo Bscoli, Sylvia Telles, Roberto Menescal and Luiz Eca was already announced as ... grupo bossa nova apresentando sambas modernos (bossa nova

group ... featuring modern sambas.)

Considered a new way of playing samba , bossa nova was criticized by the strong American influence. In terms of harmonic structure, bossa nova has a great

deal in common with jazz, in its sophisticated use of seventh and extended chords.

The lyrics of the songs contrasted with the hit songs so far , covering lighter and uncompromising topics defined by the expression o amor, o sorriso e a flor ( the love , the smile and the flower ,which is part of the lyrics of the song Meditao (Meditation) by Tom Jobim and Newton Mendona.

Another feature was the way of singing. Instead of valuing a great voice the bossa nova would develop the practice of corner - spoken or sing softly , the text well pronounced , the conversational tone of the musical narrative.

Bossa nova was born casually.Emerged primarily from the upscale beachside neighborhoods of Rio de Janeiro The carioca middle class would gather and listen to music. These meetings have become very common since 1957 .

Joo Gilberto became the main reference of bossa nova. He invented a new beat that could be heard in the LP Cano do amor demaisby Elizeth Carrdoso released in 1958 , in which Joo Gilberto recorded the accompaniment of guitar that characterize the bossa nova beat and that become known worldwide . The LP , recorded by Seal Party, was entirely devoted to the new songpartners Tom and Vinicius . Although this album was not a big hit when it came out in May 1958 , he is considered the starting point of this musical genre .

In the same year , Joo Gilberto recorded a 78 rpm containing Chega de saudade and his composition Bim - Bom and at the following year, he released the LP Chega de saudade According to Tom Jobim : The bossa nova of Chega de saudade is almost all in the harmony, in the changed chords, not often used by musicians of our time, and the new guitar beat performed by Joo Gilberto Tom Jobim (Rio de Janeiro, 1927 1994).

was a Brazilian songwriter, composer, arranger, singer, and pianist/guitarist. He was a primary force behind the creation of the bossa nova style, and his songs have been performed by many singers and instrumentalists within Brazil and internationally. From the early 50s to Tom Jobim began his career as a composer.

In 1956, he was introduced to Vinicius de Moraes, who was to become his most important partner. The meeting was through Lcio Rangel, in Bar Gouveia, in fronto of the Academy of Letters, in Rio de Janeiro. On that occasion, he was invited by Vinicius to write the music for the play Orfeu de Conceio. The show premiered on September 25, 1956, at the Municipal Theater of Rio de Janeiro and in the same year, it launched the LP of the play.

Also with Vinicius de Moraes, Jobim composed in 1962, one of the most recorded songs in the world: Garota de Ipanema (The Girl from Ipanema). At that same year, he held a concert at the restaurant Au Bon Gourmet in Copacabana (RJ) with Vinicius, Joo Gilberto, Os Cariocas, Octavio Bailly (bass) and Milton Banana (drums). In this show, his songs S dano samba (Just dance samba) and Garota de Ipanema (Girl from Ipanema), both with Vinicius de Moraes, and Samba do avio among others, were heard for the first time by the public. He received an award given by The National Academy of Recordings Arts and Sciences in the category of Best Background Arrangement, the album Joo Gilberto. Still in 1962, he first traveled to the United States, where he attended, alongside other Brazilian artists, the Bossa Nova Show,

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presented at Carnegie Hall in New York.

Released in the United States, the LPs The composer of Desafinado Plays (Verve/1963), with arrangements by Claus Oggerman, and The Wonderful World of Antonio Carlos Jobim (Warner Bros/1964). His success in the United States was so great that even in the early 1960s, had an instrumental

version of Desafinado recorded by Stan Getz and Charles Byrd, who went on to sell a million copies. In 1964 went to Los Angeles and met Ray Gilbert, who would do the English versions of his songs. At following year released the LPs Antonio Carlos Jobim and A certain Mr. Jobim by Warner Bros., both arranged by Claus Ogerman.

In 1967 he recorded with Frank Sinatra the LP Francis Albert Sinatra & Antonio Carlos Jobim. Later that year, he composed the soundtrack for the film The Girl from Ipanema by Leon Hirszman. Also in 1967 he was nominated for a Grammy.

In 1968 Jobim won the III International Song Festival (FIC), held in Rio de Janeiro, with the song Sabi (composed with Chico Buarque), winning first place in the national and international phase. In 1970, Jobim released the LP Stone Flower, with arrangements by Eumir Deodato, who also was the arranger of the LP of Frank Sinatra, Sinatra & Cia, released the following year, which contained five songs of his own.

One of the most representative songs of his career as a composer is guas de maro (Waters of March) whose first record came out in a compact in the weekly O Pasquim, in 1972. In 1974, in Los Angeles, Tom Jobim recorded this song with Elis Regina in the album Elis & Tom.

In 1994, he held another concert at Carnegie Hall, this time alongside guitarist Pat Metheny and pianist Herbie Hancock, and released the last work of his career: the CD Antonio Brasileiro, which won the Sharp Award for Best MPB album and Best Samba-Music with Piano na Mangueira, composed with Chico Buarque. The CD was also awarded with the Grammy Award in the category of Best Latin Jazz Performance. In 1994, the Municipality of Rio de Janeiro awarded him the Medal Pedro Ernesto. He died on December 8 of that year.Vinicius de Moraes (Rio de Janeiro, 1913 1980).

was a poet, composer, playwright, journalist, and diplomat. His work is vast through literature, theater, cinema and music. He was Nicknamed O Poetinha (little poet). His main partners were Tom Jobim, Toquinho, Baden Powell, Joao Gilberto, Chico Buarque and Carlos Lyra.

After graduating in legal sciences in 1933, he studied English language and literature at Oxford University. Vinicius returned to Brazil to work as a film critic for a newspaper in Rio. From 1943 until 1968, he worked as a diplomat for the Foreign Ministry. The poet was in Portugal, to give a series of performances, some with Chico Buarque and Nara Leo, when the military regime issued the AI-5. The reason given for his removal from the Foreign Ministry was the bohemian behavior that prevented him from fulfilling his duties. Vinicius was amnestied (post-mortem) in the Brazilian courts in 1998.

His artistic career began in the late 1920s, when Vinicius wrote lyrics for ten recorded songs - nine of them partnerships with Brothers Tapajs. His first record as a songwriter came in 1928, when he wrote Loira ou Morena (Blonde or Brunette) recorded in 1932 by the brothers. Vinicius had his first book of poems published, O Caminho para a Distncia (The Way to Distance) in 1933, and launched other books of poems

on that decade, in addition to recording other songs of his own, with several partners in the following years

In 1954, Vinicius published his collection of poems, Antologia Potica (Poetical Anthology), and his stage play Orfeu da Conceio. Two years later, when Vinicius was searching for someone to write the music for his play, he accepted the suggestion of his friend Lucio Rangel to work with a young pianist, Tom Jobim, who was then 29 years old.

This was one of the most fruitful partnerships in Brazilian music. The two composed the soundtrack of Orfeu da Conceio, which included Lamento no Morro, Se Todos Fossem Iguais A Voc, among others. The play premiered at the Teatro Municipal in Rio de Janeiro. Between 1957-1958, the French director Marcel Camus adapted the play in the movie Black Orpheus. He won the Palme dOr at the Cannes Film Festival and the Oscar for best foreign film of 1959. Vinicius wrote songs for the film Happiness and Our Love.

In 1958, the singer Elizete Cardoso released her album Cano do Amor Demais, marking the beginning of bossa nova. This record consists wholly of compositions by the Jobim-Vincius partnership, or by either of the two (Cano do Amor Demais, Luciana, Estrada Branca, Chega de Saudade, Outra Vez...). The recording also featured a relatively unknown Joo Gilberto on two tracks. With the release of this record, Vinciuss career in music (as well as that of many involved with him) may be said to have truly begun. The songs of Jobim and Vincius were recorded by numerous Brazilian singers and performers of that time

In August 1962, attended, along with Tom Jobim, Joo Gilberto and Os Cariocas, one of the most important shows of the bossa nova, Encontro (Meeting), held at the Au Bon Gourmet nightclub (RJ). Garota de Ipanema, S dano samba, Insensatez, Ela carioca e Samba do avio were played for the first time and became classics of Brazilian popular music. At

the same nightclub his play Pobre menina rica, (Poor little rich girl) was staged. The soundtrack was created in partnership with Carlos Lyra, and had songs like Sabe voc, P r i m a v e r a

e Samba do carioca launching the singer Nara Leo.

In 1964 appeared at the Disco Zum Zum alongside Dorival Caymmi, Quarteto em Cy and Oscar Castro Nevess Band. This show had an enormous repercussions. It was released on LP directed by Aloysio, containing, among others, the compositions Carta a Tom, Dia da criao, Minha namorada, with Carlos Lyra, Bom-dia, amigo, with Baden Powell,also the compositions writen by Dorival Caymmi ...Das rosas, Saudades da Bahia, Histria de pescadores e Adalgiza

In 1965, participated in the National Festival of Brazilian Popular Music (TV Excelsior), winning first and second places with his songs Arrasto (with Edu Lobo), sang by Elis Regina, and Valsa do amor que no vem (with Baden Powell), sang by Elizeth Cardoso. Also with Edu Lobo, Vinicius composed Zambi and Cano do amanhecer.

In 1966, alongside Gilberto Gil and Maria Bethania, participated at the show Pois at the Teatro Opinio directed by Francis Hime.

Vinicius continued collaborating with many renowned Brazilian singers and musicians, particularly Baden Powell, with whom he recorded the LP Os Afro-sambas with a series of songs with a heavy Afro-Brazilian influence. This moment is considered by many critics as a watershed in MPB.

According to Vinicius in a chronicle written in 1965 he received from Coqueijo Costa a disc with sambas de roda from Bahia with Candombl points and touches of berimbau that enchanted both Vinicius de Moraes and Baden Powell This mutual enchantment by samba and religiosity found in Bahia was the inspiration they needed to create the LP Os Afro Sambas. The eight songs feature a rich and unique musicianship that brings a mix of instruments of Candombl and Umbanda (like drums and afoxs) with timbres common to Brazilian music (agogs, saxophones and tambourines)

Em 1970, apresentou-se, ao lado de Toquinho e Marlia Medalha, no Teatro Castro Alves, em Salvador, e na boate La Fusa, em Buenos Aires, em show do qual resultou um LP gravado ao vivo e lanado pelo selo Diorama. Nesse perodo, dividiu o palco do Caneco

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(RJ) com o parceiro Tom Jobim, o violonista Toquinho e a cantora Micha, relembrando sua trajetria como poeta e compositor. O show ficou em cartaz quase um ano, devido ao grande sucesso obtido; anos depois, seria lanado um disco registrando o encontro.

In 1970, he performed alongside Toquinho and Marlia Medal at the Teatro Castro Alves in Salvador and in La Fusa nightclub in Buenos Aires. This show resulted in an LP recorded live and released by Diorama. During this period, Vinicius also shared the stage at Caneco (RJ) with Tom Jobim, guitarist Toquinho and singer Micha, recalling his career as a poet and songwriter.

His Partneship with Toquinho was a huge success. Together they performed a series of concerts in Brazil, and launched hits such as A tonga da mironga do Kabulete, Tarde em Itapo, Morena Flor, Regra trs, among many others. This partnership would last until the end of Vinicius de Moraes life.

Forr

Forro is one genre of Brazilian music that originated in Northeastern Brazil. It encompasses various dance styles as well as a number of different musical beats. Folklorist Cmara Cascudo, who studied the Brazilian Northeast through most of his life, considered forr as a derivative of forrobod. Forrobod is believed to come from the word forbod (itself a corruption of fauxbourdon), which was used in the Portuguese court to define a dull party.

Another theory often heard popularly in Brazil and elsewherefor example, Gilberto Gil provides it in concertsis that the word forr is a derivative of the English expression for all and that it originated in the early 1900s. English engineers on the Great Western Railway of Brazil near Recife would throw balls on weekends and classify them as either only for railroad

Luiz Gonzaga (Pernambuco, 1912 1989).

was a very prominent Brazilian folk singer, songwriter, musician and poet. Born in the countryside of Pernambuco, he is considered to be responsible for the promotion of northeastern music throughout the rest of the country. He is also known as the king of baio and Gonzago.

In 1940, already established in Rio de Janeiro, after some time playing in bars in the mangues and then in Lapa, began attending freshmen programs such as Calouros em desfile at Rdio Tupi and Papel carbono at Rdio Clube. After noticing that the northeastern immigrants missed the music from their hometowns, he started to give listeners the sort of music they craved to hear: xaxados, baies, chamegos and cocos. At Ary Barrosos talent show, Luiz Gonzaga played his chamego Vira e Mexe and was acclaimed by the audience and by Ary Barroso who gave him the highest score.

Shortly after he was invited to play the accordion in a recording with Gensio Arruda at RCA. His participation was so good that soon after the recording, Hewas presented to the director of the label, Ernesto Matos. He was invited to return the next day to make a recording. On the same day, Gensio Arruda invited him to play daily at the Teatro de Revista in which he was acting. Also in 1940 he was hired by the Rdio Clube do Brasil to replace Antengenes Silva on the show Alma do serto

In 1946, Gonzaga would cause a revolution in Brazilian popular music. He launched a new genre in the market called Baio, a stylized adaptation of rhythms heard by him in his childhood and adolescence. He wrote the song Baio in partnership with Humberto Teixeira The song was played by the vocal group Quatro Azes e Um Coringa and himself acompanying on the accordion at the Odeon. The new genre changed the Brazilian music scene and established itself as the most important til the emergence of Bossa Nova in the late 1950s.

In 1947 he recorded with Humberto Teixeira Asa brancaone of his biggest hits and one of the most famous songs of Brazilian popular music, rerecorded dozens of times over the decades. With the success of Asa Branca he was invited to participate in the

personnel or for the general populace (for all). This belief was somewhat reinforced by a similar practice by USAF personnel stationed at the Natal Air Force Base during World War II, but it is unrelated because before the USAF went to Natal, the name Forr was already in use.[citation needed]

Today various musical instruments are used in the various styles of Forr (although always with a reference to the traditional combination of accordion, triangle and zabumba.

The traditional music used to dance the forr was brought to the Southeast from the Northeast by Luiz Gonzaga, who transformed the baio (a word originated from baiano and assigned a warm-up for artists to search for inspiration before playing) into a more sophisticated rhythm. In later years, forr achieved popularity throughout Brazil, in the form of a slower genre known as xote, that has been influenced by pop-rock music to become more acceptable by Brazilian youth of Southeast, South and Central regions.

film Esse mundo um pandeiro (This world is a tambourine).In 1948 he released only one album, singing A moda da mula preta by Raul Torres and the polka Firim firim firim partnership with Antonio Nogueira.

In 1949 Gonzaga was the main star of Brazilian popular music and released a string of hits with his partner Humberto Teixeira. In the same year He launched Vem morena and Forr de Man Vito the results of his partnerships with Zdantas. By this time Baio became the new rhythm of Brazil, and Gonzaga has changed his look, introducing the leather hat that would be part of his costume til his death.

Em 1950 lanou de sua parceria com Z Dantas o baio A dana da moda, que afirma que No Rio est tudo mudado, numa referncia `as mudanas de comportamento introduzidas pelo baio. Inmeros artistas, entre os quais Carmem Miranda, Carmlia Alves, Ivon Curi, Marlene, Isaura Garcia, Jamelo, Emilinha Borba, passaram a gravar msicas da dupla Gonzaga/Humberto Teixeira. No mesmo ano, estouram inmeros outros sucessos da dupla, como os baies Xanduzinha, Qui nem jil e Respeita Janurio, alm da toada Assum preto. Ainda em 1950 foram sucessos na voz de Gonzaga o xote Cintura fina e a toada A volta da Asa branca, parcerias com Z Dantas. Na dcada de 50 continuou lanando inmeros sucessos, consagrando-se como o grande representante da msica nordestina de raiz, exercendo at os dias de hoje enorme influncia na msica brasileira.

Inn 1950 he launched with Z Dantas the music A dana da moda which states that In Rio all is changed, a reference to behavior changes introduced by the baio. Various artists, among them Carmen Miranda, Carmelia Alves, Ivon Curi, Marlene, Isaura Garcia, Jamelo, Emilinha Borba, began recording his songs.

In the same year, more of his songs became famous such as Xanduzinha, Qui nem jil, Respeita Janurio and Assum preto.

In the 50s he continued releasing numerous hits, consecrating himself as the representative of northeastern music root, exerting up to the present day enormous influence on Brazilian music.

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and where the moves and identity of this dance has emerged, getting more and more different from its African, European, argentinian and cubam origins and influences.

Samba is a local style in Southeastern Brazil and Northeast Brazil, especially in Rio de Janeiro, So Paulo, Salvador and Belo

Jackson do Pandeiro (Paraba, 1919 1982).

was a singer , songwriter and instrumentalist of the genres forr and samba, as well as its many subgenres : baio, xote , xaxado , coco among others .

Also known as The King of Rhythm, at the age of 17, worked in a bakery , where , during the carnival , saw a block, leaving the service , and going behind him. At the same time , he has acted as a substitute drummer for a band that appeared in Ipiranga Club , effecting up later as a percussionist group . Served as percussionist in several festivals in the city .

Only in 1953 , now thirty -five, Jackson recorded his first big hit : Sebastiana by Rosil Cavalcanti . Soon after , spawned another major hit , Forro in Lemon Tree , composed by Edgar Ferreira squib .

In Rio de Janeiro , already working on Radio National , Jackson achieved great success with O Canto da Ema Bubble Gum with Banana and One by One . Critics were amazed at the ease of Jackson singing the most diverse musical genres : ballad , coco , samba- coconut, squib , and Carnival songs .

The fact that he played so long in jazz cabarets enhanced its capacity . Also famous is his way of sharing music , and it is said that Joo Gilberto himself learned to share with him . Many consider him the greatest percussionist in the history of Brazilian popular music and , alongside Luiz Gonzaga , was a major contributor to the nationalization of songs born between northeastern people . His discography includes over 30 albums released in LP format . Since his first recording , Forro in Lemon Tree in 1953 , recorded 28 albums in 29 years of artistic career .

SambaSamba is a Brazilian dance and musical genre originating in Bahia, Brazil, and with its roots in Rio de Janeiro and Africa via the West African slave trade and African religious traditions. It is recognized around the world as a symbol of Brazil and the Brazilian Carnival. Considered one of the most popular Brazilian cultural expressions, samba has become an icon of Brazilian national identity. The Bahian Samba de Roda (dance circle), which became a UNESCO Heritage of Humanity in 2005, is the main root of the samba carioca, the samba that is played and danced in Rio de Janeiro.

The modern samba that emerged at the beginning of the 20th century is predominately in a 2/4 tempo varied with the conscious use of a sung chorus to a batucada rhythm, with various stanzas of declaratory verses. Traditionally, the samba is played by strings (cavaquinho and various types of guitar) and various percussion instruments such as tamborim. Influenced by American orchestras in vogue since the Second World War and the cultural impact of US music post-war, samba began to use trombones, trumpets, choros, flutes, and clarinets.

In addition to distinct rhythms and bar, samba brings a whole historical culture of food, varied dances (miudinho, coco, samba de roda, and pernada), parties, clothes such as linen shirts, and the NAIF painting of established names such as Nelson Sargento, Guilherme de Brito, and Heitor dos Prazeres. Anonymous community artists, including painters, sculptors, designers, and stylists, make the clothes, costumes, carnival floats, and cars, opening the doors of schools of samba. There are also a great tradition of Balroom samba in Brazil, with many styles. Samba de Gafieira is the style more famous in Rio de Janeiro, where comom people used to go to the gafieira parties since the 30s,

Horizonte. Its importance as Brazils national music transcends region, however; samba schools, samba musicians and carnival organizations centered around the performance of samba exist in every region of the country and, while regional musics prevail in other regions (for instance, in Southern Brazil, Center-West Brazil, and all of the Brazilian countryside, Sertanejo, or Brazilian country music, is the most popular style). Since Rio de Janeiro is the most popular Brazilian city worldwide, usually samba is used to identify Brazilians as part of the same national culture.

ARCOS DO CHOROGuidi Vieira vocals

Igor Visconti acoustic guitar

Luis Milito mandolin

Paulo Renato flute

Rodrigo Sebastian bass

Wilson Meireles drums