Adriana Calcanhotto

Adriana Calcanhotto (formerly Calcanhoto) is really a MPB/pop vocalist/composer revealed in 1990 who have had great achievement in Brazil, and helped bring Brazilian music again towards the strike parade following the 1980s were characterized because the Brazilian rock and roll period. Her dad, a jazz drummer, followed Elis Regina in her early profession, and inspired Calcanhotto’s flavor for music. She began in Porto Alegre playing and performing at small pubs then shifted to Rio, where she was asked to sing at pubs of the same design. Her newbie repertory of just ten tracks wasn’t enough to get a gig, but she insisted in any case. The widespread idea that she started her career being a barbecue cafe singer isn’t accurate; she sang only 1 night there rather than returned, because of her little repertory. In 1990, she documented her first record, Enguiço. There she uncovered a young vocalist with unusual flavor for MPB because the record got “Nunca” (Lupicínio Rodrigues, also a gaúcho). Those had been still Brazilian rock and roll times as well as other musics didn’t possess a possibility. Thankfully to her, various other performers like Marisa Monte had been making exactly the same choice, which dislocated the favorite taste through the 1990s to some re-approximation with Brazilian music. The record also brought “Kidífera Ilha,” a cheesy strike by the Operating-system Titãs improved in her rendition, and “Caminhoneiro,” another corny strike by Roberto Carlos that reaffirmed her convenience of creating sensitive shows of uneven materials. Ronaldo Bastos’ “Naquela Estação” was the big strike of the record, but nationwide exposure was included with the second record, Senhas. The name monitor was included on the cleaning soap opera soundtrack for Renascer, achieving dozens of large numbers in Brazil. The 3rd recording, A Fábrica perform Poema, brought her compositions and partnerships alongside renditions of tunes by founded composers such as for example Chico Buarque. The interpretation of serious tunes like Buarque’s “Morro Dois Irmãoperating-system” revealed a genuine MPB artist, not really a performer limited to the pop idiom. The recording also brought the concrete poetry of Augusto de Campos (who participated using one monitor). 1996 designated the start of nationwide tours and in addition shows in Buenos Aires, Argentina. Calcanhotto documented the track “Tema de Alice” (Péricles Cavalcânti), that was included on the soundtrack towards the film Mil e Uma (Suzana Morais), and “Dona de Castelo,” a nostalgic canção by Jards Macalé/Waly Salomão as well as the theme track from the 1996 film Doces Poderes (Lúcia Murat). Maritmo was an experimentation where she combined drum devices, ska, funk, incidental digital sound, Olodum-type percussion (maracatu), examples, synthesizers, a vintage kitsch Jovem Guarda strike (Roberto Carlos’ “Porisso european union Corro Demais”), dance grooves, and MPB, using the involvement of symbols Dorival Caymmi (on “Quem vem pra Beira perform Mar”), and the fantastic multiinstrumentalist Hermeto Pascoal. Her 5th record, the live documented Público (2000), is certainly highly MPB-based, where she followed herself on the violão. It included the samba traditional (“E o Mundo não se Acabou” by Assis Valente), a poem with the Portuguese Mário de Sá Carneiro (with music by her), and another by Waly Salomão, a re-recording of “Versos” (which have been released by Maria Bethânia of her traditional Âmbar), and prior strikes “Esquadros” (1992), “Cariocas” (1994), “Vambora” (1998), and “Vamos Comer Caetano” (1998). Upon this record, she also re-recorded “Dona de Castelo.”