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Alçeu Valença

Alceu Valença can be an extremely successful composer and who owns a distinctive design that mixes his northeastern root base and modern grooves; he’s also a lively and mesmerizing live performer. His music have been documented by many major performers, including Luiz Gonzaga (with whom he composed “Plano Piloto”), Maria Wagerânia, and Elba Ramalho. His lifestyle was depicted in Anamelia Maciel’s reserve Alceu Valença em Frente e Verso (Edição perform Autor, recife, 1988). The kid of the locally renowned attorney, Valença always concerned his father along with his rebellious personality. At four, he participated within an baby concourse promoted with the postman Luís Jacinto, performing a Capiba tune. He didn’t earn your competition or the reward (a soap package), but his acrobatic overall performance during the reward delivery received the sympathy from the target audience and he received another soap package. Moving along with his family members to Recife PE, Valença was constantly a bad college student, and was actually expelled from college, until he finally graduated from regulation college in 1970, but he by no means worked for the reason that job. There, he started his initial professional musical encounters with the music group Tamarineira Community, after changing into Ave Sangria. He afterwards incorporated new music artists into his music group who were extremely successful performers: Zé Ramalho (who performed the Brazilian viola) and Elba Ramalho (as chorus gal). In 1968, Valença do his first present, Erosão: a Cor e o Present, to enthusiastic vital praise. In Sept, he participated in the I Celebration Universitário Brasileiro de Música Popular (Rio) with “Maria Alice” (created with Sérgio Bahia), defended by Ivete e Arlete. Another month, he concurred in the I Celebration Regional Universitário da MPB (Recife). Within the next calendar year, he categorized two music at the local phase from the IV Celebration Internacional da Canção: “Acalanto Em fun??o de Isabela” (initial place) and “Desafio Linda” (third place). On the nationwide stage in Rio, he unsuccessfully defended the initial song. Using a scholarship or grant from Harvard University or college (Boston), he understood a number of the U.S. and reconciled himself towards the indigenous tradition of his house condition, perceiving its universalizing options through the eye shown by passersby while he performed on roads and squares. Time for Brazil in 1970, Valença wedded Eneida in June and worked well together in the III Event Universitário de Música Popular Brasileira, getting second place with “Manhã de Clorofila.” He came back the trophy towards the jury (under applause), declaring (euphemistically) the jury already experienced its decision, whatever the express desire from the viewers. It led him to choose to go to Rio along with his wife, child, and a suggestion notice from José Humberto Patu. There he fulfilled Geraldo Azevedo, another pernambucano (from your Pernambuco condition) who experienced left behind music and was dealing with commercial design. Valença confident him to come back to music plus they both composed a melody. Valença participated in July on the V Celebration Internacional da Canção (Rio) using the music “Fiat Lux Baby,” “Erosão,” and “Desafio Linda”; with the IV Celebration Universitário da Música Brasileira (August 1971, Teatro João Caetano), Valença participated with “Água Clara,” “78 Rotaçõha sido” (with Geraldo Azevedo), and “Globeário.” Also with Azevedo’s music (which competed against Valença’s on the celebrations), they documented together their initial LP Alceu Valença & Geraldo Azevedo (Copacabana, 1972). In 1972, Valença asked the fantastic Jackson perform Pandeiro to guard his “Papagaio perform Futuro” on the VII Celebration Internacional da Canção (Sept, Rio). The music wasn’t categorized, but was offered success in a number of displays by Valença and Azevedo through the entire country, and opened up the doors to get a a friendly relationship with Pandeiro that led to live performances from the duo in the Teatro João Caetano’s (Rio), Projeto Seis e Meia (1975), and in the nationwide tour from the Projeto Pixinguinha series (1977). Still in 1972, Valença became disappointed with the consequence of the FIC and came back to Recife with your choice to forego music. In January 1974, he opened up the display O Ovo e a Galinha (Nosso Teatro, Recife), touring many upstate Northeastern towns. For the reason that same calendar year, participated in Sérgio Ricardo’s film A Noite perform Espantalho as the primary personality, and documented its soundtrack (released on LP by Continental in 1974) as vocalist. He also released his initial solo record, Molhado de Suor (Som Livre). The record didn’t get main interest in the viewers, but was well-received by critics. In Feb 1975, he got a huge strike with “Vou Danado pra Catende,” motivated in the verses by modernist Pernambucan poet Ascenso Ferreira on the Celebration Abertura (Rede Globo). The support in the market led the jury to make a special “Analysis” award. It permitted the display Vou Danado pra Catende (Teatro Teresa Rachel, Rio, 1975), that was a complete failing in the 1st three times until Valença got outfitted like a clown and swept through downtown Rio having a megaphone, advertising the show. After that it became a full-house achievement at the theatre and in every subsequent nationwide tours. Within the next yr, he documented Vivo, a rock and roll recording, and in 1977, Espelho Cristalino. In 1979, he documented Saudade de Pernambuco, and in the same yr, begun to record frevos over the LP series Asas da América (compilations with many interpreters). The series and the next dedicated displays by Valença, in parallel along with his solo profession, transformed Olinda’s Carnival a nationwide success. Throughout a tour in 1979, he documented an record in Paris, France, that’s still unreleased in Brazil. In 1980, he released Coração Bobo, which got the strike “Na Primeira Manhã,” and within the next 12 months, Cinco Sentidos. In 1982, he documented Cavalo de Pau using the strikes “Tropicana” and “Como Dois Animais.” In 1983, he released Anjo Avesso with “Anunciação,” and from your live show documented in the Montreux Jazz Event (Switzerland), Brazil Night time — Ao Vivo em Montreux premiered. In 1984, he documented Mágico, which experienced the strike “Solidão,” and within the next 12 months, Estação da Luz. At that time, with his profession established, many of his tunes became cleaning soap opera styles (the fastest method of achieving high selling information in Brazil). In 1986, he documented the live recording Ao Vivo, and in the same 12 months, Rubi. In 1987, he documented Leque Moleque, and in the next years, Oropa, França e Bahia (1988), Andar, Andar (1990), and Sete Desejos (1991), which experienced the strike “Tesoura perform Desejo.” For the reason that season, he participated in the megafestival Rock and roll in Rio 2. In 1994, he documented Maracatus Batuques e Ladeiras offering the monitor “Pétalas” (with Herbert Azul), which received the Clear award to discover the best Song of the entire year. As well as Geraldo Azevedo, Elba Ramalho, and Zé Ramalho, he documented the 1996 live record O Grande Encontro as well as the solo Compact disc Mourisco. In 1997, he released Sol e Chuva and, in 1998, Forró de Todos os Tempos. Sino de Ouro implemented in early 2001.

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