Anjos do Inferno

Probably the most famous vocal and instrumental band of the Golden Era of Brazilian song, the Anjos do Inferno were insuperable within their 20-year international career, with regards to rhythm, humor, and bossa. The group was founded in 1934 by vocalist Oto Alves Borges with the next users: Oto Borges (crooner), Antônio Barbosa (pandeiro), Moacir Bittencourt (violão), Felipe Brasil (violão), José Barbosa (violão tenor), and Milton Campos (“nose trumpet,” the very first musician to dedicate himself compared to that in Brazil). The group opened up at Rádio Cajuti and Cruzeiro perform Sul, documenting for the very first time for Columbia (“Morena Complicada” by Child Pepe, and “Amei Demais” by Child Pepe and Siqueira Filho), but having no main impact. Coming back from a U.S. tour in 1936, vocalist Leo Vilar assumed the group’s path while Oto Borges devoted himself solely to his actions on the Banco perform Brasil. Shortly the group was employed for the Cassino Icaraí, where they attained success. Another documenting, still in 1936, was Child Pepe’s “Maria Foi ? Fonte.” Within the same calendar year the Anjos became area of the ensemble from the Rádio Mayrink Veiga, where they continuing until 1938. For the reason that calendar year, Leo Vilar terminated the brothers Antônio and José Barbosa, changing them with Alberto Paes (pandeiro) and Aluísio Ferreira (violão tenor), and substituting Milton Campos for Harry Vasco de Almeida within the “sinus trumpet” position. With this development the group opened up at Rádio Tupi, where they might stay until 1946, performed on the Cassino da Urca, and documented for Columbia the very first album of this stage, with Almanir Grego’s march “Tim Tim por Tim Tim” and Alberto Paes/Domício Augusto’s samba “Dura Lex sed Lex.” However the initial hit was included with the samba-canção “Bahia, oi, Bahia” (Vicente Paiva/Augusto Mequita). Using the success they truly became Columbia’s exceptional artists, and from then on they piled strike over hit, like the rumba “Barraco Abandonado” (Afonso Scola/Hermínio Viana), the samba-jongo “Me Ensina a Sambar” (Antônio Almeida), the samba “Baiana Boa” (Milton Bittencourt), the samba “Quem Dirá?” (Pandiá Pires/Roberto Martins), the samba “Helena! Helena!” (Antônio Almeida/Secundino Silva), the march “Cowboy perform Amor” (Wilson Batista/Roberto Martins), the march “Todo Mundo Dança” (Valdemar Silva/Raul Marques), the samba “Me Deixa Viver” (Bide/Marçal), the march “Quebra Tudo” (João de Barro/Alberto Ribeiro), as well as the march “Três Marias” (Cristóvão de Alencar/Frazão). That they had several other strikes, like the second and last Assis Valente samba documented with the group, “Já que Está Deixa Ficar,” and their biggest one, the Dorival Caymmi samba “Você já Foi ? Bahia?.” In 1942 the group experienced adjustments, with Hélio Verri changing Alberto Paes on the pandeiro, Roberto “Paciência” Medeiros acquiring Moacir Bittencourt’s place, and Walther Pinheiro substituting Felipe Brasil. Renato Batista (Marília Batista’s sibling) changed Walther Pinheiro for some time, so when the second option returned towards the group it became a septet for a few months. Pinheiro exists within the recording from the Dorival Caymmi sambas “Vatapá” and “Rosa Morena.” Within the next yr the group turned to Columbia, where they documented the strikes “Acontece que european union sou Baiano” and “Vestido de Bolero.” In 1944 these were employed by RCA Victor, where they continued to be until 1952. There they documented, among many albums, the samba “Que Gostinho Bom” (Marino Pinto/Mário Rossi), the samba “Bolinha de Papel” (Geraldo Pereira), the samba “Diz que Sim, Diz que Não” (Mário Lago), as well as the march “Cableão dos Puxa-sacos” (Frazão/Roberto Martins). In 1944 they performed within the film Abacaxi Azul. In 1946 they toured through Argentina and Mexico, with José Soares (the Russinho) changing Hélio Verri. In Feb 1947 they opened up in the largest Latin American nightclub of these times, Un Pateo, in Mexico Town. That they had been employed for six weeks, but remained for four years. From Mexico, in 1948, many members emigrated towards the U.S. signing up for the Bando da Lua: Harry Vasco de Almeida, Aluísio Ferreira, Walther Pinheiro, and Russinho. Vilar known as other music artists from Brazil to displace them, former associates of the Operating-system Namorados: Nanai (violão), Miltinho (on the pandeiro after that, he’d become famous afterwards as a vocalist), and Chicão (previous Quitandinha Serenaders, violão tenor and tantã). In the brand new development, the group toured U.S., performed in LA as well as Carmen Miranda, and held for just two years a radio plan about areas of Brazil. In Mexico, the Anjos perform Inferno participated in 11 movies, eight of these offering Ninón Sevilla, a large star after that. In 1951 they came back to Brazil following a tour through Chile and Argentina, employed for the wedding anniversary of Recife’s Rádio Jornal perform Comércio. The group also returned to Rádio Tupi, spent a time of year in the Monte Carlo nightclub, and, in São Paulo, performed at Rádio Excelsior as well as the Oasis nightclub. In 1953 the Anjos got a time of year at Rio’s Rádio Nacional. However the effective tours were stressed by a rise in the price tag on seats, and, finally, Leo Vilar was pressured to dissolve the group. In 1959, specifically for Utmost Nunes, J. Maia, and José Mauro’s play De Cabral a JK, Vilar structured a group beneath the denomination Anjos perform Inferno, with he himself as crooner and percussionist, in addition to Gaúcho (violão), Paulo César (tantã), and Miguel Ângelo (pandeiro). In addition they worked as stars within the play, which got a six-month time of year. This formation documented some small albums through Copacabana. In 1967, Walter Pinheiro, Aluísio Ferreira, Roberto Medeiros, Harry Vasco de Almeida, and Russinho met up to try out on Mondays in the Market Clube de Arte in Rio, where they informed stories and kept in mind the old instances.