Ataulfo Alves

Son from the violeiro (Brazilian viola participant), repentista (verse improviser), and harmonica participant Severino Alves de Souza, Ataulfo Alves in age group eight already was responding in verses to his father’s desafios (reducing contests). Getting an orphan at age group ten, he proved helpful in several careers, shifting to Rio in 1927. There he continuing to operate, frequenting rodas de samba in his amusement hours. In those days he already understood how exactly to play the violão (classical guitar), the cavaquinho, as well as the mandolin, and arranged an organization, which performed in a nearby. Alves after that became the diretor de harmonia from the bloco (Carnival group) Fale Quem Quiser. Introduced by Bide to RCA Victor’s movie director in 1933, he previously his “Sexta-feira” documented by Almirante, and shortly (1934) his “Tempo Perdido” was documented by Carmen Miranda (who was simply already familiar with Alves). The very first hit arrived in the next yr, “Saudades perform Meu Barracão,” that was documented by Floriano Belham as well as the Bando da Lua. Within the same yr, the Bando da Lua documented the march “Menina Que Pinta o Sete” (with Roberto Martins). In 1936 Sílvio Caldas documented the samba “Saudade Dela” and in 1937 Carlos Galhardo documented the valse “A Você” (with Aldo Cabral) as well as the samba “Quanta Tristeza” (with André Filho), among numerous others in the next years. Orlando Silva documented in 1938 “Errei…Erramos,” and many other Alves tracks within the a long time. In 1940 and 1941 Alves earned the Carnival competition with “Oh! Seu Oscar” and “O Bonde de São Januário,” both with Wilson Batista as somebody. In 1941, Alves made a decision to record an recording simply for his relatives and buddies. Speaking with Odeon’s head Utmost Strauss, he previously the idea authorized. The recording got Alves’ “Leva Meu Samba” and “Alegria Na Casa de Pobre” (with Abel Neto), and he was supported by the Escola de Samba da Cidade. In 1942, Alves had written a samba with Mário Lago, that was provided unsuccessfully to many recording artists. Determining to record it himself, he visited Odeon to propose exactly the same offer to Strauss, but there he found that the company wished to indication with him as its special artist. Alves documented then your sambas “Ai, Que Saudades da Amélia!” and “Não Posso Viver Sem Ela” (Bide/Cartola), supported by the Academia de Samba (intro by Jacob perform Bandolim). The recording advertised his definitive consecration as composer and vocalist. “Ai, Que Saudades da Amélia!” became greatly well-known and can be an all-time Carnival traditional. As well as Mário Lago, he’d still create “Atire a Primeira Pedra” (for 1944’s Carnaval), “Capacho,” and “Pra Que Mais Felicidade” (1945). Worried about practical factors, he substituted the Academia to get a three-girl choir, nicknamed the Pastoras by Pedro Caetano. Alves after that harvested one strike after another: “Pois É…,” “Vai Mesmo,” “Mulata Assanhada,” “Inimigo perform Samba” (with Jorge de Castro), “Todo Mundo Enlouqueceu” (with Jorge de Castro), “Boêmio Sofre Mais” (with Floriano Belham), “Vá Baixar Noutro Terreiro” (with Raul Marques), and “Infidelidade” (with Américo Seixas). In the 1950s, ten years seen as a the sadness from the fossa and dor-de-cotovelo designs, Alves had achievement with “Fim de Comédia” and “Errei Sim,” both documented by Dalva de Oliveira. In 1954 he participated within the Casablanca nightclub’s present O Samba Nasce perform Coração, where he provided the samba “Pois É….” Terminated by RCA Victor, “Pois É…” was documented just in 1955, through Sinter. Within the next calendar year, he documented the LP Ataulfo Alves e Suas Pastoras. In 1957 he composed “Meus Tempos de Criança” and “Vai, Mas Vai Mesmo,” the last mentioned a hit on the 1958 Carnival. Alves participated within the 1961 Brazilian well-known music caravan, asked by Humberto Teixeira, delivering there “Mulata Assanhada” and “Na Cadência perform Samba” (with Paulo Gesta). Within the same calendar year he became his very own publisher through his Ataulfo Alves Ediçõha sido. He dissolved the Pastoras trio and continuing to execute by himself. In 1962, his samba “Na Cadência perform Samba” had an extraordinary success following the release from the Philips LP Meu Samba…Minha Vida. In 1966 he symbolized Brazil within the I Dark Arts Celebration in Dakar, Senegal. “Laranja Madura” became popular in 1967, having many recordings. Within the same calendar year, “Ai! Que Saudades da Amélia” was documented by Roberto Carlos. With Carlos Imperial, he had written “Você Passa e eu Acho Graça,” “Você Não é Como as Flores,” and his last music, “Mandinga,” documented by Clara Nunes.