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An important author of strikes for the voices of a number of the biggest performers from the golden period of Brazilian music, Bide was also instrumental in the change of folk samba into an metropolitan product in the first 20th hundred years. On August 12, 1928, upon getting close friends with Ismael Silva, Mano Edigar, Brancura, and Baiaco, Bide founded the first samba college ever, Deixa Falar. With them, he produced the group that modernized the samba within an metropolitan fashion, launching it in the Maxixe rhythm. Being a cavaquinho participant, he followed Benedito Lacerda for the reason that period. In 1927, Francisco Alves bought his samba (a common practice after that) “A Malandragem,” documenting it without credit directed at Bide in 1928 through Odeon. The samba was a big strike in the Carnival of this year. Bide shaped an important collaboration with Armando Marçal, composing immortal tracks like “Agora é Cinza” (documented in 1933 by Mário Reis, the music earned the annual competition and had many re-recordings) and “A Primeira Vez” (documented by João Gilberto). Bide also released a percussion device, the surdo, into samba. In 1932, Deixa Falar performed two of his sambas within an annual competition, “O Meu Segredo” and “Rir pra Não Chorar.” Bide was Ataulfo Alves’ discoverer, becoming in charge of his first documented recording (with Victor). In 1934, Almirante documented the marcha junina “Ninguém Fura o Balão” (with Marçal) and “A Bênção, Papai Noel” (with Alberto Ribeiro); in the same yr, Mário Reis documented “Nosso Love” (with Marçal). In the next yr, Carmen Miranda documented “Entre Outras Coisas” (with Valfrido Silva), Araci de Almeida documented “Chave de Ouro” (with Roberto Martins) and Almirante documented “Vem, Meu Amor” (with Mano Décio da Viola and João de Barro). In 1936, Carlos Galhardo documented “Você Não Sabe, Amor” (with Ataulfo Alves) and “O Palhaço, O Que É?” (with Paulo Barbosa). This second option music was a big strike in the Carnival of 1937, when Galhardo released “Sorrir” (with Marçal). In 1938, Orlando Silva documented “Tua Beleza” and Francisco Alves, “Meu Primeiro Amor” (both with Marçal), two big strikes. In the past due ’30s Bide became a percussionist for Rádio Nacional, as well as Marçal, a posture he held for nearly 30 years. Bide participated in countless recordings throughout that period. One documenting that specifically deserves talk about was finished with Pixinguinha’s Velha Guarda, Carnaval da Velha Guarda (Sinter, 1955). In 1941 Ataulfo Alves documented “Não Posso Viver Sem Ela” (with Cartola). The melody, a big strike right away, was re-recorded by group Rosa de Ouro for the LP Rosa de Ouro II, as “Mulher Fingida.”

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