Cacaso

Cacaso was perhaps one of the most important poets from the ’70s, having written lyrics for 200 music with illustrious companions want Edu Lobo, Egberto Gismonti, Miúcha, Eduardo Gudin, João Donato, Filó Machado, Jards Macalé, Sivuca, Maurício Maestro, Cláudio Nucci, Carlinhos Vergueiro, Novelli, and João Bosco. He previously his music documented by Tom Jobim, Operating-system Cariocas, Maria Bethâni (“Amor, Amor”), Simone (“Encounter a Encounter”), Pery Ribeiro (“Nó Cego,” with Toquinho), Emílio Santiago (“Angu de Caroço,” with Edu Lobo), A Barca perform Sol (“Cavalo-Marinho,” with Nando Carneiro), Olívia Byington (“Cavalo-Marinho”), Milton Nascimento (“Carro de Boi,” contained in his LP Gerais), Nana Caymmi (“Branca Dias,” with Edu Lobo, and “European union Te Amo,” with Sueli Costa). Cacaso also composed seven books of poems. He constructed the soundtrack for the film Canudos (Sérgio Rezende) with Edu Lobo, and he penned the musical Táxi with Nelson Ângelo. His initial song to become documented was “Carro de Boi” (with Maurício Tapajós), by Operating-system Cariocas in 1963. 3 years afterwards he composed the soundtrack for the opera João Amor e Maria (Hermínio Bello de Carvalho) with Maurício Tapajós and Hermínio Bello de Carvalho. The soundtrack included his music “Luta Danada,” “Tira O Peixe perform Mar,” “Tempo Bravo,” “Jangada,” “Foi Milagre,” and “Não Adianta Não” (all with Maurício Tapajós), and “Modinha” (with Maurício Tapajós/Hermínio Bello de Carvalho). In 1968, Paulinho da Viola documented “Meu Carnaval” (with Élton Medeiros). In 1975, Sueli Costa documented “Dentro de Mim Mora Um Anjo,” that was contained in the soundtrack from the cleaning soap opera Bravo and re-recorded with achievement by Fafá de Belém. Within the next season, he began his relationship with Edu Lobo, who documented three from the duo’s music in the LP Limite das Águas. 2 yrs afterwards, Edu Lobo documented several other masterpieces by both composers, like the strike “Lero-Lero.” Elis Regina interpreted “Meio-Termo” (with Lourenço Baeta) in her present and documented the song on her behalf 1978 recording, Transversal perform Tempo. Lourenço Baeta documented several compositions with the duo — like “Feito Mistério,” “Santa Marina,” “Festa no Céu,” “Meio-Termo,” and “Dia dos Pais” (with Sidney Matos) — on his initial solo LP, that was released within the next calendar year. In the ’80s, he previously his compositions documented by other interpreters and companions, like Elba Ramalho (“Cartão Postal”), Boca Livre (“Pedra da Lua,” “Feito Mistério,” and “Um Canto de Trabalho”), Chico Buarque, and Tom Jobim (“Dinheiro em Penca,” with Tom Jobim). Djavan documented two music created with him: “Lambada de Serpente” and “Morena de Endoidecer.” Francis Hime also documented many partnerships with Cacaso, like “Cabelo Pixaim,” “Meio Demais,” “Baião de Jeito,” “Elas por Elas,” “Marina Morena,” and “Grão de Milho.” In 1980, Maurício Tapajós documented “Falando de Cadeira” (with Tapajós) for his LP Olha Aí. In 1981, Joyce documented “Beira Rio” (with Joyce). Within the next calendar year, Tom Jobim and Miúcha documented “Nó Cego” (with Toquinho). Also in 1982, Amelinha documented “Profunda Solidão” (with Novelli). 2 yrs afterwards, Filó documented two of his compositions created with Cacaso: “Perfume de Cebola” and “Cavalo perform Cão” in his Canto Fatal. In 1985, Olívia Hime documented “O Fio da Meada” (with Francis Hime). Francis Hime documented “Se Porém Fosse Portanto” and “Terceiro Amor” (Cacaso/Hime). In 1986, Selma Reis documented “O Que Será Que Serei” (with Nelson Ângelo). In 1987, Cacaso documented the LP Moda Sentimental, including “Clarão” (with Olívia Byington). In 1991, Beth Carvalho included “Agradecer” (with Sueli Costa) on her behalf LP Intérprete. In 1992, Muri Costa documented “Chega de Tarde” (with Danilo Caymmi). Aldir Blanc included “Vim Sambar” (with Aldir Blanc/João Bosco), interpreted by Arranco de Varsóvia in his 1996 record Aldir Blanc 50 Anos. 2 yrs afterwards, Chico Buarque documented “Feito Mistério” (with Lourenço Baeta) in Boca Livre’s Melody Boca. In 1999, Nana Caymmi included “Chega de Tarde” (with Danilo Caymmi) on her behalf Compact disc Resposta ao Tempo. In 2000, Carlos Navas released “Lua de Vintém” (with Zé Renato) on his Sua Pessoa and Sueli Costa documented “Dona Doninha” and “Senhora de Si” (both with Sueli Costa). In 2001, Élton Medeiros re-recorded “Aurora da Paz” (with Medeiros) on his homonymous Compact disc (the song have been documented in the ’60s by Operating-system Cinco Crioulos).