Carlinhos Vergueiro

The composer/interpreter Carlinhos Vergueiro has already established his songs, which have become faithful to the original samba, recorded by Paulinho da Viola, Caetano Veloso, Djavan, Chico Buarque, Martinho da Vila, Toquinho, Ney Matogrosso, Mestre Marçal, Edu Lobo, João Nogueira, Luiz Melodia, Ana Flávia, Antonio Marcos, Beth Carvalho, Carol Saboya, Christina Buarque, Clementina de Jesus, Demônios da Garoa, Dora Vergueiro, Elton Medeiros, Francis Hime, Grupo Catavento, Jessé, Leny Andrade, Lúdica Música, Maria Alcina, Maria Creuza, Olívia Hime, Paulinho Boca de Cantor, Toquinho, Trio Mocotó, Trovadores Urbanos, Vanusa, Wilson Miranda, and Zezé Freitas. His samba “Vendaval” was included on the BMG Compact disc Operating-system Grandes Sambas da História (THE BEST Sambas of Background), 1998. He’s the sibling of Guilherme Vergueiro and grandson from the concert professional Guilherme Fontainha; since his youth, Carlinhos Vergueiro examined the piano and music theory, executing in public because the age group of seven. In 1973, employed in the currency markets, Vergueiro documented two singles. In 1974, he documented his first LP, Brecha, abandoning his work and dedicating himself to his music. In 1975, he previously a significant break, earning Rede Globo’s 1975 Celebration Abertura along with his melody “Como um Ladrão.” In 1978, he toured Brazil with Cartola within the Pixinguinha task. In 1980, he performed as well as Nélson Cavaquinho and, in 1989, with Leny Andrade on the Golden Area from the Copacabana Palace. He performed in Italy in 1983, earning the Tenco award in San Remo; he also performed in France (1984) and Cuba (1981). Being a manufacturer, Vergueiro realized artworks focused on Geraldo Filme (1980), Nélson Cavaquinho (Flores em Vida, 1985), Chico Buarque (A Ópera Perform Malandro, 1985), and Candeia (1986). He provides written tracks with Vinícius de Moraes, Chico Buarque, Toquinho, Sueli Costa, Paulo César Pinheiro, Elton Medeiros, João Nogueira, Paulinho da Viola, amongst others. He provides a lot more than 150 documented songs, included in this “Por Que Será” (with Vinícius de Moraes/Toquinho, 1977), “Torresmo ? Milanesa” (with Adoniran Barbosa, 1980), “Camisa Molhada” (with Toquinho, 1976), “Como um Ladrão” (1975), and “Nosso Bolero” (1986) (both with Chico Buarque), “Tocaia de Cobra” (with Paulo César Pinheiro, 1998), and “Dia Seguinte” (with J. Petrolino, 1978), that was also documented by Beth Carvalho.