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Copinha

A dynamic sideman for documenting sessions, Copinha followed the stars Carmen Miranda, Francisco Alves, Mário Reis, Carlos Galhardo, Orlando Silva, Sílvio Caldas, Nuno Roland, Rui Rei, and many more in the Golden Age of song (between your ’30s and ’40s). Through the bossa nova years (past due ’50s to early ’60s), he followed Elizeth Cardoso, João Gilberto (since his initial record), and various other icons from the motion. He documented Pierre Barouh’s rating for the well-known film Un Homme et une Femme, as well as Baden Powell, Milton Banana, as well as the Castro-Neves brothers: Oscar and Iko. Through the ’70s towards the ’80s, he was a sideman for Caetano Veloso, Chico Buarque, Paulinho da Viola, Roberto Carlos, Gilberto Gil, yet others. He also got international success along with his single work, that was before his very own orchestra. Given birth to the seventh child of Italian immigrants, he started his musical research at age group nine along with his old sibling, Vicente Cópia (all his brothers had been musicians). Taking on the flute, he became a specialist in 1924, associated silent movies before advent of audio in 1930. In 1928, he used the clarinet as well as the saxophone and performed around a whole lot. In 1930, he performed many times for Rádio Paulista, followed by Garoto. His 1st recording was recorded for the reason that year, as well as Garoto, Aimoré, Armandinho (all violonistas [acoustic acoustic guitar players]), and vocalist Moreira da Silva. Along with his brothers and nephews, he structured the Orquestra Irmãoperating-system Cópia (who performed frequently until 1934), where crooners like Rui Rei, Nuno Roland, and Grande Otelo performed. Completing an executive level at a university or college, he worked for quite a while in that occupation, but never forgotten his busy routine like a musician. In 1931, he became a member of the quartet of Spartaco Rossi on the tour of Germany. In 1932, he followed famous performers Mário Reis and Francisco Alves. In 1933, he performed at Rádio Cruzeiro perform Sul with Maestro Gaó’s Orquestra Columbia, becoming a member of them frequently between 1937 and 1939. Growing his actions to Rio de Janeiro in 1936, he was employed by Rádio Ipanema and used Pixinguinha in the Eldorado gafieira. He was a dynamic sideman through the ’30s and ’40s. From 1939 to 1943 he became a member of the orchestra of Simon Bountman, and from 1944 to 1946 he performed using the orchestra of Carlos Machado in the Cassino da Urca, taking part in also in additional casinos. His very own orchestra was shaped in 1946; they performed until 1959 on the Casino from the Copacabana Palace Resort. For the reason that period, coinciding using the inception of bossa nova, many of the important brands of the motion joined up with his orchestra or had been followed by them, such as for example João Gilberto, João Donato, Milton Banana, and many more. In 1958, after having followed Elizeth Cardoso for the historical record where bossa nova premiered (Canção perform Amor Demais), he was asked by Tom Jobim to seem for the debut record of João Gilberto. In the bossa nova period, he continuing his active involvement being a sideman in recordings. In 1966, he performed in Monaco along with his orchestra, Copinha perform Rio. In 1967, he teamed with pianist Dom Salvador, drummer Chico Batera, and bassist Sérgio Barroso, playing in Miami, Dallas, and Minneapolis (U.S.A.). His 50-season profession was commemorated using the recording from the LP Jubileu de Ouro (Som Livre), in July 1975.

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