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Denis Brean

Denis Brean, one of the better composers from São Paulo and among the hardly any from that town to become recorded by Carioca interpreters, wrote strikes that became classics; like his initial and biggest strike “Boogie-Woogie na Favela” (documented in 1945 by Ciro Monteiro, and documented afterwards by many performers like Zacarias e sua Orquestra, Roberto Silva, and Anjos perform Inferno). His starting was with “Poesia da Uva,” awarded in an area contest and documented by Ciro Monteiro. Within the next yr, the Conjunto X documented his samba “Brazilian Clipper,” and in 1938, “O Modelo de Beleza.” In 1944, his valse “Zero Tempo da Onça” got much achievement in Carlos Galhardo’s rendition. The marcha “Minha Linda Salomé” (with Vitor Simon) was another strike in 1945. In 1947, Francisco Alves documented with achievement the samba “Bahia com H” (documented later on by João Gilberto, Caetano Veloso, and Gilberto Gil). “Onde Há Fumaça Há Fogo” (with Osvaldo Guilherme) was documented by Joel e Gaúcho, who included on a single record “Boogie-Woogie perform Rato.” Isaura Garcia got success using the toada “Marrequinha” (with Raul Duarte) in 1950. In 1951, Dircinha Batista documented “La Vie en Samba” (with Blota Júnior) and, within the next yr, the baião “Mambo Não” (with Luiz Gonzaga). Brean also got success like a author of carnival marches, just like the strike “Grande Caruso,” documented by João Dias in 1952. Brean also had written two classics, “Conselho” and “Franqueza,” documented by Nora Ney and Maysa, and later on re-recorded by other interpreters.

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