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Dodô & Osmar

Adolfo Nascimento (Dodô) and Osmar Alvares Mac pcêcarry out (Osmar) are two of the very most important performers and inventors of northeast Brazilian music ever. They electrified the Pernambucan frevo (creating a fresh genre, the frevo baiano), changing the facial skin from the Carnival, 1st in Bahia, after that in all of those other nation. The duo also developed, in 1942, a power acoustic guitar, known as by them the “pau-elétrico” (electrical real wood), that became later on the Bahian acoustic guitar (actually if Henrique Brito got, as soon as 1933, developed his own style of guitar). Their Trio Unétrico de Dodô e Osmar performed internationally in 1984 (Rome, Italy), 1985 (Toulouse, France), 1986 (France and Mexico), 1990 (France), and 1996 (Montreux Event, Switzerland; and Tübingen Music Event, Germany). In 1942, Dodô and Osmar went to a performance in the movie theater Guarani in the Castro Alves square by Benedito Chaves, who experienced just found its way to Bahia to execute with his guitar. The children pointed out that the participant was great, but there is an excessive amount of microphony. They understood the trade: Dodô was into consumer electronics, was a luthier, in addition to a musician; Osmar, also a musician, performed the cavaquinho, the mandolin, as well as the ukelele, becoming known for adapting traditional music towards the frenetic tempo of frevo for the warm Carnival celebrations of Bahia. Both performed frevos from Pernambuco and Carioca choros in the amateur group Operating-system Três e Meio. They made a decision to study solid body of electrical guitars; they finally reached an excellent result using the Brazilian rosewood, attaining a potent audio without microphony. In 1950, the bloco (carnival group) Vassourinhas, from Pernambuco, visited Rio de Janeiro with 65 music artists, conducted with the lieutenant João Cícero in another of the initial incursions of frevo music artists in to the southeast Brazilian town, parading in the roads of Salvador, Bahia, and leading to excitement. A month later on, Dodô and Osmar place an amplified audio on a vintage, rented, reddish 1929 Ford (the “velha fobica” pointed out by Moraes Moreira in his frevo “Vassourinha Unétrica,” 1980), and, going for a cavaquinho, a power acoustic guitar, and two close friends playing percussion devices, they drove through Salvador’s primary roads playing the Vassourinhas’ repertoire. Going to go from your Campo Grande toward the Praça da Sé (Sé Square), it had been impossible to allow them to total the route, because they had been surrounded by a massive and feverish masses. That was the finish from the aged carnaval design in Bahia, using its sluggish chairs round the roads of downtown, using its music-deprived parade of open up vehicles, blocos, and masquerades constituted by users from the wealthy families; as the biggest area of the populace was performing its afoxés and batucadas in the indegent neighborhoods across the Baixa de Sapateiros. The Bahian carnaval currently, known nationwide as well as internationally, can be indebted to an excellent extent to Dodô and Osmar. In 1951, the triolim (some sort of a power cavaquinho) participant Temístoles Aragão was welcomed by Dodô and Osmar, as well as the Trio Unétrico de Dodô e Osmar was created in the carnaval of Bahia. The “outdated fobica” was reserve (it really is currently on the Music Museum at Lagoa perform Abaeté, Salvador, Bahia), as well as the trio, sponsored with a soda pop business from Pernambuco, Fratelli Vita, was set up more than a Fargo vehicle. Immediately, various other trios popped around city, just like the Tapajós, the Ypiranga, the Marajós, as well as the Saborosa. Dodô and Osmar couldn’t parade from 1966 to 1973 because of financial problems. For the reason that period, the inventor from the trio unétrico Tapajós, Orlando Silva (not really the vocalist), experienced an important part in the diffusion and building of fresh trios-elétricos; while Dodô continuing to create his “paus-elétricos” (electrical woods), becoming the only person in the town who experienced the know-how to take action. But the popularity from the trios unétricos was continuously extended. In 1969, Caetano Veloso published “Atrás perform Trio Unétrico,” growing the frevo baiano through the entire nation and celebrating the seminal function of Dodô and Osmar. In the 1970s, Operating-system Novos Baianos also marketed the genre; many songs compiled by its people, during its lifetime or following its dissolution, also paid tribute towards the Trio Unétrico: chiefly Moraes Moreira’s compositions like “Santos Dumont, Dodô e Osmar,” “Pombo Correio,” and “Vassourinha Unétrica,” but also Galvão’s “Estripulia Unétrica.” After 1975, Gilberto Gil had written “Satisfação” and Caetano Veloso had written “Chame Gente” specifically for the trio. In 1973, having resolved their most immediate financial needs through a sponsorship through the tourism department from the condition of Bahia (Bahiatursa), Dodô and Osmar cut back their trio towards the carnaval of Salvador also to many Micaretas (carnavals occurring following the Lent) through the entire Bahia condition. In 1974, these were hired from the Continental documenting company to create their first recording (Armandinho, Osmar’s child, experienced documented in 1973, as well as Caetano Veloso, the recording O Frevo perform Trio Unétrico de Dodô e Osmar). Jubileu de Prata, released in January 1975, prior to the carnaval, experienced instrumental themes as well as the participation from the vocalist Moraes Moreira in two electrical frevos, the initial vocalist of trios unétricos ever. In 1980, the trio transformed its name to Trio Unétrico de Armandinho, Dodô e Osmar, having documented many annual albums (also after Dodô’s loss of life) through the 1990s, when Osmar passed away. In 1978, Dodô passed on. The surprise didn’t avoid the trio from carrying on its path. The brand new record got another Gilberto Gil structure written specifically for the group, “Atrás perform Trio.” The Trio Unétrico was symbolized internationally (on the Montreux Jazz Event, Switzerland), in July from the same 12 months, by the electrical choro and frevo group A Cor perform Som, which experienced Armandinho as soloist, and his brothers Aroldo Macedo and André Macedo as assisting music artists (also regular users from the Trio Unétrico). The next albums revealed the open-mindedness from the group’s users, who incorporated other sounds in to the Bahian frevo like Afro-reggae, the Caribbean mambo and merengue, the afoxé, and many other genres. Twelve months before Osmar’s demise, many celebrities teamed up to record a tribute to him within the 1996 Compact disc Filhos da Alegria: Gilberto Gil, Carlinhos Dark brown, Alceu Valença, Daniela Mercury, Margareth Menezes, Durval Lélys, Moraes Moreira, Bel Marques, Elba Ramalho, and Luiz Caldas. The indebted people of Bahia constructed a torso of both creators from the trio unétrico, from the Bahian electric guitar, and of the electrical Bahian music. The Trio Unétrico continues to execute, commanded by Osmar’s descendants.

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