Eduardo Gudin

Eduardo Gudin can be an important Brazilian composer whose music have already been recorded by such brands as Dick Farney, João Nogueira, Márcia, Paulinho Nogueira, Paulo César Pinheiro, Quarteto em Cy, Roberto Riberti, Paulinho da Viola, Elizeth Cardoso, Beth Carvalho, Gal Costa, Clara Nunes, MPB-4, Leila Pinheiro, Jair Rodrigues, among others. He begun to find out the violão at 13. Then examined with Antônio Ramos, and afterwards, with Leo Peracchi, Nelson Ayres, and Téo de Barros. At 16, he performed on it Record present O Fino da Bossa (“Morena Boca de Ouro,” a vintage by Ary Barroso also documented by João Gilberto), asked by web host Elis Regina. In 1968, Gudin empty the engineering university to dedicate himself solely to music, and in exactly the same calendar year was on Television Record’s IV FMPB along with his “Choro perform Amor Vivido” (with Walter de Carvalho), which got preparations by Hermeto Pascoal and interpretation by Operating-system Três Morais. “Gostei de Ver” (with Marco Antônio da Silva Ramos) received 4th place within the next year’s release of that event. But, in the IV Event Universitário da Television Tupi, his track “E lá se Vão Meus Anéis usually” (with Paulo César Pinheiro) received 1st place and obtained a hit within the interpretation by Operating-system Originais perform Samba. Gudin would record that track on his 1st solo recording, released just in 1973 (Odeon), the recording had the involvement of Jane of Operating-system Três Morais. Within the ’70s, Gudin became a normal accompanist for vocalist Márcia. In 1973, he documented his first recording, Eduardo Gudin (plans by Hermeto Pascoal). Using the choro group Regional perform Evandro, he performed in a number of looks and participated within the documenting of Brasil, Flauta, Bandolim e Violão along with a Música Genial de Pixinguinha, both released by label Marcus Pereira, which focuses on historic paperwork. In 1974, he opened up the display O Importante é que Nossa Emoção Sobreviva with Márcia and Paulo César Pinheiro and released an LP on Odeon within the next 12 months (when another single album premiered). The show’s name was picked from your track “Mordaça” (gag), a solid mention of the dark moments Brazil was struggling. The display was an enormous achievement both in São Paulo and in Rio and within the next season, he do another show using the same label and released O Importante é que Nossa Emoção Sobreviva II (1976), that was the first documenting of Guinga. The next years proclaimed his essential partnerships with brands like Paulinho da Viola, Arrigo Barnabé, Adoniram Barbosa, Caetano Veloso, Aldir Blanc, Elton Medeiros, Paulo Vanzolini, Hermínio Belo de Carvalho, Roberto Riberti, among others. His tune “Maior é Deus” was documented by Beth Carvalho on her behalf LP Pra seu Governo and became a nationwide strike. Beth would also record Gudin’s “A Velhice da Porta-Bandeira.” In 1975, Gudin released Mãoperating-system Vazias and 3 years afterwards, Coração Marginal (both through Odeon). In 1979, he was the mastermind from the I Celebration Universitário da Television Cultura. Within the ’80s, “Paulista” (with J.C. Costa Netto) was popular on his wife, Vânia Bastos’ interpretation. “Bem-bom” (with Arrigo Barnabé and Carlos Rennó) was documented by Gal Costa, who called the album following the tune. Within the next season, he released Fogo Calmo das Velas, in 1983 Ensaio perform Dia, and in 1986 arrived Balãozinho (both by Continental), exactly the same 12 months where Leila Pinheiro interpreted “Verde” (created with J.C. Costa Netto) at Television Globo’s Event dos Festivais. The track, turned into popular in her tone of voice, projected the after that novice vocalist to stardom; she’d also record “Paulista” in 1991. In 1989, he documented Eduardo Gudin e Vânia Bastos for Eldorado. Within the next 12 months, he got mixed up in creation of São Paulo’s Orquestra Jazz Sinfônica. Like a maker, Gudin done Beth Carvalho Canta o Samba de São Paulo (Clear reward in 1994 for Greatest Samba Recording) and by himself Eduardo Gudin & Not reallyícias dum Brasil (which presented Mônica Salmaso, Renato Braz, Luiz Bastos, and Márcia Lopes). In 1996, he documented Tudo o que Mais nos Uniu, as well as Márcia and Paulo César Pinheiro, that was a special event of the earning present O Importante é que Nossa Emoção Sobreviva. He also created Mônica Salmaso and violonista Paulo Belinatti for the documenting and shows focused on the functions of Baden Powell and Vinícius de Moraes, known as the Afro-sambas. In 1998, he released Pra Tirar o Chapéu.