Elomar

From northeastern origin, Elomar was deeply influenced with the folklore of his area, which mixes medieval troubadour traditions and Arab and Iberian influences with indigenous Brazilian creation yielding a strongly modal music. His ethnic background allows for him to crossover between folklore and traditional music. He provides about 13 documented albums. Elomar examined music and structures in Salvador BA and came back to his hometown, where he retains a small plantation where increases billy goats within an mindful effort to put his globe in perspective. In 1972, he documented the LP Das Barrancas perform Rio Gavião (Philips) without success. The dual recording Na Quadrada Das Águas Perdidas (Marcus Pereira/Rio Gavião, 1979) adopted, where he revealed the beautiful and unusual dialect of his area, a variety of corrupt Portuguese with historic traces of Dutch. International achievement was included with 1990’s Elomar em Concerto, where he was followed from the Quinteto Bessler-Reis. Elomar published operas, also with solid regional personality, like O Retirante. In 1980, documented Parcelada Malunga with traditional pianist Arthur Moreira Lima. In 1982, he teamed using the celebrities Arthur Moreira Lima, Heraldo perform Monte (acoustic guitar), and Paulo Moura (clarinet/saxes) for the forming of the ConSertão task, which included the recording from the recording and displays throughout Brazil. Cantoria (Kuarup, 1984) was also a task, with three live documented albums and many shows as well as Geraldo Azevedo, Essential Farias, and Xangai. In 1986, he documented the Concerto Sertanez, with traditional violonista Turíbio Santos, Xangai, and João Omar. In 1996, he performed along with his group Kaleidoscópio (violonista João Omar, flutist Elena Rodrigues, cellist Ocelo Mendonça) in the Centro Cultural São Paulo, using the display De Cantoria Concertante.