Fafá Lemos

Fafá Lemos was a significant Brazilian musician in the ’40s through the ’70s. A violin virtuoso employed by the most important radio place (Nacional, that was intensely financed with the nationalist federal government of Obtainúlio Vargas), he used virtually all from the Brazilian superstars of those situations, documented a great single discography (in Brazil as well as the U.S.), and in addition acquired an appreciable single career overseas. His musical research started at seven. Using the accompaniment from the Orquestra Sinfônica perform Teatro Municipal perform Rio de Janeiro, under conduction of maestro Burle Marx, he soloed a Vivaldi concert just two years afterwards. Within the next calendar year, he performed at the esteemed Country wide Institute of Music, followed by renowned pianist Souza Lima. Shifting to Paraná, he empty music for four years to comprehensive his senior high school research. In 1940, he came back to Rio and became a member of the Brazilian Symphonic Orchestra for four a few months as well as the Carlos Machado Orchestra (where he would function for six years) in the high-class Cassino da Urca. Associated Carlos Machado, he started playing in the Casablanca nightclub in 1946, however the Trio Rio (which performed at Bally-Hi nightclub) produced an improved proposal and he became a member of them. In 1950, Rádio Nacional employed him for the outing’s solid and for the reason that capacity, he’d accompany the Brazilian musical who’s who of these situations. In 1952, he visited the U.S. for the very first time — he’d go there many times — and using one of those vacations, he documented the soundtrack towards the film Meu Amor Brasileiro (Mervyn Le Roy, Metro) with Laurindo Almeida. Associated Carmen Miranda, they toured many American metropolitan areas. For New York’s CBS, he documented three Television shows and was employed by Hollywood’s KTV being a soloist. Also in 1952, he documented many albums for the American RCA Victor. Time before, Paulo Tapajós, musical movie director for Rádio Nacional, made the present Música em Surdina (music in mute), beneath the winning idea of taking the wonderful soloists employed by the place in the orchestral mass and placing them in little groups. Therefore, Tapajós made the Trio Surdina: Lemos, Garoto (violão and many other string equipment), and Chiquinho perform Acordeon (accordion). Occasionally the trio was became a member of by Vidal (bass) and Bicalho (percussion). After best time, they might amuse the listeners all night, playing enhanced instrumental music before daily closing from the broadcasts. Playing worldwide music in Brazilian rhythms, in addition they included Noel Rosa classics (“Com que Roupa?” sung by Lemos); “Ninguém me Ama” (Antônio Maria/Fernando Lobo, popular in the tone of voice of Nora Ney); as well as the trio’s very own compositions, like the choro “Relógio da Vovó” as well as the baião “Nós Três.” In 1953, the trio released the to begin some LPs (Musidisc): Garoto’s “Duas Contas,” which may be regarded as a precursor of bossa nova, concerning lyrics, tranquility, and melody. Tied by agreement to the air, the trio was emulated by some or most of its people in recordings for performers under significant amounts of denominations. For instance, “Vingança” (Lupicínio Rodrigues) was documented by Linda Batista in 1951 (RCA), where pianist Carolina Cardoso de Meneses subbed the accordion of Chiquinho’s, and “Risque” (Ary Barroso) was documented next yr from the same vocalist, this time around with the precise development of Trio Surdina. The amazing success from the trio, a format obsessively used by nightclubs and documenting businesses after them, was also partly credited towards the extinction of betting in Brazil by chief executive Dutra in 1946. The largest musician employers had been the best casinos, which shown a range of advanced entertainment besides betting, music being probably one of the most essential. Those music artists became unemployed over night and developed pocket displays in the nightclubs that got the place from the casinos: Night time & Time, Casablanca, Monte Carlo, among others. In 1953, Lemos came back towards the U.S., touring and saving with Carmem Miranda until her loss of life in 1955. Developing a trio, he performed on the Marquis cafe for over a calendar year with the Frascati cafe for five a few months. In 1956, he came back to Brazil and became creative movie director for RCA Victor, launching most of his single recordings on 78 rpms in the U.S. In 1958, he distributed an record with Luiz Bonfá (Bonfafá, Odeon). Lemos performed in nightclubs and Television shows until 1961, when he transferred again towards the U.S. In 1964, he made an appearance as guest musician on Laurindo Almeida’s Electric guitar From Ipanema (Capitol/EMI/Toshiba).