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Francisco Alves

Francisco Alves was maybe probably the most successful vocalist ever in Brazil. In his profession period of 35 many years of achievement (interrupted by his loss of life in a vehicle accident), he was the vocalist who recorded even more 78 rpm albums in Brazil than anyone: 526 albums with 983 music. Being a composer, he still left around 132 music, but most of them had been later demonstrated to have already been bought from composers. Also then, one among his certified masterpieces (his personal tune, “A Voz perform Violão,” with lyrics by Horácio Campos) will do to accredit him within this field. The kid of the Portuguese immigrant who performed the bombardon in amusement hours, Chico Alves (as he became known later on by his viewers) was praised for his tone of voice since he was a kid, but worked well at several little careers (shoeshiner, hatmaker, taxi cab driver) ahead of achievement. His artistic profession debut is at 1918, in the business owned by stars João de Deus and João Martins. He documented for the very first time the next yr, asked by João Gonzaga (alleged boy of the feminine conductor Chiquinha Gonzaga and owner from the recently founded documenting company Popular). Both albums got the marcha “O Pé de Anjo” as well as the sambas “Fala Meu Louro” and “Alivia Estes Olhos,” simply by Sinhô (who participated in the documenting as an associated musician). “O Pé de Anjo” was area of the musical polemic that made an appearance after the 1st samba, “Pelo Telefone,” opposing the Bahianos and Cariocas. This music was the largest hit from the Carnival of 1920, as well as the additional songs also had been successes for the reason that calendar year. Alves would record three various other albums with eight music for Popular, however the documenting firm would last significantly less than a calendar year, having sold hardly any information. Invited by José Segreto, he became a normal performer on the Teatro São José as well as Vicente Celestino, whom he imitated until after that, and Otília Amorim. Enjoying crescent reputation, he transferred successively in one movie theater company to some other. In 1927, he was taken up to Odeon by Freire Júnior, documenting 11 albums with 19 music still in the mechanised procedure. In July of this calendar year, Odeon became the initial firm in Brazil to record through the electromagnetic procedure, and Alves was the initial artist to take action in the record using the marcha “Albertina” as well as the samba “Passarinho perform Má” (both by Duque). Shortly, he also became a Parlophon musician (Odeon’s subsidiary label), documenting beneath the pseudonym of Chico Viola. In 1928, he produced acquaintance using the Estácio sambistas Ismael Silva (from whom he bought the samba “Me Faz Carinhos”) and Bide (from whom he bought “A Malandragem”). Then became close friends with the complete Estácio gang, parading in the neighborhood samba college (that was, in fact, only a rancho) Deixa Falar during Carnival. Getting true close friends with Ismael Silva, he documented virtually all his compositions (mainly created with Nilton Bastos) until 1935. In 1929, he debuted in radio on the Rádio Sociedade. He had been an extremely well-known artist at that time. In 1930, he performed in Buenos Aires, Argentina. In the same season, he shaped a duo with Mário Reis, documenting with him 12 essential albums. In 1931, he performed once again in Buenos Aires, Argentina, with Mário Reis, Carmen Miranda (her initial worldwide tour), Luperce Miranda, and Tute. 2 yrs later, he agreed upon with Rádio Mayrink Veiga as well as Carmen Miranda and Mário Reis. In the same 12 months, his records had been found in the film Voz perform Carnaval (Ademar Gonzaga). In 1934, he remaining Odeon for RCA Victor, where he’d stay until 1937. In 1934, he also toured the South with Noel Rosa, Mário Reis, and Nonô as associated pianist. He previously a display of his personal on Rádio Cajuti, who released Orlando Silva (who become his rival in recognition). In 1935, he debuted in movie theater in the film Alô, Alô, Brasil (Wallace Downey/João de Barro/Alberto Ribeiro), accompanied by Alô, Alô, Carnaval (Ademar Gonzaga, 1936); Laranja da China (J. Rui, 1940); and, by Luís de Barros, Samba em Berlim (1943), Berlim na Batucada (1944), Pif-Paf (1945), Caídos perform Céu (1946), and Esta é Fina (1948). In 1936, he performed for just two weeks at Radio Un Mundo (Buenos Aires, Argentina), having asked Alzirinha Camargo and Benedito Lacerda. In 1937, he came back to Odeon, remaining there until 1939. In 1939, he was was the launcher from the genre samba-exaltação, documenting “Aquarela perform Brasil” (Ary Barroso). For the reason that season, he became a Columbia musician, documenting 14 albums there until July 1941, when he came back to Odeon where he’d stay until his demise, also documenting four tracks for RCA Victor times before the incident. In 1941, he agreed upon with Rádio Nacional, where would stay until his loss of life. After he was eliminated, his lifestyle was depicted in the film Chico Viola Não Morreu (1955). His autobiography premiered in 1966, compiled by David Nasser (his partner since 1940, with whom had written 20 tracks) and entitled Chico Viola.

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