Geraldo Vandré

Geraldo Vandré was in the maximum of his creative impetus and recognition when he was pressed by Brazilian dictatorship in 1968. Exiled, he came back silent. Criticizing mass tradition, he retired from creative manifestations, living by itself in his house in São Paulo, while his functions have been continuously re-recorded. After some periodic appearances at the neighborhood radio place, he and his family members transferred to Rio in 1951. Beneath the pseudonym of Carlos José, he made an appearance in the most well-known radio show of this period, the Programa César de Alencar. By using his mom, he documented his first one (as an interpreter, much less a composer), which he place under his arm and wanted to all r / c and recording brands of Rio. It had been when he fulfilled Valdemar Henrique, composer and folklorist, who proved helpful on the Rádio Roquette Pinto, who opened up for him the chance of presentation in a few displays. He also became familiar with Ed Lincoln and Luís Eça, who had been playing on the Plaza nightclub and allow him sit down in through the band’s breaks. Searching for law college, he became an activist, becoming a member of the Popular Tradition Center from the Country wide College students Union (CPC da UNE), centers where civil culture resisted culturally. There he fulfilled Carlos Lyra, whose interpersonal issues led him to forego bossa nova and discover a new location for expression. Collectively, these were the makers from the genre later on referred to as “canção de protesto” (protest track). Vandré’s 1st compositions had been together with Lyra: “Quem Quiser Encontrar o Amor” (documented by Lyra with an 78 rpm in Apr 1961, through RGE) and “Aluanda.” In 1962, the Philips LP O Sambalanço de Carlos Lyra brought “Quem Quiser Encontrar o Amor,” as well as the track was also contained in the film Cinco Vezes Favela, made by the CPC. In the same 12 months, he became familiar with Baden Powell, Luís Roberto, and Vera Brasil, beginning some presentations with them in the popular João Sebastião Pub in São Paulo. With vocalist Ana Lúcia, he documented “Samba em Prelúdio” (Baden Powell/Vinícius de Moraes) with great achievement and which opened up for him the bossa nova doorways. His “Pequeno Concerto que Virou Canção” delved actually deeper in the bossa waves, but he break up with the motion, deciding to analyze his origins and create music coherently along with his roots. The 1st result was the toada “Canção Nordestina” (Northeastern Track). In those moments, the bossa was provided in informal areas and would just gain the formal acknowledgment of theaters some time after. Therefore, he provided it on the Colégio Mackenzie throughout a bossa event as well as the tune had a direct effect. He wedded Nilce Tranjan, who provided him solid support in his preliminary profession, in 1964. His 1st LP, documented still for the reason that yr (Dec, through Sound Fidelity) experienced “Fica Mal com Deus,” but discovered no success. Within the next yr, he was commissioned by moviemaker Roberto Santos to create the soundtrack to Santos’ A Hora e a Vez de Augusto Matraga. For the reason that same yr, he performed in the I FMPB interpreting Chico Buarque’ “Sonho de um Carnaval,” categorized in 6th place; he also documented his second LP, Hora de Lutar. In 1966, he documented the LP Cinco Anos de Canção, which experienced a collaboration with Baden Powell, “Rosa Flor.” Also for the reason that yr, he won 1st place in the FNMP using the marcha-rancho (created with Fernando Lona) “Porta-Estandarte,” interpreted by Tuca and Airto Moreira. The triumph opened up the way for any signed contract using the Rhodia firm, through which he’d end up being financed to tour the Northeast using the after that Trio Novo (Theo de Barros, violão; Airto Moreira, percussion; and Heraldo perform Monte, Brazilian viola), who, by the end from the tour, had been joined up with by Hermeto Pascoal, getting the Quarteto Novo. Still in 1966, Vandré gained the II FMPB (Television Record, São Paulo) with “Disparada” (with Theo de Barros), interpreted with the Trio Novo, Jair Rodrigues, and Trio Maraiá, linked with “A Banda” (Chico Buarque). In the same calendar year, he also gained second place on the I FIC (Television Rio, Rio) with “O Cavaleiro” (created with Tuca, who defended it). He was after that so well-known that he was commissioned by São Paulo’s Television Record to create and web host his own present, Disparada. He also hosted his personal other displays, Canto Geral (after, Canto Permitido) on Television Bandeirantes and Caminhando (Television Globo). His following involvement at two celebrations had been unsuccessful: “Ventania” in the III FMPB and “Da Serra, da Terra e perform Mar” in the II FIC. At exactly the same time, his structure “Arueira” as well as the frevo “João e Maria” (with Hilton Accioly) produced great achievement. Commissioned from the Dominican priests of São Paulo, he published the music for the sacred theatre “A Paixão Segundo Cristino.” In 1968, he documented the recording Canto Geral (Odeon). He inscribed “Bonita” (with Accioly) in the IV FMPB, without success. In the III FIC, he protagonized probably one of the most psychological occasions of MPB. Accompanied with the Quarteto Livre (Naná Vasconcelos, Franklin, Geraldo Azevedo, and Nelson Ângelo, most of them getting well-known performers), he defended his melody “Caminhando — Pra Não Dizer que não Falei das Flores.” It had been a favorite from the audiences, however the jurors elected for initial place “Sabiá” (Chico Buarque/Tom Jobim). Within a deeply passionate atmosphere, he informed the general public that it had been only a celebration and that there have been more considerations to get worried about. He implemented his interpretation from the melody using the multitude performing together (the thrilling show is registered within the 1996 compilation Vandré). The music became sort of anthem of college students and civil culture, but was prohibited by censorship. Immediately after the AI-5 (an work that granted dictatorial forces to the armed service authorities) was decreed, Vandré was exiled. He remained out for four years, period spent in Chile (where he made up “Desacordonar,” becoming expelled from the united states beneath the pretext of experiencing shown himself on nationwide Television without proper documents), France, Algeria, Germany (where he documented shows for Television), Austria, Greece, and Bulgaria, generally executing in upcountry villages. Sergio Endrigo documented his music. In 1970, he documented in France using the Quinteto Violado the LP Terras perform Benvirá, released in Brazil just in 1973, and re-staged A Paixão Segundo Cristino. In 1973, he documented Television shows for exhibition in Brazil, however they had been censored. In July, he came back to Brazil and in 1982, he performed in Puerto Stroessner, Paraguay, near to the Brazilian boundary. In March 1995, he was present at a concerto marketed with the CONAR (Military command device). On that event, a choir of cadets performed “Fabiana,” a music Vandré wrote as an homage towards the Brazilian Atmosphere Push (FAB), which confounded the Brazilian intelligentsia. Later on, laconic interviews hadn’t added to resolve the secret of this astounding change obviously, as his criticisms are aimed just toward the social market and he desired to become silent about the rest. “This is not the right instant to state what I understand,” in his personal terms. In 1997, the Quinteto Violado released the Compact disc Quinteto Violado Canta Vandré (Atração), and Elba Ramalho, Geraldo Azevedo, and Zé Ramalho documented “Disparada” and “Canção da Despedida” on the Compact disc Grande Cncontro 2. His musical biography premiered on the Compact disc Vandré, in 1996 by RGE.