Maybe probably the most original Brazilian percussionist/singer ever, and certainly probably the most influential one, Jackson do Pandeiro was, as well as Luís Gonzaga, in charge of the across the country dissemination of Northeastern Brazilian music. During his profession, he had strikes that continue being re-recorded until today, just like the arrasta-pé “Casaca de Couro,” the xamego “Forró na Gafieira,” the baião “A Cantiga perform Sapo,” the cocos “O Falso Toureiro” and “Cajueiro,” “Meu Enxoval” (co-written by Gordurinha), “17 Na Corrente,” “Coco perform Norte,” “O Velho Gagá,” “Vou Ter Um Troço,” “Sebastiana,” “O Canto da Ema,” and “Chiclete com Banana.” He previously a fundamental function within the Brazilian well-known music tradition famous by a wide selection of modern figures, which range from Lenine to David Byrne (who created the Compact disc Forró Etc.). During his profession, nevertheless, Jackson didn’t possess significant sales once we understand them today, nor worldwide tours, aside from the glamour loved by today’s idols. Actually, the rediscovery of his importance is definitely a relatively latest trend, indebted to an excellent extent by desire for Tropicalia from Brazilian well-known cultural’s past; Gilberto Gil documented “O Canto da Ema” (D. Aires Viana/Alventino Cavalcanti/João perform Vale) and “Chiclete com Banana” (Gordurinha), while Gal Costa documented “Sebastiana.” Since that time, Jackson’s hits have already been documented by Alceu Valença, Chico Buarque, Tom Zé, Elba Ramalho, João Bosco, Geraldo Azevedo, Genival Lacerda, Zé Ramalho, Leila Pinheiro, Paralamas perform Sucesso, Cascabulho, Chico César, along with other performers. The strenuous syncopation exhibited from the interplay of his performing and his inseparable pandeiro (some sort of tambourine with jingles), an inheritance from the dark culture that created the coco from Alagoas, managed to get quite organic for him to adjust to the Southwest music, specifically the Carioca sambas and Carnival sambas. Getting to Carioca Television and radio, as soon as the middle-’50s, the energetic poetry and performing from the cantadores (Northeastern minstrels) from the fairs, filled with improv and laughter, Jackson required by assault the viewers that packed his live shows within the very popular auditorium radio displays where he participated — just like the Programa César de Alencar, over the Rádio Nacional — making achievement after achievement. At exactly the same time, he was the very first one to mix the Carioca malandragem (road intelligence) with swinging Northeastern cocos and emboladas (a historical form of tempo and poetry sung towards the accompaniment of only a pandeiro). Kid of the vocalist specialized in the folkloric cocos of her area, Flora Mourão, Jackson (who was simply nicknamed “Jack port” by his mom, after his physical resemblance to professional Jack Perry; implementing later on, as a specialist, his stage name) were only available in music playing the zabumba (folkloric Northeastern drum) to back again up his mom. After a group of hardships from childhood like a peasant and throughout his youngsters, when he worked well like a baker and later on like a drummer within the bones of João Pessoa (Em virtude deíba), in the first 50s he was employed from the Rádio Jornal perform Comércio (Recife, Pernambuco). At that train station, which was becoming inaugurated, he used the stage name Zé perform Pandeiro (and Jackson perform Pandeiro) and documented his 1st 78 rpm solitary and got his first strike using the xote “Sebastiana” (compiled by Rosil Cavalcanti, with whom Jackson got a duo at that time). The music is proof the rhythmic/stylistic improvements predicated on improvisation that Jackson was devising inside the primary of traditional Northeastern music. Performing cocos which were mainly his mother’s repertory, Jackson got local achievement, documenting many albums that released him towards the faraway viewers of Rio de Janeiro; just like the rojão “Forró no Limoeiro,” which brought him more than enough money to fund his and Almira’s visit to Rio. Learning the amateur vocalist/dancer Almira Castilhos de Albuquerque, Jackson produced with her the duo Jackson perform Pandeiro e Almira. Almira acquired a prominent function over Jackson’s lifestyle, having been the individual who trained him how exactly to compose his very own name. Her sensuality being a dancer and his tremendous talent being a vocalist/percussionist/entertainer soon had been acclaimed, plus they departed to Rio de Janeiro in 1954. In Rio, Jackson found know personally the Carioca journalists which were currently celebrating his music in some recoverable format. The duo’s initial record in Rio was a assortment of previously released singles in 1954 known as Sua Majestade O Rei perform Ritmo, gathering Northeastern rhythms just like the rojão, the coco alagoano, the xote, as well as the batuque nordestino, combined with the Carioca samba. Time for João Pessoa, Jackson and Almira wedded in October of this year, but missed the same comfort from their viewers. Documenting the “Xote de Copacabana” (a tribute to Rio), each of them came back to that town in 1955, settling there completely. Jackson began to perform at r / c Tupi and Mayrink Veiga, having been employed by Nacional. In São Paulo, he worked well in night clubs and r / c Record, Nacional, and Bandeirantes. Through the ’50s, the duo was well-known plenty of to perform in a number of movies like Minha Sogra é Da Polícia, Cala a Boca Etevilna, Tira a Mão Daí (where Ângela Maria, Virgínia Street, Linda Batista, and Dircinha Batista also worked well), and Batedor de Carteiras. Before duo’s dissolution in 1967 (with the finish of the relationship), these were supported by the Pau de Arara trio, later on renamed as Trio Borborema. Urged from the reception of the marketplace, Jackson began to record with achievement Carnaval marches like “Mão na Toca,” “Intenção,” “Vou Gargalhar,” (Edgar Ferreira, 1955), “Boi da Cara Preta” (Paquito/Romeu Gentil/José Gomes, 1956), “O Velho Gagá” (Almira Castilhos/Paulo Gracindo, 1961), and the largest hit from the Carnaval of 1962, “Me Segura Que European union Vou Dar Um Troço” (Jackson/Arnô Provenzano/Otolindo Lopes). Jackson got a broader achievement through the mid-’50s before late ’60s, through the period where he held the duo along with his wife Almira. Using the “Jovem Guarda” as well as the explosion of youngsters music within the ’60s, the possibilities for Jackson steadily diminished as well as the duo found an end, alongside the relationship, in 1967. It had been just in 1972 that Jackson’s contribution to Brazilian well-known music will be famous, by Gilberto Gil’s re-recording of “Chiclete com Banana” (not really by coincidence, a melody whose lyrics are filled with personal references dear to Tropicalia) on Gil’s Expresso 2222. The name monitor also evidences Jackson’s solid influences within the vocal/rhythmic range. Gil later on re-recorded “O Canto da Ema” and “A Cantiga perform Sapo,” while Gal Costa re-recorded “Sebastiana.” Also in 1972, Alceu Valença known as Jackson to execute like a duo Valença’s “Papagaio perform Futuro.” It had been plenty of to reinvigorate the coco get better at, who came back towards the documenting studios and trips throughout Brazil, however limited to the June celebrations referred to as festas juninas, using its particular repertory of marchas juninas. After another 10 years of actions and lesser reputation, Jackson died on the highway, soon after performing a show. Twelve months after his loss of life, he was paid tribute in São Paulo within the 30 Anos de Rojão functionality, with the current presence of Zé Kéti, Odair Cabeça de Poeta, Paulinho Boca de Cantor, Edgar Ferreira, among others. In 1997, Jackson was presented with an homage through the ceremony from the Sharp Awards.
|1||Before become known as Jackson, he adopted the nickname of Jack, inspired by Jack Perry western actor of the 30s.|
|O Bacanal do Diabo e Outras Fitas Proibidas de Ivan Cardoso||2013|
|Bom Mesmo É Carnaval||1962|
|Aí Vem a Alegria||1960||Tonico|
|O Viúvo Alegre||1960|
|Pequeno por Fora||1960|
|Minha Sogra É da Polícia||1958||Biriba|
|O Batedor de Carteiras||1958|
|Tira a mão daí!||1956|
|Rio Sex Comedy||2010||performer: "Xote de Copacabana"|
|Espelho d'Água - Uma Viagem no Rio São Francisco||2004||performer: "Cavalo Marinho Dub"|
|Pigmalião 70||1970||TV Series performer: "A Feira"|
|Cala a Boca, Etelvina||1960||performer: "Baião"|
|Jackson do Pandeiro: A Brasa do Norte||2012||Short music composed by|
|Rio à Noite||1962||Documentary|
|Cala a Boca, Etelvina||1960||Himself|
|Jackson do Pandeiro: A Brasa do Norte||2012||Short||Himself|
|Som Brasil||2011||TV Series||Himself|
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