Januário de Oliveira

Januário de Oliveira was one of many Columbia performers, having documented nearly his entire discography with this organization: of his total of 113 tunes (from 1929 to 1938), 80 had been documented in Columbia. Oliveira debuted at Rádio Sociedade and turned to Rádio Clube perform Brasil, having been used by Sinhô in 1929 to São Paulo, where he created his entire profession. In the same yr, he documented two tunes at Columbia by Sinhô (who also participated in the documenting in the piano): “Chequerê” and “Nossa Senhora perform Brasil” (a tribute towards the Brazilian modernist painter Tarsila perform Amaral). For the reason that town, Oliveira was employed from the Rádio Educadora Paulista, after that by Rádio Record (where he got from César Ladeira the nickname of “A Voz de Veludo,” or “The Velvety Tone of voice”) and Rádio Difusora; the latter in 1935 on this program Programa da Saudade, typically the most popular of São Paulo’s radio. In 1930, Oliveira documented “Dança de Caboclo” (Heckel Tavares), followed by the writer, and in the same calendar year he had popular using the Carnaval marcha “Quebra, Quebra Gabiroba” (Plínio Brito). Four years afterwards, already employed by RCA Victor, he documented the valse “Meu Destino” (José Maria de Abreu/Carlos Rego Barros de Sousa), that was launched within the next calendar year with achievement. In 1935, he previously the main function and in addition sang in the film Fazendo Fita (Vitório Capelaro); taking part in the inauguration from the Rádio Farroupilha de Porto Alegre (Rio Grande perform Sul), he performed in duo with Carmen Miranda the samba “No Tabuleiro da Baiana” (Ary Barroso). In 1936, within a duet with Arnaldo Pescuma, he previously achievement with “Mulatinha da Caserna” (Martinez Grau/Ariovaldo Pires; that was honored the first-place award in the marcha category in the Carnaval competition promoted with the Mayoralty of São Paulo) and “Paulistinha Querida” (Ary Barroso). In the same calendar year, he toured southern Brazil using the Italian vocalist Carlo Buti, staying for just two years in Porto Alegre (Rio Grande perform Sul), having been employed by Rádio Farroupilha. In 1938, having came back to São Paulo, he started his career being a humorist, executing through the ’40s in the Rádio Nacional, casinos, and night clubs around the united states along with his peculiar and skilled imitation from the four tessituras (baritone, tenor, contralto, and soprano). Getting an impresario in 1949, he discontinued his career being a performer.