João Pacífico

João Pacífico was probably one of the most essential artists from the “caipira” (hillbilly) world. His compositions had been documented by typically the most popular idols of the and additional eras, like Inesita Barroso, Chitãozinho e Xororó, Raul Torres, Florêncio, Rolando Boldrin, Sérgio Reis, Jair Rodrigues, Nelson Gonçalves, and several, numerous others. A famous character, he was created in a plantation, grandson of slaves as well as the son of the freed slave female, he previously Mário de Andrade as a pal and experienced his poetry praised by famous brands Manuel Bandeira and Guilherme de Almeida. His all-time traditional, “Cabocla Teresa,” became the story from the eponymous film 42 years following its discharge. And his lyrics for the traditional choro “Doce de Coco,” produced at the demand from the composer himself (Jacob perform Bandolim) — who enjoyed it much better than Hermínio Bello de Carvalho’s — was documented by Isaura Garcia. His saga started when he departed from upstate São Paulo, going to the administrative centre. Arriving there in 1924 at age group 15 with a little pack of outdated clothes and just a little pocket cash, he proved helpful in small careers until he been successful (after many dramatic failures) in getting the attention of the consecrated musician (Raul Torres), who, as well as Carmen Miranda’s sister Aurora Miranda, documented his embolada “Seu João Nogueira” — challenging the addition of Torres’ very own name in the relationship, as was habitual. The tune became popular in 1935 and yielded Pacífico’s initial contract. He shortly implemented with “Foi no Romper da Aurora” and “Chico Mulato,” both with the duo (at least both brands had been acknowledged). The last mentioned was the initial song to add a declaimed verse initially, and it aroused controversy at RCA-Victor studios, since it was thought that that treatment was anti-commercial. In addition, the length between grooves needed to be shortened to be able to suit the song on the 78 rpm record. Using its instant achievement, the duo was asked by RCA’s movie director to write additional ones similar compared to that. It was if they was included with “Cabocla Teresa” (1940), an enormous success right from the start. Other hits with the duo had been “No Mourão da Porteira” (1942, documented by Torres e Serrinha) and “Pingo D’Água” (1944, documented by Torres e Florêncio). In the ’50s, Pacífico got success both being a composer and lyricist with “Treze Listas” (documented by Nelson Gonçalves), “Tapera Caída” (documented by Luizinho e Limeira), “Minas Gerais” (documented by Tonico e Tinoco), and Torres e Florêncio documented his hits for the LP Cavalo Zaino. In the ’60s, he continuing to possess his tracks documented with achievement (with the Duo Glacial, Maurici Moura, yet others). From then on, “Cabocla Teresa” was documented by Chitãozinho e Xororó and Sérgio Reis, “Alpendre da Saudade” by Beth Carvalho, and many other masterpieces of his which were often requested on radio displays. His Pacific temper (therefore his nickname) avoided him from delivering his masterpieces in his very own voice, departing that to even more intense collaborators, like Torres e Florêncio, his longtime interpreters, while he held his time gig being a loan company drivers — dying in poverty. Combined with the 39 tracks documented as well as partner Raul Torres, he released just one single album being a solo vocalist, the uncommon LP João Pacífico (WEA, 1979).