Lúcio Alves was an excellent interpreter of Brazilian music. Tom Jobim stated he’s “a formidable vocalist, he deserved the best well-known acclamation, but paid the price tag on being an musician before his period.” João Gilberto was a announced enthusiast of his performing interpretation and his vocal and harmonic preparations and Alves produced some preparations for Gilberto’s Garotos da Lua and Gilberto resided with him at Raul Pompéia road in Rio. When Chega de Saudade premiered, the very first person to whom Gilberto demonstrated the record was Alves. Alves often got music within his family members lifestyle: his dad was the conductor of his city’s music group along with a tuba participant, his mom and aunt performed the piano, his sister violin, and his brothers violão and flute. As soon as six yrs . old, Alves begun to consider violão (classical guitar) classes. At nine, currently coping with his family members in Rio, he made an appearance at Barbosa Júnior’s Bombonzinho radio display performing “Juramento Falso” (Pedro Caetano), a track turned popular by Orlando Silva. When Barbosa Júnior moved himself to Rádio Mayrink Veiga and produced the display Picolino, Alves offered himself there once again. There he became familiar with Carmen Miranda, Garoto, Operating-system Quatro Diabos, O Bando da Lua, Carlos Galhardo, Chico Alves, and Ciro Monteiro, amongst others. He also understood Noel Rosa at the moment, was a neighbor of Marília Batista, whom was regularly frequented by Rosa. He also made an appearance, in 1937, on Rádio Nacional’s cleaning soap opera Aladim e a Lâmpada Maravilhosa, playing Aladin, and on the display Ora Bolas! Actually, being a prodigy kid, he made an appearance on all children’s displays. In 1941, having damaged a leg within a soccer play (“pelada”), he previously to rest in the home. As the just activity he could take part in was to sing, he shaped the group Namorados da Lua, where he was the crooner, violonista, and arranger. Ary Barroso got a novice present at Rádio Tupi in those days, which launched many unknown newbies to stardom (and considered ashes the untalented), and Alves was among these lucky types. The Namorados da Lua have scored initial place at Ary Barroso’s display on January 12, 1941. For the reason that season, Alves also earned the Carnaval competition on the Teatro República, Rio, performing “Nós, operating-system Carecas” (Arlindo Marques/Roberto Roberti). These were changing the Anjos perform Inferno, who got documented it but had been touring. They reached initial place linked with Ciro Monteiro, who desisted stating that the Namorados da Lua deserved the award. On that event, Monteiro urged Alves to keep the group and pursue a single profession. The Namorados da Lua documented their initial 78 rpm record on Oct 15, 1942, with “Vestidinho de Iaiá” and “Té Logo design, Sinhá” (both by Assis Valente), through Victor. The group would last for six years and many different formations, functioning at distinguished places such as for example Cassino Atlântico and Cassino Copacabana, besides Rádio Nacional. Alves needed to forge his delivery certificate to try out in the Cassino Atlântico in 1941, as he was just 14. He began to create in 1943, composing with Haroldo Barbosa the favorite samba “De Conversa em Conversa” (documented at Dec 12, 1946, by Isaura Garcia, through Victor, using the Namorados da Lua, and many decades later on, by João Gilberto). Participating positively on radio displays, he learned using the experts: organizing with Radamés Gnatalli, violão with Garoto, and composing with Haroldo Barbosa. In Feb 1945, the Namorados da Lua documented another 78 rpm (Continental) with “Agora Sim” (Francisco Santos/João Diniz) and “Caráter de Mulher” (Francisco Santos/João Diniz/ Rubens Pacheco). In July of this 12 months, he documented for Continental “Morena Faceira” (Janet DeAlmeida) and “European union Quero um Samba” (Haroldo Barbosa/DeAlmeida), also documented several years afterwards by Gilberto. That documenting was vital that you project Alves being a popularly acclaimed vocalist. In Sept of the same season, they documented for Continental “Olha o Gato! ” (Lauro Maia) and “Ponto de Interrogação” (Marino Pinto/Ciro de Souza). In Oct, another 78 rpm (Continental) acquired “Vai Saudade” (Marino Pinto/Valdemar Gomes) and “Bate Palma Pra Mineira” (Assis Valente). In Apr 1946, they documented for Continental “Dança perform Ban-Zan-Zan” (DeAlmeida/Francisco Storino) and “Feitiço da Vila,” a vintage by Noel Rosa and Vadico. IN-MAY, “Não Bobeie, Calamazu” (Caco Velho/Nilo Silva) and “Conceição” (Otaciliano Silveira/Chiquinho Storino) (Continental). In August, “Aprenda a Sambar” (Nanai) and “Se Essa Mulher Fosse Minha” (Haroldo Torres/Geraldo Gomes) (Continental). In Dec, “Desgosto” (Tuffi Lauar/Francisco Modesto/Fernando Pimentel) and “Rainha Sem Rei” (Romeu Gentil/Ribeiro de Lima) (Continental). Also for the reason that month, “Lá Vem Aquela Mulher” (Estanislau Silva/Raul Marques/Carlos Souza) and “Casado Não Pode” (Alcebíades Nogueira/Rutinaldo Silva) (Continental). In Feb 1947, they documented “Dona Allowícia” (Aníbal Monteiro/Chiquinho Storino) and “Negativa” (Lúcio Alves) (Continental). In Dec, “Deixa european union Bater Meu Tamborim” (Marian Batista/Erasmo Silva) and “Leonor” (Dunga/Roberto Riberti). The final documenting of the group is at January 1948: “Guerra ao pardal” (Alberto Ribeiro/Peter Skillet) and “Cigana” (Nelson Gonçalves). The group dissolved and Alves proceeded to go after his personal profession as a single artist, you start with “Sabe lá o Que é Isso?” (Cristovão Alencar/A. Almeida) with Orlando Silva (Continental). He’d record 44 additional single albums and appearance on several others. In 1948, he documented for Continental “Solidão” (edition by Aluísio de Oliveira of Osvaldo Farres’ bolero “Tres Palabras”). The solitary was contained in Walt Disney’s film Make Mine Music. For the reason that same 12 months, he documented “Aquelas Palavras” and “Seja Feliz…Adeus” (both by Luís Bittencourt/Benny Woldorff), and toured Cuba, Mexico, as well as the U.S. for a complete 12 months using the Anjos perform Inferno group, changing two users (as he was a crooner along with a violonista) who experienced discontinued the group, Leo Villar and Paciência. On that tour, Carmen Miranda asked him to utilize her and he gained a recording studio room contest, the award being a period with Tex Benecke’s orchestra. He dropped both invites as he wished badly to return to Brazil. In the first ’50s, he documented for Continental, with great achievement, “Terminemos” (Paulo Soledade/Fernando Lobo), “Sábado em Copacabana” (Carlos Guinle/Dorival Caymmi), “Manias” (Flávio and Celso Cavalcanti), “Xodó” (Jair Amorim/José Maria de Abreu), “Valsa de uma Cidade” (Ismael Neto/Antônia), “Se o Tempo Entendesse” (Marino Pinto/Mário Rossi), and “Na Paz perform Senhor” (José Maria de Abreu/Luís Peixoto). In 1952, he published “Baião de Copacabana” (with Haroldo Barbosa). In 1954, he started a duo with the fantastic vocalist Dick Farney, documenting for Continental a 78 rpm using the samba “Tereza da Praia” (Tom Jobim/Billy Blanco) and his toada “Casinha Pequena.” The duo experienced good approval until 1955, when Alves made a decision to compose for additional singers. By the end from the ’50s, he documented the LP Cantando Depois perform Sol for Philips. It experienced, among additional tunes, “Emília” (Wilson Batista/Haroldo Lobo) and “Minha Palhoça” (J. Cascata). The bossa nova brought him another influx of recognition, with nightclub, theatre, radio, and Television shows, and fresh recordings. In 1960, he documented Lúcio Alves Interpreta Dolores Durán (Odeon), a tribute towards the vocalist/composer who passed away in 1959. There he interpreted her tunes such as for example “A Noite perform meu Bem” and “Fim de Caso.” In 1961, he documented the LP A Bossa é Nossa (Philips), with “Dindi” (Tom Jobim/Aluísio de Oliveira), “Nova Ilusão” (Luís Bittencourt/José Meneses), and “O Samba da Minha Terra” (Dorival Caymmi), amongst others. In 1963, he documented for the combative label Elenco (possessed by Aluísio de Oliveira) the LP Balançamba, another bossa record, with “Rio,” “Ah! Se eu Pudesse,” and “O Barquinho” (simply by Roberto Menescal/Ronaldo Bôscoli). In 1960, unsubmissive towards the iê-iê-iê style and having to work with subsistence, he became a Television show producer. One of is own assignments in this was 1965’s Roda de Samba, a musical sketch on Television Record’s Corte Rayol Present. He also proved helpful for Television Educativa in Rio after 1973. For the reason that calendar year, he documented another strike, “Helena, Helena, Helena” (Alberto Property). In 1975, he documented the LP Lúcio Alves (RCA) with compositions by Chico Buarque, Tom Jobim, and Pixinguinha, amongst others. His last documenting (released by RGE Brasil in 1997) was through the live display Romântico/A Arte perform Espetáculo — ao Vivo, documented in the Inverno & Verão Event — São Paulo in August 1986.