Luis Barbosa

One of the biggest sambistas ever, Luís Barbosa, sibling from the composer Paulo Barbosa, the humorist/vocalist Barbosa Júnior, as well as the radioman Henrique Barbosa, launched the straw head wear (fashionable among the dandies of his period) like a percussive device. His little discography (because of his precocious demise) provides only a little hint of what his fantastic artwork and repertory had been, made of wealthy rhythmic and interpretative invention. Barbosa opened up in the air in 1931 on the Programa Casé (Rádio Mayrink Veiga). His design, filled with ginga (road smartness), was nearly a discussion with breques (breaks) and his head wear percussion, was extremely personal. He documented his early albums in 1931: the samba “Meu Santo” (Pedro Brito), the march “Vem, Meu Amor” (Pedro Brito/Milton Amaral), the sambas “Silêncio” (Vadico) and “Não Gostei de Seus Modos” (Amor), and his very own tracks, the march “Pega” as well as the samba “Sou Jogador” (during Odeon). In 1933, he joined up with the RCA Victor ensemble recording the initial samba by Wilson Batista (“Na Estrada da Vida”), the samba “Adeus, Vida de Solteiro” as well as the samba-canção “Jamais em Tua Vida,” both by pianist Mário Travassos de Araújo, who followed the vocalist and the head wear percussion in the documenting. Invited by Jardel Jercolis, he performed in the Teatro Carlos Gomes. Performing the tune “No Tabuleiro da Baiana” (Ary Barroso) being a duet with Deo Maia, he previously success along with his improvisations. The tune would be documented in the same season with Carmen Miranda, for Odeon. For Victor, documented also “Quem Nunca Comeu Melado” (Luís Barbosa/Jorge Murad), “Bebida, Mulher, Orgia” (Luís Pimentel, Anis Murad, and Manoel Rabaça), “Cadê O Toucinho?” and “European union Peço e Você Não Dá” (both by Nássara/Antônio Almeida), “Lalá e Lelé” (Jaime Brito/Manezinho Araújo), “Risoleta” (Raul Marques/Moacir Bernardino), “Perdi a Confiança” (Rubens Soares/Ataulfo Alves), and “Já Paguei Operating-system Meus Pecados” (Leonel Azevedo/Germano Augusto). Between 1935 and 1937, he documented some sambas de breque by Antônio Almeida and Ciro de Sousa. In the Carnaval of 1936, his documenting for Antônio Almeida/A. Godinho’s marchinha “Ó! Ó! Não” became popular.