Maestro Gaó

Recognized conductor Maestro Gaó set up a unique choro sound through his Orquestra Colbaz, who was simply arranged to work for the Columbia recording company. Teaming many choro experts of the town of São Paulo, the orchestra included the violin of Ernestro Trepiccioni, as well as the timbre from the device provided a genuine audio which singularized the Cobaz among the choro sets of the entire nation of Brazil. He started his musical research at five along with his dad, the bandmaster Acilino, learning violin, trombone, flute, and piano. At nine he had been a specialist pianist, playing in the neighborhood movie theater, with 11 he was the first choice from the orchestra from the same movie theater. In 1923, he transferred to São Paulo, SP, searching for the Musical Conservatory and in addition getting the pianist of Casa Di Franco, where he received the nickname Gaó. In 1925, he was employed by Rádio Educadora Paulista, playing in a number of formations from single to orchestral, and in well-known and erudite contexts. In 1929, he became the creative movie director at Columbia, where he produced the Orquestra Colbaz, who, in 1931, do the first documenting of Zequinha de Abreu’s “Tico-tico No Fubá.” In 1930, he was employed by Rádio Cruzeiro perform Sul being a movie director and manufacturer of implies that became well-known, like Hora dos Calouros (provided afterwards by Ary Barroso) as well as the Programa da Saudade. With lyrics by Vicente Lima, he released one valse for every month of the entire year through Vitale. In 1931, he published, arranged, created, and documented the music for Wallace Downey’s film Coisas nossas. In the same 12 months, he was appointed greatest pianist of São Paulo inside a competition promoted from the newspapers A Gazeta de São Paulo. In 1932, he documented his choro “Teimoso.” Four years later on, he relocated to Rio de Janeiro, getting the artistic movie director of Rádio Ipanema and in addition working in the exclusive Rádio Nacional as movie director of their jazz orchestra. In 1937, he performed for 90 days in Buenos Aires, Argentina, also playing in Uruguay. Time for Brazil, he continuing his function for radios Cruzeiro perform Sul and Cosmos, also arranging the Orquestra Columbia, who cartoon balls and dances at élite night clubs and recorded many albums. In 1938, he came back to Rio to just work at Rádio Nacional, acquiring charge, within the next 12 months, from the musical path from the Cassino da Urca, where he worked well until 1945. For the reason that 12 months, he relocated to the U.S.A. where he remained until 1951, operating like a pianist and bandleader for the U.S. authorities, entertaining battle veterans. He also documented many 78 rpm albums for Coda. Time for Brazil, he worked well from 1951 to 1957 for Rádio Nacional (São Paulo). In 1957, he once again visited the U.S.A., where he continued to be until his definitive go back to Brazil in 1967.