Mário Reis was one of the better interpreters of Brazilian popular music. Energetic and effective from 1928 to 1936, he helped popularize the (at that time) unidentified and genial composers from the Carioca hillsides throughout Brazil, along with his 161 interpretations documented on 82 78 rpms. From a middle-class family members, he had been a violão pupil when he understood Sinhô (the Ruler of Samba). It had been 1924, on the Carnaval trip to the Clube dos Zuavos, Lapa, Rio. Sinhô was a fugitive at that time due to his structure “Fala Baixo,” satirizing Brazil’s Leader Artur Bernardes. A year or two later and currently a law college student, Reis fulfilled Sinhô at the original musical instruments shop and publishing home Guitarra de Prata, possessed by a vintage classmate. He was after that presented by this friend to Sinhô. “I understand by heart all of your tunes,” Reis stated; instantly, Sinhô sat in the piano and attempted him. Not merely did Reis understand the tunes, but he also experienced an original design which was lighthearted, jumpy, and funny, contrasting using the hegemonic bel-canto college of those times. Sinhô required him like a pupil, providing him two course weekly. He loved Reis’s style a lot that he asked him to record two of his tunes. In August 1928, Odeon released the very first record of Reis’s, with “O Que Vale a Nota sem o Carinho da Mulher” and “Carinhos de Vovô,” both by Sinhô, along with the only real accompaniment of Sinhô and Donga (another essential, historic designer/composer), both playing violõha sido. The record acquired positive reviews within the newspaper Phono-Arte, the only real focusing on music in those days, where his syncopated performing was commented on because the sense to be somewhat shocking initially hearing, but contagious following a cautious evaluation. This confirms the originality of Reis’s design. Decades afterwards, João Gilberto was presented to the viewers in Brazil as “the brand new Mário Reis.” For Odeon, Reis would record for the reason that same calendar year 18 music, including Sinhô’s “Sabiá” and “Deus Nos Livre perform Castigo das Mulheres.” Another record, with Sinhô’s “Jura” and “Gosto Que Me Enrosco,” broke offering information. Reis’s classmate at laws college, an unknown writer, asked him to record one of is own music. So in Dec 1928, Odeon released the samba “Vou ? Penha.” The vocalist, Mário Reis, the composer, a guy who would end up being essential to Brazilian well-known music: Ary Barroso. Curiously, Barroso didn’t also mention this within a notice to his potential wife, Ivone, as his priority in those days had been his professional piano gigs. On August 1, 1929, Reis debuted on the air performing Barroso’s samba “Vamos Deixar de Intimidade” on the Rádio Sociedade. He also sang on the Rádio Clube and on the Programa Casé. Using the main vocalist Francisco Alves, he documented 12 albums, from 1930 with “Deixa Essa Mulher Chorar” (Brancura) and “Quá, Quá, Quá” (Lauro dos Santos). As he previously a less-potent vocal emission than Alves’, he previously to withstand the partner’s resounding tone of voice one feet behind his very own ears in those situations of monaural documenting. That taken to him the admiration of composer Nássara: not merely had been his interpretations wonderful, but he also wasn’t disturbed by that scenario. In 1931, he visited São Paulo SP and documented for Columbia. Becoming linked contractually to Odeon, he documented beneath the pseudonym of C. Mendonça, particularity producing the record a uncommon collector’s item. In 1932, Reis journeyed for a time of year of one . 5 weeks in Buenos Aires, Argentina, with Alves, Carmen Miranda, Luperce Miranda, Tute, as well as the dancers Nestor Figueiredo and Célia Zenatti. Soon before that tour, he fulfilled in a Rio’s nightclub the fantastic tango vocalist Carlos Gardel. Introduced to him by way of a friend who urged Gardel to greatly help Reis in Argentina, Gardel instantly published two kind suggestion characters. In Argentina, Gardel, an idolized number for Argentineans, opened up the shows as well as the Brazilians offered themselves afterwards, constantly with great achievement. In 1932 at Columbia, Reis documented two information with Noel Rosa’s tunes: “Filosofia” (with André Filho, “Vejo Amanhecer,” “Na Esquina da Vida” (with Francisco Matoso), and “Meu Barracão.” He obtained two of his biggest strikes in the Carnaval of 1933 with Lamartine Babo’s march “Linda Morena” and samba “A Tua Vida é um Segredo,” for Victor. That same yr, he documented with Carmen Miranda the marcha junina “Chegou a Hora da Fogueira” (Babo) and was employed by Rádio Mayrink Veiga. For the reason that yr, he and Alves experienced a fuss with one another. When Reis was asked with the duo of composers Bide/Marçal to decided between two sambas (another will be Alves’), he asked them showing the sambas to Alves beforehand and he’d keep carefully the various other one. Alves decided “Vivo Sonhando,” a lovely song which inturn didn’t make it to the very best. Reis was still left with “Agora é Cinza,” which became the champ at 1934’s Carnaval competition along with a big strike. He also documented in that calendar year “Alô, Alô” (André Filho) with Miranda. In 1934, he documented with Miranda the marcha junina “Isto é lá com Santo Antônio” (Lamartine Babo). In 1935 and 1936, he also sang over the musical films Alô, Alô, Brasil and Estudantes (both by Wallace Downey) and Alô, Alô Carnaval (Ademar Gonzaga). In 1935, he previously popular for Odeon using the marcha “Cadê Mimi” (João de Barro/Alberto Ribeiro). Because of his level of resistance against pr, interviews, hyping, and photos, his prestige dropped and he recognized a position using the Government District (at that time, Rio) mayoralty cupboard. After that, he would provide a couple of interviews. But he came back towards the creative scenery many times. In 1939 at the power display Joujoux & Balangandãs in the renowned Teatro Municipal perform Rio de Janeiro, he sang the march “Joujoux & Balangandãs” as well as the samba “Voltei” (both by Lamartine Babo); then documented these two music and four various other information for Columbia. In 1951, he documented three albums for Continental with Sinhô’s compositions along with a Carnaval record using the marcha “Flor Tropical” (Ary Barroso) as well as the samba “Saudade perform Samba” (Paulo Soledade/Fernando Lobo). In 1960, he was invited by Aluísio de Oliveira to record for Odeon the LP Mário Reis Canta Suas Criaçõha sido em Hi-Fi. de Oliveira also created 1965’s Ao Meu Rio, Reis’ LP in tribute towards the 4th centennial of the town of Rio de Janeiro. In 1967, de Oliveira’s Elenco released the LP O Melhor perform Samba, with Reis, Billy Blanco, Araci de Almeida, and Ciro Monteiro. In 1972, Odeon released the Mário Reis LP also made by de Oliveira along with his previous strikes and two music by Chico Buarque, the march “A Banda” as well as the samba “Bolsa de Amores.” This last one was vetoed with the armed forces censorship, but Reis demanded which the track remain empty privately. It had been finally released on the reissue in Compact disc format in 1993, beneath the name Mário Reis Canta Suas Criaçõsera em Hi-Fi.