Mauro Duarte

Mauro Duarte can be an important name in samba, having been an associate of the Operating-system Cinco Crioulos group and written some remarkable items, many of them recorded by Clara Nunes and additional renowned interpreters like MPB-4, Quarteto em Cy, Alcione, Roberto Ribeiro, and Elizeth Cardoso. Among his strikes are “Jogo de Angola” (with Paulo César Pinheiro), “Reserva de Domínio,” “Lamentação,” “Lama,” “Foi Demais” (with Paulinho da Viola), “A Paixão e a Jura,” “Sorri de Mim” (with Walter Alfaiate), “ùCuidado, Teu Orgulho Ainda Te Mata” (with Paulinho da Viola/Walter Alfaiate), “A Alegria Continua” (with Noca da Portela), and “Maioria sem nenhum” (with Elton Medeiros). He also experienced success using the samba-enredos “Imperatriz,” “Academia perform Salgueiro,” “7,” “Beija Flor,” and “Mangueira, Estação Primeira.” He found Rio at age group six along with his family members. He discovered the piano by himself and became a composer and percussionist in Carnival blocos. In the first ’60s, he previously his “Palavra” documented by Miltinho and became a member of the samba group Operating-system Autênticos (who also experienced, among additional recognized sambistas, Walter Alfaiate and Noca da Portela). In 1967, he became a member of Operating-system Cinco Crioulos, changing Paulinho da Viola. In 1970, he fulfilled Clara Nunes, who documented in the same yr his “Tributo aos Orixás” (with Ruben Tavares). Nunes would record other compositions by him, including his 1st strike, “Menino Deus” (with Paulo César Pinheiro), in 1974; “Canto das Três Raças” in 1976; and “Portela na Avenida” in 1981. In 1973, he became a member of the Portela samba college, as an associate from the Ala dos Compositores (composer’s section). In 1985, he documented the self-employed LP Cristina e Mauro Duarte.