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Ney Matogrosso

An uncommon designer with an unusual sopranino tone of voice, Ney Matogrosso fell in the Brazilian popular music picture just like a bomb within the ’70s aboard the Secos e Molhados. The finish of the group designated the start of a fertile and effective single career where he began discovering his sensuous and charismatic persona through satiric and ironic repertories. As period approved, he substituted self-contained and deeply delicate interpretations of classics for the favorite and traditional Brazilian music. Together with his representative and prolific single discography, that he received three platinum and three yellow metal records, Matogrosso documented in Itália with Astor Piazzola, performed in Argentina, Uruguay, participated in two Montreux Jazz Celebrations (Switzerland), and toured Portugal many times. He also performed in Israel as well as the U.S., but generally refused invitations to build up an international profession. Matogrosso also proved helpful as an professional in Sonho de Valsa (by Ana Carolina, the movie director, not the vocalist/composer) and Caramujo Flor (brief subject matter by Joel Pizzini), and aimed displays by RPM, Cazuza, and Simone. Arriving in Rio de Janeiro in 1966, Matogrosso became a hippie natural leather artisan and divided his time taken between Rio, São Paulo, and Brasília, where he was a good friend of vocalist/composer Luli. Through her he fulfilled João Ricardo, who acquired a vision for the groundbreaking group and was looking for a high-pitched man tone of voice. Invited by Ricardo, Matogrosso transferred to São Paulo where he spent twelve months dedicating himself to exhaustive rehearsals, artisanship, and movie theater plays. Using the explosive achievement of Secos e Molhados as well as the group’s last dissolution, Matogrosso began his single career discovering his unusual tone of voice timbre, his mesmerizing scenic persona, and his androgynous visuals, improved by innovative and incredible costumes. Another single record, Água perform Céu/Pássaro, was backed by the display Homem de Neanderthal, in 1975, with which Matogrosso opened up in Rio de Janeiro, sketching both raves and loaded homes. “Barco Negro” and “Homem com H” made an appearance amongst significant polemics aroused by the most common conservatives working. For the reason that period, he caused Astor Piazzola in Milan, Italy, where he documented a double solitary using the Argentinean composer. A cleaner Matogrosso documented Bandido in 1976, having his 1st national hit like a single designer with “Bandido Corazón,” created specifically for him by Rita Lee. While Matogrosso wished to problem prejudices and preconceptions along with his satiric, ironic, and sensuous shows and options of repertory, he also wished to be seen as a significant and delicate interpreter. He attempted to get this respect along with his unforgettable renditions of tracks by complicated composers like Chico Buarque: “Deixa a Menina,” “Tanto Amar,” “Até o Fim,” as well as the recording Um Brasileiro (1996). But he also wished to be thought to be an growing and open-minded designer associating himself towards the nascent Brazilian rock and roll from the ’80s, documenting “Por que a Gente é assim?,” “Pro dia nascer Feliz,” “Fogo e Risco,” and “Tão Perto.” In 1986, using the display A Luz perform Solo,Matogrosso left behind all fantasies and concentrated specifically on his mature performing, passionately revisiting classics of Brazilian well-known music like “Dora,” “Nem European union,” “Retrato em Branco e Preto,” “Último Desejo,” “Três Apitos,” “Da Cor perform Pecado,” “Zero Rancho Fundo,” “Modinha,” “Autonomia,” and “Na Baixa perform Sapateiro.” Associated with the very best Brazilian music artists since beginning like a single designer, he surpassed all objectives using the display Pescador de Pérolas (1987), where he previously Raphael Rabello, Arthur Moreira Lima, Paulo Moura, and Chacal both in the live shows and on the recording. In 1992, he also got splendid accompaniment, this time around from the group Aquarela Carioca, in his display and recording As Aparências Enganam (released another yr), where he performed “Un Manisero.” In 1997, Matogrosso documented Cair da Tarde, an ambitious task specialized in the functions of Tom Jobim and Heitor Villa-Lobos. Having proved his point previously in lifestyle, Matogrosso has devoted himself to his deep renditions from the classics of Brazilian well-known music. This heart dominates Batuque (2001), where he targets sambas, choros, and Carnival marchinhas from the ’30s and ’40s.

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