Nuno Roland

Nuno Roland was a favorite vocalist through the Golden Age group of Brazilian music. Beginning like a jazz crooner, he became the very best vocalist of the town of São Paulo and in addition had many Carnival hits. Becoming a member of the military, he was used in Porto Alegre RS, where he fulfilled Lupicínio Rodrigues (he’d record the 1st structure by Lupi, “Lenita”). In his battalion there is a jazz combo, the Jazz perform 7o. BC, which got him as crooner and Vidal (who be one of the better upright bassists of his period) as tuba participant. The Jazz perform 7o. BC opened up at Rádio Sociedade in 1933. Becoming discharged, Roland continuing to sing in the Rádio Sociedade as Reinol de Oliveira for half a year. He was asked to visit São Paulo and came there in 1934. He performed in the Rádio Educadora Paulista, attaining a growing recognition, and documented his first recording in that yr, for Odeon, with “Pensemos Num Lindo Futuro” and “Cantigas de Quem Te Vê,” by Ulisses Lelot Filho. In 3 years, he was regarded as the best vocalist of São Paulo. In those days, he had been referred to as Nuno Roland, the stage name distributed by the radio’s movie director, Rangel Moreira. In those days, Roland utilized to sing the repertory of Bing Crosby and Dick Powell at personal celebrations. In 1936, he shifted to Rio with Celso Guimarãsera and Sônia de Carvalho as the building blocks from the Rádio Nacional, residing in that outing for quite some time. From 1937 to 1948, he worked well like a crooner from the orchestra of Copacabana Palace. Then documented “Quando O Luar Está Contente,” accompanied by “Coitadinho perform Pará.” In 1937, he shifted to Odeon where he documented two strikes: the samba “Amor Por Correspondência” (Benedito Lacerda/Jorge Faraj) as well as the valse “Iracema” (Benedito Lacerda/Aldo Cabral). He’d stay in the business until 1940. For the reason that yr, he interrupted his discographical profession, not coming back until 1947 having a big Carnaval strike, the march “Pirata da Perna de Pau” (João de Barro). In 1948, he previously another strike with “Tem Gato Na Tuba” and “Fim De Semana em Paquetá” (both by João de Barro/Antônio Almeida) and within the next calendar year with “Tem Marujo No Samba” (with Emilinha Borba). He also acquired success using the anthems of Carioca soccer night clubs Botafogo and Olaria, in the series constructed by Lamartine Babo. He documented the LP Nuno Roland Recordando for Todamérica. He also acquired success using the marchinha “Mag, Inês e Ana” (Jorge de Castro/V. Falcão/A. França).