Raimundo Sodré

Raimundo Sodré had a nationwide smash in 1980 using the sole “A Massa” (third place at Television Globo’s Event MPB) as well as the likewise titled LP, but never really had another achievement, having released other albums. His music is usually packed with northeast-Brazilian rhythms and traditional affects from the spot from the Bahian Recôncavo, both seaside and hinterlands, such as for example chulas and sambas de roda. Regardless of their well-known charm, Raimundo Sodré’s tunes have already been praised for his or her literary content material. In 1972, Sodré forgotten medical college and visited reside in São Paulo, teaching personal acoustic guitar classes and performing displays in small pubs. Sodré only began to harvest some outcomes for his function when he started to perform in nightclubs just like the Partido Alto. After some years, sick and tired of fruitless outcomes, he came back to his hometown where he fulfilled, in the middle-’70s, the composer Jorge Portugal, who be one of is own collaborators in the foreseeable future. With Portugal, Sodré starred in the musical Sertafro, which experienced local success, specifically the toada “O Canto da Vorta Seca.” Playing in the university or college circuit in 1976 using the music and theatre display Reconcertão, Sodré was followed by Jorge Portugal, the playwright Arthur Dantas, as well as the musician Roberto Mendes, combined with the group Sangue e Raça. Within the next 12 months, they offered a music and dance display with the organizations Intercena, Conga, and Carmen Paternostro throughout Brazil. Time for Salvador in 1978, Sodré participated in the Mambembão reward earning play Oxente Gente Cordel, aimed by the past due João Augusto. In 1978, Raimundo Sodré relocated to Rio de Janeiro, where he produced a living from guitar classes, time for his small displays at night. In another of his few possibilities at larger nightclubs, writing a functionality with Tânia Alves at Nelson Motta’s extremely successful-at-the-time Dancin’ Times, Sodré was employed by Armando Pitiglianni, Polygram’s A&R movie director. Documenting “A Massa” in past due 1979, Sodré taken to mainstream focus on the world of northeastern Brazilian rhythms of chula, samba de roda, xote, and baião, from your Bahian Recôncavo and hinterlands. Prior to the album’s launch, Sodré participated in Television Globo’s Event da Nova MPB in early 1980, earning third place using the chula and baião track “A Massa” (created with Jorge Portugal). Popular acclaim yielded him a platinum record for over 100,000 copies offered of the LP. After an absolute Brazilian tour, Sodré performed as well as Djalma Correa and Dudu perform Gantois inside a percussion event in NY, NY, structured and sponsored from the Theatre of Latin America. Sodré’s second recording, Coisa de Nego, released within the next 12 months, explored even more aggressively the northeastern Brazilian rhythms, getting on cosmopolitan (from Iberian towards the Beatles) affects to xaxado, baião, galope, chula, samba duro, samba de roda, and frevo. The ten-string viola also brought even more attention with this function. The samba de roda “Ei Moço” gained some airplay, however, not enough to create a major passion around the discharge. Depressed with the failing, Sodré transferred to Manaus, Amazon, where he composed the music for his timid record, Beijo Moreno. For the reason that period, he staged the present Cantações, executing also with Yta Moreno in a number of Brazilian locations. Still, in 1983, he participated in the French Music Celebration in Paris, France, having been the just Brazilian artist asked for the function. In Brazil, Sodré remained from the industrial circuit until 1987, when he created the present Soando Raízes using the Senegalese percussionist and dancer Mamour Bá. Another edition of the display was presented 2 yrs afterwards. In 1990, Sodré participated in the Carnival of Fine (France), settling for the reason that nation. In the same calendar year, he do his first Western european tour, beginning in Paris on the Le Carnaval Brésilien on the Cirque d’Hiver (coming back within the next calendar year), accompanied by displays in Germany, Britain, Italy, and Switzerland. In 1995, he documented his fourth recording, Actual, through the German label Tropical Rock and roll. Still located in the northeastern Brazilian musical custom, this album is definitely singular in his discography because of its electric approach.