Raul de Barros, a trombone virtuoso, can be an important section of Brazilian music. His traditional structure “Na Glória” continues to be extremely popular, and he documented 48 albums during his profession. Developing his function in the aged, folkloric Rio neighborhoods with malandros and sambistas, he’s a proponent of the gafieira samba (Brazilian big music group style, as within gafieiras, or ballrooms, because of this particular genre), a really swinging, catchy, popular and challenging instrumental music with a lot of soloing. He became a musician when he was extremely youthful, learning saxophone with Ivo Coutinho in 1930. With Eugênio Zanata, he discovered the trombone. De Barros performed in little night clubs within the suburban neighborhoods of Rio of Zona Norte (North Aspect) — the working-class redoubt from the really popular Carioca lifestyle. Learning to be a proficient professional, he begun to just work at the dancings (as had been also known as the gafieiras) Carioca and Eldorado. The key conductor of gafieira orchestras, Maestro Carioca became fascinated with his sound and required him to Rádio Tupi. He instantly became an extremely requested sideman for performers’ recordings, having caused most names of these times. After 3 years of encounter, he previously his 1st set of trips through Montevideo, Uruguay. In coming back, he was employed by Rádio Globo; there he’d form his personal orchestra, playing at most well-known Trem da Alegria display. He then documented a couple of albums for Odeon along with his orchestra, liberating the choro “Na Glória” (Glory Is really a Rio community), which became popular from the 1st moment and will be his lifelong prefix. In 1950, he wedded Gilda de Barros, his orchestra’s crooner. At Rádio Nacional, he previously a regular display of his personal and was also an associate from the outing’s musical solid, accompanying singers along with other music artists. In 1955, he was popularly elected Trombonist of the entire year in a competition advertised by critic Ary Vasconcelos for the O Cruzeiro publication. He continued in his are a performer playing every evening at gafieiras along with his orchestras and documenting as sideman, as was the case of Gilberto Alves documenting for Copacabana in 1961. He also documented four even more albums for Odeon for the reason that period, including 1957’s Ginga de Gafieira, reissued in 1999 on Compact disc by Kuarup. He was among the 1st performers to record a 12″ LP, a novelty as there have been just 10″ LPs after that. Its 1st monitor, “Amigo Velho,” was documented still on the 78 rpm, with “Rock and roll Em Samba” because the B-side. Another tracks had been produced specifically for the LP. From 1951 to 1964, both platforms — 78 rpm and LP — coexisted in Brazil before definitive retirement from the 78. The LP was documented mono. Once the Jangada label reissued it in 1979, the audio was processed to get a stereo system simulation and Kuarup’s remastering enhances the 78 audio. Another available documenting of Raul de Barros & His Orchestra is certainly O Som da Gafieira (CID). In 1966, he performed on the Senegal Dark Arts Festival, as well as Clementina de Jesus, Ataulfo Alves, Elton Medeiros, Paulinho da Viola, among others. De Barros was also an associate from the Rio Jazz Orchestra from 1973 on, that was also ultimately joined up with by Altamiro Carrilho, Márcio Motarroyos, Alcione, João Donato, Marcos Valle, Elza Soares, Idriss Boudria, Paulo Moura, Mauro Senise, Raul Mascarenhas, Paulinho Trompete, and Maurício Einhorn. A label focusing on Brazilian well-known music analysis, Marcus Pereira, documented an LP focused on him being a soloist in 1974. He’s the trombonist in the renowned recordings of “Onde Estão operating-system Tamborins?” and “E é Com Esse Que eu Vou,” with the Quatro Ases e Um Coringa. He lives within an upstate region of Rio, from the creative scenery, sick, poor, and totally forgotten with the press and music sector.