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Roberto Menescal

The author of bossa nova classics like “O Barquinho,” “Ah, Se Eu Pudesse,” “Errinho ? Tôa,” “Nós e o Mar,” “Rio,” “Você,” and “Vagamente,” Roberto Menescal started his professional career in 1957 as Sylvia Telles’ sideman (on guitar) within a tour around Brazil. In 1958, he opened up a guitar college in Copacabana (Rio) with Carlos Lyra, having as his pupils Nara Leão and his sister Danuza Leão. Within the same season, he shaped, with Luís Carlos Vinhas, João Mário, Henrique, and Bebeto, the Conjunto Roberto Menescal, among the initial instrumental sets of bossa nova. The group followed Dorival Caymmi, Vinícius de Moraes, Billy Blanco, Maysa, and Telles. Also in 1958, he participated, with Telles, Carlos Lyra, as well as other artists, within a show on the Clube Hebraica (Rio), once the phrases “bossa nova” had been used (inadvertently, with the club’s secretary) for the very first time to advertise the function. Having taken spend the his group within the documenting of Garotos da Bossa Nova in 1959, he participated within the I Celebration de Samba Program on the Teatro de Area theater of the institution of Architecture on the Condition College or university of Rio de Janeiro. Such casual venues had been important automobiles for bossa nova one of the middle-class university or college people who had been more inclined to soak up and disseminate it, and Menescal was instrumental for the advertising of such concerts in 1959, 1960, and 1961. Also in 1959, he previously his 1st recorded structure, “Jura de Pombo” (with Ronaldo Bôscoli), by Alaíde Costa. His “O Barquinho” (with Ronaldo Bôscoli), a bossa nova traditional, was simultaneously documented by Maysa, Perry Ribeiro, and Paulinho Nogueira in 1960. In 1962, he followed Maysa in her Argentinean tour and, with Eumir Deodato’s group, he performed in Marlene’s system on Television Rio, having been employed for just two years along with his personal group to back again up performers on that Television train station. In November 1962, he participated within the historical Bossa Nova Event at Carnegie Hall in NY, NY, with Tom Jobim, Carlos Lyra, among others, interpreting “O Barquinho” in another of his few shows as a vocalist. From 1964 to 1968, he worked well as an arranger and, asked by André Midani, he began to work as an unbiased maker and arranger at Polygram. In 1968, he followed Elis Regina in her overall performance in the MIDEM (International Phonographic Marketplace and Music Web publishers) in Cannes, France, and in her following Western tour, having been Regina’s sideman until 1970, when he became Polygram’s A&R. Currently established as a significant producer (having caused Caetano Veloso, Gilberto Gil, Jorge Ben Jor, Gal Costa, Maria Bethânia, and many more), instrumentalist (like a program man he caused Lúcio Alves, Maysa, Claudette Soares, Nara Leão, Jair Rodrigues, and Elis Regina), he previously many compositions of his contained in soundtracks of broadly well-known TV cleaning soap operas and in addition published music for the movie theater (Bye Bye Brasil, Joana Francesa, both by Cacá Diegues, and Vai Trabalhar Vagabundo, by Hugo Carvana). In 1985, having followed Nara Leão in shows in Brazil and overseas, he released with her the LP Um Cantinho, Um Violão/Nara Leão e Roberto Menescal. Within the next 12 months, he forgotten his profession in A&R and devoted himself to his single career. He in addition has been taking part in jazz tasks, amongst others with Joe Henderson. In 2001, he participated with Wanda Sá, Danilo Caymmi, and Marcos Valle within the Fare Celebration (Pavia, Italy). Menescal also owns the label Albatroz, which released albums by Danilo Caymmi, Emílio Santiago, among others.

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