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Russo Do Pandeiro

The first Brazilian percussionist to have success after João da Baiana, Russo do Pandeiro also had a noted international career. perform Pandeiro found Rio along with his family members at three. He performed the pandeiro for the very first time at a celebration in the Penha borough on Oct 6, 1929, within a choro group. Signing up for the group, who highlighted trombonist Augusto, trumpeter Paulo, drummer Newton, banjoist Álvaro, and saxophonist Antônio, he continuing to live upon his tasks. At his sister’s wedding ceremony, he performed the pandeiro as well as flutist Benedito Lacerda and violonista (classical guitar participant) Antônio Conceição. The Gente perform Morro were blessed of that get together, later referred to as Regional de Benedito Lacerda (where he had taken the Russo perform Pandeiro nickname). He documented many albums and performed in the theaters and nightclubs of Rio and São Paulo using the Gente perform Morro. His structure “Criança, Toma Juízo” (with Benedito Lacerda), documented by Almirante, was popular in the Carnaval of 1935, and his “Esqueci de Sorrir” was also effective in the same calendar year, documented by Carmen Miranda (Odeon). Also for the reason that calendar year, he participated in Wallace Downey’s film Alô, Alô, Brasil! (co-directed by João de Barro and Alberto Ribeiro) and was accepted in to the Rádio Mayrink Veiga. In 1936, he previously a period in Buenos Aires, Argentina, functioning at Radio Un Mundo using the Regional de Benedito Lacerda, who had been associated Francisco Alves and Alzirinha Camargo. In the next calendar year, he previously his samba “Roda perform Samba” (with Alcides and Raul Marques) documented by Castro Barbosa for Victor. In 1937 and 1938, he followed Carmen Miranda on the Cassino da Urca (Rio). In 1939, Sílvio Caldas documented his samba “Period Ela” (with José Fernandes) for Victor. Invited by conductor Simon Bountman, he performed using the orchestra from the Cassino Copacabana. Associated vocalist Josephine Baker in her shows on the Cassino da Urca, he implemented her to Paris, France, where in fact the two performed on the Paris Modern casino with the Bagatelle nightclub before shows had been suspended with the start of World Battle II. Time for Brazil, perform Pandeiro became a member of Carlos Machado’s orchestra, who performed in the Cassino da Urca. In 1940, his samba (with Valfrido Silva) “Em Cima da Hora” was documented by João Petra de Barros. In 1941, he had written “Batuque no Morro” (with Sá Roris), popular in the recordings of Linda Batista (1941) as well as the Zacharias Orchestra (1944). In 1942, his “Conversa Pra Siri” (with Valfrido Silva) was documented by Arnaldo Amaral for Columbia, and his “Perform Mundo Nada se Leva” (with Valfrido Silva) was documented from the same vocalist in 1943. He offered in the battle and came back in 1944, likely to the U.S.; there, as indicated by Carmen Miranda, he previously a two-week agreement extended throughout nine weeks. After 1947, he participated in a number of Hollywood movies like Copacabana (which got Carmen Miranda and Groucho Marx), dealing with Esther Williams, Bob Wish, Bing Crosby, Dorothy Lamour, and additional famous artists. Using the achievement he accomplished in the U.S., perform Pandeiro shaped his personal orchestra, Russo as well as the Samba Kings, who performed through the entire country. Time for Brazil, he retired through the artistic scene.

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