Sérgio Ricardo is a simple body in Brazilian background, not only music. Being a musician, composer, film maker and article writer he deeply affected Brazilian tradition. At eight, he began his piano research at the neighborhood conservatory, soon starting to experiment. At 17, he relocated to São Vicente, SP, where he do several careers at Rádio Cultura. Carrying out a brief stint like a pianist in the Recreinho Prainha nightclub within the same town, in 1952, he relocated to Rio to just work at Rádio Vera Cruz. When Tom Jobim remaining his gig in a Posto 5 Copacabana nightclub to are an arranger for Continental, Ricardo subbed for him and he became close friends with Jobim, João Gilberto, and Johnny Alf. Like a pianist throughout a period where there is a frenetic dependence on that professional, he worked well everyday in the very best nightclubs of Rio, São Paulo, and Santos. He remaining his regular research and produced great efforts to sign up in the Escola Nacional de Música for just two years and two even more many years of tranquility and counterpoint with an exclusive teacher; both programs were abandoned imperfect. Having composed a great deal of tunes, he also became a vocalist. Still, as João Lutfi, he became among the most-requested crooners of this period. In 1957, he documented his 1st 78 rpm through RGE, quickly accompanied by another. It had been when Maysa noticed one of is own personal compositions and proceeded to go after him, documenting “Buquê de Isabel” using one of her 1st albums. Associated a vocalist on a Television Tupi display, he was asked to become listed on the station being a cleaning soap opera actor, currently referred to as Sérgio Ricardo. He continuing to operate both in music on the Grande Teatro Tupi, Rio and on Television on the displays Television de Vanguarda, São Paulo, and Balada, Television Continental, Rio. Area of the bossa nova since its inception in 1958, Ricardo was among the initial with an LP documented in the brand new style using a Bossa Romântica de Sérgio Ricardo (Odeon). Immediately after, his deep public problems led him to create “Zelão,” which really is a milestone in his departure through the movement. It had been when he produced his 1st brief subject matter, O Menino da Calça Branca (1961), that place him in the movement referred to as “movie theater novo,” politic/esthetic manifesto that overran the world. For your film, he received the Prêmio Governador perform Estado da Guanabara, 1963, as well as the Prêmio Berimbau de Prata (I Event de Movie theater da Bahia), 1962. Within the next yr, he was asked from the Brazilian diplomatic services, Itamarati, to represent Brazil within the U.S. in the San Francisco Movie theater Event, as well as the film was categorized in second place. On November 21, 1962, he performed on the historical Bossa Nova Celebration at Carnegie Hall. He remained for eight a few months in NY, finding a manufacturer for O Menino de Calça Branca and playing for a full time income in nightclubs like the Community Vanguard. He still left NY for the French Rivière, to where he previously been invited for the season being a vocalist/composer. In 1963, he constructed, over Gláuber Rocha’s lyrics, the soundtrack for Rocha’s Deus e o Diabo na Terra perform Sol, perhaps one of the most essential Brazilian films ever. The soundtrack premiered on LP that same calendar year, as well as Ricardo’s very own Um Senhor Talento (Elenco). In 1964, he was asked once again by Itamarati to represent Brazil in the celebrations of Lebanon and Genova along with his film Esse Mundo é Meu, that was exhibited in those countries and was regarded as from the specific French journal Cahiers du Movie theater (June/July 1964) among the most important movies of that yr, also receiving the very best Movie award in the Event de Marília, São Paulo, 1965. Through the previous, he was asked from the Lebanese authorities to immediate the film Taire in Caire. IN-MAY, he came back to São Paulo and opened up his solo present, Esse Mundo é Meu, which released vocalist/composer Toquinho. Ricardo also composed the orchestration for the soundtrack to Gláuber Rocha’s Terra em Transe, another fundamental piece within the director’s film profession, along with the music for the play O Coronel de Macambira, by Joaquim Cardoso, afterwards released over the Philips LP A Grande Música de Sérgio Ricardo. On the Celebration Fluminense, he gained second place with “Romana.” At Television Record’s II FMPB in 1966, he protagonized the celebrated occurrence when, on the finals, he broke his violão and threw it toward the market, having his melody eliminated. The truth is that the stunning melody was of tough assimilation and it produced the public choose “A Banda” (Chico Buarque) as well as other less complicated music. His eager yelling “Vocês não estão entendendo nada…” (“you might be understanding squat”) makes one suppose he was looking to reason using the viewers in conditions that that which was essential had been the lyrics, where was indicated a subtle recognition message: Beto Bom de Bola was a fictitious soccer participant who won the bi-championship for Brazil in a hardcore game, but quickly became forgotten, unhappy, and broke. The lyrics end with “O mal também tem cura” (“the bad also has a remedy”), which completes a definite picture of criticism directed contrary to the armed service dictatorship. Other celebrations where he participated consist of Bienal perform Samba (with “Luandaluar”), Celebration da Television Excelsior de São Paulo (“Girassol”), Celebration Internacional da Mayção (“Canto perform Amor Armado,” where he was among ten finalists), as well as the IV FMPB, having “Dia da Graça” earning 5th place. In January 1968, he opened up another present in Rio with Chico de Assis, Sérgio Ricardo e a Praça perform Povo. From 1968 to 1970, he done his Juliana perform amor perdido and wrote the soundtrack towards the film O Car da Compadecida (1969), in line with the fundamental play by Ariano Suassuna. Thinking in a complete participation of the general public within the creative creation, he deserted the theaters and begun to tour upcountry Brazil thoroughly, in pocket works where he could possibly be close to viewers. He then documented the LP Arrebentação for the tiny label Equipe, that was released in 1971 and was accompanied by a second model in 1972. The tiny label bellied up shortly afterwards as well as the LP continued to be widely unidentified, disputed by connoisseurs at high prices. His record from 1973, Sérgio Ricardo (Continental), brought the well-known cover by Caulos, using a boundary over his mouth area. Among its tracks, “Canto Americano,” got experienced its lyrics granted 1st place in the Athens Event in Greece, 1968. In 1974, he completed his work with his film A Noite perform Espantalho, where he do almost anything. The film was awarded from the Instituto Nacional perform Movie theater, received the Coruja de Ouro reward for his brother’s photography, as well as for Ricardo’s soundtrack. It had been also granted as Greatest Film, Best Pictures, Best Path, and Best Man Character in the I Event de Movie theater Brasileiro de Belém (1974) and was known as among the 15 greatest films of the entire year from the Movie theater Academy of Hollywood and was honored on the Cannes and NY celebrations (the award may be the extremely session for exhibition). He got benefit of the presence proportioned with the achievement and embarked on a tour where he sang the tracks (the soundtrack was also released on LP), shown the film, and debated using the viewers. In 1975, he co-founded SOMBRÁS, a culture intended to represent the eye of musicians in working with creative rights collecting firms. In 1976, he was asked by Aluísio de Oliveira to record in the RCA series Música Popular Brasileira Espetacular. With Aluísio’s creation, he also documented Participação. Shortly, he toured the country’s college or university circuit using the present Ponto de Partida. In 1977, he documented for Marcus Pereira. In 1980, he performed in the Event de Varadero, Cuba, and documented an LP with Geraldo Vandré. In 1983, his music and plans for Carlos Drummond de Andrade’s Estória de João-Joana had been documented from the Orquestra Sinfônica perform Teatro Municipal perform Rio de Janeiro. In 1991, he released his publication Quem Quebrou meu Violão (Record, Rio de Janeiro), and São Paulo’s Picture and Audio Museum organized weekly specialized in him that 12 months. In 1994, he documented a live recording in Lisbon, Portugal. His soundtrack for the film O Lado Certo da Vida Errada received the Prêmio Candango in the Event de Brasília (DF). He also made up the soundtrack for it series Zumbi dos Palmares, and in 1997, for the cleaning soap opera Mandacaru.