Noted composer, arranger, and accordionist, Sivuca created a very effective worldwide single career following having performed with Baden Powell, Toots Thielemans, Chiquinho do Acordeon, Radamés Gnattali, Rosinha de Valença, Waldir Azevedo, Harry Belafonte, and Miriam Makeba, among numerous others. Being a composer, Sivuca had written the classics “Adeus, Maria Fulô” (with Humberto Teixeira), “João e Maria” (with Chico Buarque), and got strikes with “Feira de Mangaio” (along with his wife Glorinha Gadelha) documented by Clara Nunes and “No Tempo dos Quintais” (with Paulo Tapajós). His companions were artists such as for example Paulinho Tapajós, Paulo César Pinheiro, Luís Bandeira, Armandinho, Hermeto Pascoal, and Chiquinho perform Acordeon. Having used the accordion extremely early, at nine Sivuca had been playing for a full time income in fairs and celebrations. Six years afterwards, he shifted to Recife (Pernambuco), where he debuted on the Rádio Guararapes. Employed with the Rádio Clube de Pernambuco, Sivuca performed for the reason that outing for 3 years, both in single acts so when an associate of its local, switching to Rádio Jornal perform Comércio in 1948. There he discovered music theory using the various other musicians from the orchestra and with its recently appointed conductor, Guerra-Peixe. Carmélia Alves, touring Recife in 1949, uncovered him and brought him to São Paulo, where he supported her up in a documenting that same season. In São Paulo, Sivuca was employed with the Rádio Record and in 1951, he documented his first record using the choros “Tico-Tico no Fubá” (Zequinha de Abreu) and “Carioquinha no Flamengo” (Waldir Azevedo/Bonfiglio de Oliveira). Using the worldwide success enjoyed with the baião within the ’50s as well as the consequent require of great Northeastern music and device players, Sivuca’s profession collected momentum as he was the proper man in the proper instant and place. Still in 1951, he followed Carmélia Alves around the medley “No Mundo perform Baião” and documented his second single album using the frevo “Frevo dos Vassourinhas Número 1” (Matias da Rocha) as well as the baião “Sivuca no Baião” (Luíz Gonzaga/Humberto Teixeira). Within the next 12 months, he began to record originals using the choros “Entardecendo” and “Choro Baixo” (with Luís Bandeira), documenting within the next 12 months his baião “Feijoada.” At exactly the same time, Sivuca realized single shows in São Paulo supported by his local and also from the orchestras led by Hervê Cordovil and Gabriel Migliori, while he continuing to perform around the Rádio Jornal perform Comércio perform Recife. In 1955, he was employed with the effective countrywide network Diários Associados to just work at the Rádio and Television Tupi (Rio de Janeiro), where he remained until four years afterwards. In 1958, as an associate of Operating-system Brasileiros, he toured European countries in another of the Brazilian Music Caravans sponsored with the Brazilian federal government. The group, led by conductor Guio de Morais, performed a three-month period using the Trio Iraquitã, Abel Ferreira, Pernambuco, and Dimas. In 1959, terminated by Tupi for having participated within a hit for better incomes, Sivuca shifted to European countries where he performed for 90 days using the group Brasília Ritmos (which got Waldir Azevedo as an associate). From then on, he was employed by way of a Portuguese membership and then resolved in Paris, France, where he resided until 1964, documenting in 1962 through Barclay the LP Rendez-Vous a Rio. Having came back to Recife in 1964, within the same season he visited the U.S. with Carmen Costa, where he was asked by Miriam Makeba’s hubby/manager to become listed on her group being a guitarist. Keeping that placement for four years, Sivuca became the movie director of Makeba’s group and toured Africa, European countries, Asia, and America. Time for NY in 1969, Sivuca aimed the music and performed within the musical Pleasure, which opened up in 1970. Having performed in SAN FRANCISCO BAY AREA and Chicago, in concert events and on Television, in 1971 Sivuca was asked by Belafonte to become listed on his group. Sticking to Belafonte until 1975 as his guitarist, keyboardist, and arranger, Sivuca at exactly the same time documented single albums within the U.S., like the praised Live in the Town Gate, where he interpreted “Adeus Maria Fulô.” Time for Brazil in 1977, he performed a live documented display with Rosinha de Valença in the Teatro João Caetano (Rio de Janeiro), released because the LP Sivuca e Rosinha de Valença. In 1978, he previously another strike with “João e Maria” within the documenting recognized by Chico Buarque and his sister Miúcha. Six years later on, Sivuca documented another unforgettable LP, this time around distributed to Chiquinho perform Acordeon and with the involvement of Radamés Gnattali, Sivuca e Chiquinho. Within the next 12 months, he documented three albums in Sweden, with Chiko’s Pub/Sivuca e Toots Thielemans deserving especial point out. Through the ’80s and ’90s, his routine slowed relatively, although he documented a significant LP with Rildo Hora in 1987 (Sanfona e Realejo) and performed with Baden Powell in Paris in 1997.
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|Os Trapalhões na Serra Pelada||1982||conductor / music arranger|
|Os vagabundos Trapalhões||1982||conductor - uncredited / music arranger - uncredited|
|Os Trapalhões na Serra Pelada||1982|
|Os vagabundos Trapalhões||1982|
|No Mundo da Lua||1958|
|As Melhores Coisas do Mundo||2010||writer: "João e Maria"|
|Por Toda Minha Vida||2007||TV Series writer - 1 episode|
|Água Viva||1980||TV Series writer: "No Tempo dos Quintais"|
|No Mundo da Lua||1958|
|Viva São João!||2002||Documentary||Himself|
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