Trio Nagô

Having as its main training course a repertory of Northeastern and folk music, the Trio Nagô acquired its biggest strikes using the baião “Mulatinha Sarará” (Walter Tourinho/Isaías Ferreira) as well as the toada “Aquarela Cearense” (Valdemar Ressurreição); the latter getting re-recorded with the trio in 1954 being a samba, once again with much achievement. The Nagô also acquired achievement with sambas by Vadico, João de Barro, Marino Pinto, and Alcir Pires Vermelho. The vocal/instrumental Trio Nagô was produced in Fortaleza, Ceará, in 1950, by Evaldo Gouveia (electric guitar), Mário Alves (electric guitar), and Epaminondas de Sousa (atabaque), and its own first work was on the Rádio Clube perform Ceará (still as Trio Iracema). Having proved helpful at many Northeastern r / c, the trio symbolized the Ceará condition in the commemorations of it Tupi wedding anniversary in São Paulo; the town where they continued to be for per month, leaving for the period at Rádio Farroupilha (Porto Alegre, Rio Grande perform Sul). Following the expiration of their agreement using the Rádio Clube perform Ceará, the trio came back to Rio where they agreed upon with Rádio Jornal perform Brasil, documenting their initial 78 rpm in 1953, using the rasqueado “Moça Bonita” (Gilvan Chaves/Alcir Pires Vermelho) as well as the maracatu “Paisagem Sertaneja” (Hortênsio Aguiar). Between 1952 and 1957, the trio acquired its own every week show at Television Record (São Paulo). Still in 1953, these were employed by Rádio Tupi (Rio de Janeiro). In 1956, the group toured European countries. Six years afterwards, Mário Alves still left the group, which 8 weeks later was became a member of by Manuel Batista.