Deeply worried about the hardships from the Northeastern people, Zé Dantas was an integral number when Luís Gonzaga was introducing the culture of his region to the country through the baião. Dantas’ sociable passions for the anguish from the Northeasterner had been portrayed in chronicle-like music, such as for example “Vozes da Seca” (1953), regarded precursors from the protest melody from the ’60s. Various other areas of Northeast had been portrayed in “ABC perform Sertão” (peculiar features), “Algodão” (the labor), and “Paulo Afonso” (the improvement). Among Gonzaga’s main companions, and perhaps one of the most eloquent, Dantas composed classics just like the xote “Cintura Fina,” the coco “Derramaro o Gai” (also documented by Quatro Ases e Um Coringa in 1950), the xote “Riacho perform Navio,” “Xote das Meninas” (also documented by Ivon Curi in 1953), “Imbalança,” “Forró de Guyé Vito,” “Sabiá,” the baião “Vem Morena,” the toada “A Volta da Asa Branca,” as well as the toada-baião “Vozes da Seca” (all with Gonzaga); by himself, he also composed hits just like the rojão “Forró em Caruaru” (documented by Jackson Perform Pandeiro in 1955), “Farinhada” (documented by Ivon Curi, who also documented the xote “Dei no Pai e Trouxe a Filha”), the coco “O Bom Que o Coco Tem” (documented by Marinês e sua Gente), “O Calango” (by Carmélia Alves), as well as the toada “Chegada de Inverno” (by Quinteto Violado). Dantas was paid tribute in three music, two of these documented by Gonzaga in 1963: “Homenagem a Zedantas” (Antônio Barros) and “Zedantas” (Onildo de Almeida). Since his teenagers, Dantas was a author of xotes and toadas, despite the fact that he never discovered a drum. Spending nights taking in and performing with other learners, he paid attention to many cantadores (minstrels), having created the habit of getting along a tape recorder. In 1949, he graduated in medication in the State School of Recife, shifting to Rio another calendar year as an intern. Also in 1949, he contacted Gonzaga (who was simply carrying out his second tour in Recife). Performing most of Gonzaga’s melody by center and interesting him along with his originals, Dantas triggered this impression that Gonzaga chose right after that to record his tracks. Dantas decided on one condition: that Gonzaga didn’t credit him for his compositions, as he, as a health care provider, didn’t desire to be blended with music. Gonzaga didn’t maintain his promise. Along with his association with Humberto Teixeira shaken by disagreements linked to collecting firms (Gonzaga having remaining UBC for SBACEN), Gonzaga got Dantas as his partner, releasing “Vem Morena” (Oct 1949), “A Dança da Moda” (Apr 1950), “Cintura Fina” (Might 1950), and “A Volta da Asa Branca” (August 1950). The collaboration using the Pernambucan doctor finished along with his precocious demise in 1962 at 41, with Dantas dropping in the ostracism experienced from the baião following its overpowering media success. At exactly the same time, his tracks stayed strikes among the up-country viewers visited frequently by Gonzaga and additional Northeastern artists before ’90s, when the brand new forro movement found celebrate his skill again.