Lúcio Alves

小簡介
Lucio Alves是一位偉大的巴西音樂家。
by Alvaro NederLúcio Alves was a great interpreter of Brazilian music. Tom Jobim said he is a formidable singer, he deserved the highest popular acclamation, but paid the price of being an artist ahead of his time. Jo?o Gilberto was a declared fan of his singing interpretation and his vocal and harmonic arrangements and Alves made some arrangements for Gilbertos Garotos da Lua and Gilberto lived with him at Raul Pompéia street in Rio. When Chega de Saudade was released, the first person to whom Gilberto showed the album was Alves. Alves always had music as part of his family life: his father was the conductor of his citys band and a tuba player, his mother and aunt played the piano, his sister violin, and his brothers viol?o and flute. As early as six years old, Alves began to take viol?o (acoustic guitar) classes. At nine, already living with his family in Rio, he appeared at Barbosa Júniors Bombonzinho radio show singing Juramento Falso (Pedro Caetano), a song turned extremely popular by Orlando Silva. When Barbosa Júnior transferred himself to Rádio Mayrink Veiga and created the show Picolino, Alves presented himself there again. There he became acquainted with Carmen Miranda, Garoto, Os Quatro Diabos, O Bando da Lua, Carlos Galhardo, Chico Alves, and Ciro Monteiro, among others. He also knew Noel Rosa at this time, was a neighbor of Marília Batista, whom was frequently visited by Rosa. He also appeared, in 1937, on Rádio Nacionals soap opera Aladim e a Lampada Maravilhosa, playing Aladin, and on the show Ora Bolas! In fact, as a prodigy child, he appeared on all childrens shows. In 1941, having broken a leg in a soccer play (pelada), he had to rest at home. As the only activity he could engage in was to sing, he formed the group Namorados da Lua, in which he was the crooner, violonista, and arranger. Ary Barroso had a novice show at Rádio Tupi at that time, which launched several unknown beginners to stardom (and turned to ashes the untalented), and Alves was one of these lucky ones. The Namorados da Lua scored first place at Ary Barrosos show on January 12, 1941. In that year, Alves also won the Carnaval contest at the Teatro República, Rio, singing Nós, os Carecas (Arlindo Marques/Roberto Roberti). They were replacing the Anjos do Inferno, who had recorded it but were touring. They reached first place tied to Ciro Monteiro, who desisted saying that the Namorados da Lua deserved the award. On that occasion, Monteiro urged Alves to leave the group and pursue a solo career. The Namorados da Lua recorded their first 78 rpm album on October 15, 1942, with Vestidinho de Iaiá and Té Logo, Sinhá (both by Assis Valente), through Victor. The group would last for six years and several different formations, working at distinguished spots such as Cassino Atlantico and Cassino Copacabana, besides Rádio Nacional. Alves had to forge his birth certificate to play at the Cassino Atlantico in 1941, as he was only 14. He started to compose in 1943, writing with Haroldo Barbosa the popular samba De Conversa em Conversa (recorded at December 12, 1946, by Isaura Garcia, through Victor, with the Namorados da Lua, and several decades later, by Jo?o Gilberto). Participating actively on radio shows, he learned with the masters: arranging with Radamés Gnatalli, viol?o with Garoto, and writing with Haroldo Barbosa. In February 1945, the Namorados da Lua recorded another 78 rpm (Continental) with Agora Sim (Francisco Santos/Jo?o Diniz) and Caráter de Mulher (Francisco Santos/Jo?o Diniz/ Rubens Pacheco). In July of that year, he recorded for Continental Morena Faceira (Janet DeAlmeida) and Eu Quero um Samba (Haroldo Barbosa/DeAlmeida), also recorded several years later by Gilberto. That recording was important to project Alves as a popularly acclaimed singer. In September of the same year, they recorded for Continental Olha o Gato! (Lauro Maia) and Ponto de Interroga??o (Marino Pinto/Ciro de Souza). In October, another 78 rpm (Continental) had Vai Saudade (Marino Pinto/Valdemar Gomes) and Bate Palma Pra Mineira (Assis Valente). In April 1946, they recorded for Continental Dan?a do Ban-Zan-Zan (DeAlmeida/Francisco Storino) and Feiti?o da Vila, a classic by Noel Rosa and Vadico. In May, N?o Bobeie, Calamazu (Caco Velho/Nilo Silva) and Concei??o (Otaciliano Silveira/Chiquinho Storino) (Continental). In August, Aprenda a Sambar (Nanai) and Se Essa Mulher Fosse Minha (Haroldo Torres/Geraldo Gomes) (Continental). In December, Desgosto (Tuffi Lauar/Francisco Modesto/Fernando Pimentel) and Rainha Sem Rei (Romeu Gentil/Ribeiro de Lima) (Continental). Also in that month, Lá Vem Aquela Mulher (Estanislau Silva/Raul Marques/Carlos Souza) and Casado N?o Pode (Alcebíades Nogueira/Rutinaldo Silva) (Continental). In February 1947, they recorded Dona Letícia (Aníbal Monteiro/Chiquinho Storino) and Negativa (Lúcio Alves) (Continental). In December, Deixa eu Bater Meu Tamborim (Marian Batista/Erasmo Silva) and Leonor (Dunga/Roberto Riberti). The last recording of the group was in January 1948: Guerra ao pardal (Alberto Ribeiro/Peter Pan) and Cigana (Nelson Gon?alves). The group dissolved and Alves went after his personal career as a solo artist, beginning with Sabe lá o Que é Isso? (Cristov?o Alencar/A. Almeida) with Orlando Silva (Continental). He would record 44 other solo albums and appear on a number of others. In 1948, he recorded for Continental Solid?o (version by Aluísio de Oliveira of Osvaldo Farres bolero Tres Palabras). The single was included in Walt Disneys movie Make Mine Music. In that same year, he recorded Aquelas Palavras and Seja Feliz...Adeus (both by Luís Bittencourt/Benny Woldorff), and toured Cuba, Mexico, and the U.S. for a whole year with the Anjos do Inferno group, replacing two members (as he was a crooner and a violonista) who had abandoned the group, Leo Villar and Paciência. On that tour, Carmen Miranda invited him to work with her and he won a recording studio contest, the prize being a season with Tex Beneckes orchestra. He declined both invitations as he wanted badly to go back to Brazil. In the early 50s, he recorded for Continental, with great success, Terminemos (Paulo Soledade/Fernando Lobo), Sábado em Copacabana (Carlos Guinle/Dorival Caymmi), Manias (Flávio and Celso Cavalcanti), Xodó (Jair Amorim/José Maria de Abreu), Valsa de uma Cidade (Ismael Neto/Ant?nia), Se o Tempo Entendesse (Marino Pinto/Mário Rossi), and Na Paz do Senhor (José Maria de Abreu/Luís Peixoto). In 1952, he wrote Bai?o de Copacabana (with Haroldo Barbosa). In 1954, he began a duo with the great singer Dick Farney, recording for Continental a 78 rpm with the samba Tereza da Praia (Tom Jobim/Billy Blanco) and his toada Casinha Pequena. The duo had good acceptance until 1955, when Alves decided to compose for other singers. At the end of the 50s, he recorded the LP Cantando Depois do Sol for Philips. It had, among other songs, Emília (Wilson Batista/Haroldo Lobo) and Minha Palho?a (J. Cascata). The bossa nova brought him another wave of popularity, with nightclub, theater, radio, and TV shows, and new recordings. In 1960, he recorded Lúcio Alves Interpreta Dolores Durán (Odeon), a tribute to the singer/composer who died in 1959. There he interpreted her songs such as A Noite do meu Bem and Fim de Caso. In 1961, he recorded the LP A Bossa é Nossa (Philips), with Dindi (Tom Jobim/Aluísio de Oliveira), Nova Ilus?o (Luís Bittencourt/José Meneses), and O Samba da Minha Terra (Dorival Caymmi), among others. In 1963, he recorded for the combative label Elenco (owned by Aluísio de Oliveira) the LP Balan?amba, another bossa album, with Rio, Ah! Se eu Pudesse, and O Barquinho (all by Roberto Menescal/Ronaldo B?scoli). In 1960, unsubmissive to the iê-iê-iê fashion and needing to work for subsistence, he became a TV show producer. One of his assignments in this task was 1965s Roda de Samba, a musical sketch on TV Records Corte Rayol Show. He also worked for TV Educativa in Rio after 1973. In that year, he recorded another hit, Helena, Helena, Helena (Alberto Land). In 1975, he recorded the LP Lúcio Alves (RCA) with compositions by Chico Buarque, Tom Jobim, and Pixinguinha, among others. His last recording (released by RGE Brasil in 1997) was during the live show Romantico/A Arte do Espetáculo — ao Vivo, recorded at the Inverno & Ver?o Festival — S?o Paulo in August 1986.