Sonntag, 31. Mai 2009

Brazilian Musicians, born 31st of May

Fred Jorge (Frede Jorge Japur)
31/5/1928 Tietê, SP
20/10/1994 São Paulo

The principal writer of versions of Brazilian rock, composer Fred Jorge had his works recorded by important interpreters both abroad (Ornella Vanoni, Sacha Distel, Teddy Reno, Connie Francis) and in Brazil (Leny Eversong, Caubi Peixoto, Altemar Dutra, Carlos Gonzaga, Ronnie Von, Sérgio Reis, and Antônio Marcos). His first composition to be recorded was "Velha Paineira," interpreted by Carlos Gonzaga in 1946. One of his biggest smashes was his version of "Diana" (Paul Anka), recorded by Carlos Gonzaga in 1952. Several other successful versions came next, like "Estúpido Cupido" (by Neil Sedaka/H. Greenfield, it was the first national Brazilian rock hit and a historic mark) and "Banho de Lua" (P. de Phillippi/F. Migliacci), both recorded by Celly Campelo; "A Casa do Sol Nascente" (North-American folklore), recorded by Agnaldo Timóteo; and "Qual a Razão" (version of "Day Tripper" recorded by the Brazilian Bitles that was the best-selling album of Polydor in late 1966). After 1970, he started to compose for Roberto Carlos, who recorded several of his songs. Fred Jorge also became a successful producer. ~ Alvaro Neder, All Music Guide

Fred Jorge (Frede Jorge Japur)
31/5/1928 Tietê, SP
20/10/1994 São Paulo

Compositor. Começou a aprender piano ainda criança. Unquanto estudante, organizou shows no colégio em que estudava.

Começou a trabalhar na Rádio São Paulo no final dos anos 1940. Nesse período começou a fazer versões de músicas em inglês como foi o caso de "Midnight masquerade", que virou tema de uma novela radiofônica. Seu primeiro sucesso foi a versão de "Diana", de Paul Anka gravada por Carlos Gonzaga em 1958. No ano seguinte teve o samba "Velha paineira", registrada na RCA Victor pelo mesmo cantor e "Pobre de mim", versão de música de Sheeley, gravada por Tony Campelo. No mesmo ano teve outros grandes êxitos com "Estúpido cupido", versão de "Stupid cupid", de Neal Sedaka e H. Greenfield e "Lacinhos cor de rosa", versão para música de M. Grant, gravadas por Celly Campello na Odeon.

Em 1960, novo sucesso na voz de Celly Campello: "Banho de lua", versão de música dos italianos "Fillipi e Migliacci, grande sucesso da então Rainha do rock. No mesmo ano fez a adaptação de "Lago dos cisnes", de Tchaykowisk gravada por Mariana Porto de Aragão. Teve ainda no mesmo ano músicas gravadas por Carlos Gonzaga e Elza Ribeiro, entre outros. Em 1961 fez a versão de "Trem do amor", música original de Paul Anka gravada por Celly Campell, também com grande sucesso. Outros sucessos que obteve foram: "A noiva", gravada por Ângela Maria e "Se eu partir", gravada por Roberto Carlos. Em 1987, fez a versão da música "Somewhere out there (Preciso de você)", de James Horner, Barry Mann e Cynthia Weil, gravada pela dupla Jane e Herondy.

Teve músicas gravadas ainda por Agnaldo Timóteo, Altemar Dutra e Caubi Peixoto.

Ed Lincoln (Eduardo Lincoln Barbosa Sabóia)
31/5/1932 Fortaleza, CE

Ed Lincoln, born Eduardo Lincoln Barbosa de Sabóia, is a Brazilian musician, composer and arranger known for a wide variety of styles. As a bassist, he was present at the earliest moments of bossa nova and as a Hammond organ player, he was foundational in establishing the sound of Brazilian jazz and space age pop.

His most widely-heard compositions include O Ganso (Ed Lincoln and D'Orlann), É o Cid (Ed Lincoln and Silvio Cesar), Palladium (Ed Lincoln and Orlandivo) and Ai que Saudade Dessa Nega. His most successful arrangements include O Bêbado (Durval Ferreira and Orlandivo), Na Onda do Berimbau (Oswaldo Nunes), Romantic Partners (Nilo Sérgio) and The Blues Walk, the latter in collaboration with American trumpeter Clifford Brown.

Early years

Lincoln was born on May 31, 1932 in Fortaleza, the state capitol of Ceará, Brazil. His mother played organ in the local Presbyterian Church and his older sister learned classical piano at home, but Lincoln didn't play himself until he saw the film Rhapsody in Blue as a young teenager, and rushed home to scribble notes on musical staff paper. He began learning popular songs such as Ary Barroso's Aquarela do Brasil. Playing piano at age 16, Lincoln formed a trio with a cousin and a friend, and performed on a weekly program on Radio Iracema. Lincoln was at the same time the sports editor for the newspaper Diario de Povo.
Lincoln's early influences included jazz performances by Shorty Rogers, Gerry Mulligan, J. J. Johnson & Kai Winding, and Chet Baker; artists whose recordings he heard played on the hi-fi systems belonging to the parents of his rich friends.
At 18, Lincoln left Ceará for Rio de Janeiro to study architecture. There, Lincoln began performing on piano each midday for Radio Roquette Pinto, where he met and formed friendships with a variety of musicians including Luizinho Eça, Johnny Alf, Geraldo Vandré, Sergio Ricardo, Juquinha (bossa nova drummer), Dick Farney and Tom Jobim.[1] Lincoln pestered the radio station engineers to play him all the newest North American jazz discs, and formed an early appreciation for the work of Oscar Peterson.

Double bass

Lincoln agreed to form a combo with Luiz Eça and Johnny Alf, even though they asked him to play double bass, an instrument he had never touched. After the new trio signed a contract with the Plaza Bar at the Plaza Hotel in Rio, Lincoln used his share of the advance money to buy a bass, learning it in one week. The trio was a success. After a time, Lincoln began to gain notice as a talented young bassist at jam sessions, and recorded with Trio Plaza, Maestro Radamés Gnattali Quintet and took part in the first bossa nova recording produced by Aloisio de Oliveira. Eça left to study music in Vienna, and Lincoln reformed the trio with himself on piano, Baden Powell on guitar and Luiz Marinho on bass: the Hotel Plaza Trio.he trio included a fourth musician, singer Claudette Soares, billed as the "Princess of the Baiao". Lincoln saw further success with this group, and continued to participate in after-hours jam sessions around town, making friends with
Silvia Telles, Carlos Lyra, Miele & Bôscoli, Garoto, Joao Donato, Joao Gilberto, Tom Jobim, Milton Banana and even Ary Barroso.Hammond organ.
In 1958, Lincoln was playing bass regularly for Hammond organist and club owner Djalma Ferreira at the popular Drink Club in Rio. After Ferreira was wounded by a gunshot to the belly (delivered by business rivals), Lincoln was taken to the club at 5 o'clock in the evening on Friday and directed to learn to play the organ by 9 o'clock when the club opened. Previously, Lincoln hadn't been allowed to touch the instrument, but he proceeded to teach himself enough of its idiosyncrasies that he was able to successfully lead Conjunto Drink through a busy evening.Lincoln soon discovered that the Hammond organ allowed him to use his skill at the piano keyboard while bringing the supporting knowledge of his bass line experience to the organ's foot pedals. The electronic organ also provided a new array of synthetic tonalities he could experiment with.
Solo career.
Lincoln's first solo album. The cover art was commissioned from the editor of a woman's magazine who asked to be listed as composer alongside Lincoln in lieu of payment.
On November 2, 1958, Lincoln recorded an album for Helium, a small record label. The owner of Helium decided that 'Eduardo Lincoln' wasn't commercial enough as a name, and released the album as Ao Teu Ouvido (In Your Ear) by Ed Lincoln. The album was re-released at various times under other titles including Boite, Impacto and Ontem Hoje e Sempre.
Lincoln signed with Musidisc in 1960 and released another solo album, This is Ed Lincoln, or Orgao Espetacular (Organ Spectacular), in 1961. Lincoln combined piano and Hammond organ lines by using recording studio technology to double and triple himself in the same song. The first cut on the album was his childhood favorite, Aquarela do Brasil.
20-year-old Eumir Deodato filled in for Lincoln in 1963 when a car accident put Lincoln in recovery for seven months.

Later years

In 1968, Lincoln formed his own record label: De Savoya Discos, releasing a self-titled album with liner notes on the back explaining that the 12 songs were in 12 styles that were very different from each other to show the artist's facility as a performer and composer.He formed the "DeSavoya Combo" and began producing albums and arranging songs for other artists, including Elza Soares in the 1970s.
In 1989, Polygram released what would be Ed Lincoln's last solo album, Ed Lincoln: Novo Toque (New Touch).[7] Lincoln began to use computers as a composition tool on this album, beginning with a Commodore 64. After that, Lincoln concentrated on producing and arranging.
In the 1990s, some of Ed Lincoln's releases were pirated and played widely by disc jockeys in England to become successful as source material for dance tracks. Two such songs were Cochise and Se Você Quiser.
Several albums have been recorded in Rio at Lincoln's "Studio Ed Lincoln", including one by Marvio Ciribelle called Esa so o que Faltava in 1993. Lincoln occasionally accepts recording dates, and appeared playing organ on one track, Conversa Mole, on an Ed Motta album released in 2000.

Ed Lincoln recorded under many different names during his career; at times he used a new name for each musical style or for each new record. He was originally listed as Eduardo Lincoln when taking part in larger ensembles, then became Ed Lincoln in 1958. He recorded a single album as "Don Pablo de Havana" in 1960, five albums as "Les 4 Cadillacs" or "Os 4 Cadillacs" from 1961 to 1964 and he arranged, produced and performed with the "De Savoya Combo" in 1969 for his own label "Savoya Discos". In the 1970s and 1980s, he recorded under a large number of American-sounding names. Other aliases include Berry Benton, Claudio Marcello and "Muchacho nas Bocas". More recently, Lincoln has created recordings alone at his computer under the names "Orquestra Romance Tropical", Gloria Benson and "Orquestra Los Angeles".

Personal life
Lincoln has two sons, Marcos and Marcelo Sabóia, who have carried their father's legacy by involving themselves in his recording studio business.

Ed Lincoln (Eduardo Lincoln Barbosa Sabóia)
31/5/1932 Fortaleza, CE

Instrumentista. Compositor. Arranjador. Trabalhou no "Jornal do Povo" em Fortaleza como revisor e depois como redator.

Em 1951, mudou-se para o Rio de Janeiro. Coméçou a carreira rtística como contrabaixista e depois passou para o piano e depois para o orgão elétrico. Na década de 1950, atuou na boate Plaza tocando baixo e piano ao lado de Luiz Eça e Johnny Alf. Fez parte do conjunto de Dick Farney. Em 1955, formou seu próprio conjunto. No mesmo ano, gravou seu primeiro disco interpretando "Amanhã eu vou", de Nilo Sérgio e "Nunca mais", de sua autoria e Sílvio César. Entre 1955 e 1958, atuou na boate Drink, no Rio de Janeiro no conjunto de danças dirigido por Djalma Ferreira. Ainda no final dos anos 1950, acompanhou gravações do iniciantes Claudette Soares e Baden Powell. Em 1961 gravou os LPs "Ao teu ouvido" e "Ed Lincoln boate", que incluiu "Saudade fez um samba", de Carlos Lyra e Ronaldo Boscoli. Nessa época, exerceu a função de diretor musical da gravadora Musidisc. Durante os anos 1960 foi um dos mais requisitados animadores de bailes. Ficaram famosas as apresentações da "Domingueira dançante" no Clube Monte Líbano.

Em 1963, lançou o LP "Ed Lincoln - Seu piano e seu órgão espetacular", que tinha como destaques as músicas "Só danço samba", de Tom Jobim e Vinícius de Moraes; "Influência do jazz", de Carlos Lyra; "Vamos balançao", de Carlos Imperial, "Balansamba", de Luiz Bandeira; "Um samba gostoso", de sua autoria; "Pra que?", de Silvio César; "Tristeza", de sua autoria e Luiz Bandeira e "Olhou pra mim", de sua parceria com Silvio César. No mesmo ano, sefreu um grave acidente de carro que o manteve afastado das atividades artísticas por sete meses, período no qual foi substituído nos bailes por Eumir deodato. No ano seguinte, lançou o LP "A volta". Em suas orquestras atuaram como crooners os cantores Orlandivo, Toni Tornado, Silvio César, Emílio Santiago, Humberto Garin e Pedrinho Rodrigues. Também atuaram em seus conjuntos diversos músicos consagrados, entre os quais Durval Ferreira, Marcio Montarroyos, Luis Alves, Wilson das Neves, Paulinho Trompete e Celinho.

Em 1965, gravou o LP "Órgão espetacular", com destasque para "Aquarela do Brasil", de Ary Barroso, "Locomotion", de Joe Coco; "Mulher de 30", de Luiz Antônio; "Teléco-teco nº 2", de Oldemar Magalhães e Nelsinho; "O amor e a rosa", de Pernambuco e Antônio Maria e "Vivendo e aprendendo", de sua autoria e Silvio César. No ano seguinte lançou novo LP, que trazia entre outras "É o Cid" e "Se eu tiver", de sua parceria com Silvio César, "O ganso" e "O amor que eu guardei", de sua parceria com Orlandivo e "Querida" e "Eu não vou mais", de Orlandivo e Durval Ferreira. Em 1967, gravou "O bêbado", "Eu quero ir" e "Eu vou embora", de Orlandivo e Durval Ferreira; "As gaivotas", de sua autoria e "Se você quiser", de Orlandivo.

Em 1968, fez os arranjos para o sucesso "Anjo azul", gravado pela cantora Adriana. No mesmo ano, lançou um de seus LPs de maior prestígio e que trazia entre outros sucesso "Zum, zum, zum", de Silva e Adamastot, "Waldemar", e Orlandivo e Deval e "Choro do bebê", de De Savoya, sendo considerao por muitos historiadores o primeiro LP independente brasileiro. Em 1971, teve um de seus LPs, que trazia entre outras "O bêbado", de Orlandivo e Durval Ferreira, "Saci Pererê", de Mendes e Terra" e "As gaivotas", de sua autoria, relançado pela gravadora CID. Por essa época, começou a se afastar os bailes e passou a atuar como músico de estúdio gravando gingles e trilhas sonoras além de lançar discos com coletâneas dançantes de sucessos nacionais e internacionais assinados com os mais diferentes pseudônimos, como: Glória Benson, Orquestra Los Angeles e Orquestra Romance Tropical. Foi um dos primeiros músicos brasileiros a se dedicar à música eletrônica e a fazer experiências com música através de computador. Em 1988, gravou em um microcomputador Commodore 64" o LP "Toque novo", lançado no ano seguinte. Em 1989, lançou pelo selo Elenco/PolyGram o LP "Novo toque", com a regravação de antigos sucessos entre os quais "Ai, que saudade dessa nega", de sua autoria. Em 2000, fez participação especial na faixa "Conversa mole", no CD do cantor Ed Motta. Por essa época, muitas de suas músicas, como "Cochise" e "Se você quiser", passaram a ser presença frequente nas pistas de dança da Inglaterra, dando ensejo a uma onda de pirataria de seus discos fora de catálogo. Nessa mesma época teve a música "É o Cid", parceria com Silvio César, regravada pela equipe de bailes "Furacão 2000", considerada como o novo "Rei dos bailes" dos subúrbios do Rio de Janeiro. Em 2001, teve a música "Jogaram o caxangá" relançada na coletânea "Samba soul 70 - Rare groove party", do selo belga Ziriguiboom. Em 2002, o selo inglês relançou em Cd o LP que trazia entre outras "Zum zum zum", "Waldemar" e "O choro do bebê". Ficou conhecido no Brasil, a partir da década de 1960, como "O Rei dos bailes". Em 2003, apresentou-se com seu conjunto no projeto "Sambalanço - A bossa que correu o muno" concebido pelo músico Henrique Cazes e apresentado no Centro Cultural Primeiro de Março. No mesmo ano, apresentou no Centro Cultural Banco do Brasil o show "Saudade fez um samba", depois de 30 anos longe dos palcos. Cerca de dois anos depois, teve problemas de saúde e teve que se afastar da carreira artística morando na cidade de Petrópolis. Em 2007, retomou as atividades gravando em órgão Hammond o samba "Sem compromisso", de Geraldo Pereeira e Nelson Trigueiro para ser incluído no novo CD de Marcelinho da Lua.

Miele (Luís Carlos Miele)
31/5/1938 São Paulo, SP

Luís Carlos Miele is a Brazilian musician and actor.
As an actor, Luís Carlos Miele has been seen in movies such as "Homem Nu, O", released in 1997, in which he portrayed Homeless, "Cada um Dá o que Tem"(1975), and "A Estrela Sobe"(1974).
With Bôscoli he produced shows by major acts like Roberto Carlos for 24 years.

Elis Regina - Elis no Teatro da Praia com Miele & Boscoli (1970)

Elis Regina shares the spotlight with Miele and Ronaldo Boscoli, backed by Roberto Menescal, Jurandir, Ze Roberto Bertrami, Wilson das Neves and Hermes. Luiz Carlos Miele is an important artist for Bossa Nova.

The 50th anniversary of Bossa Nova (Bottles Alley) was much celebrated in Brazil, especially in Rio de Janeiro, the birthplace of the musical movement. In 2009, the city will gain another attraction with the reopening of the renowned Beco das Garrafas in Copacabana.

Luis Carlos Miéle is artistic director for the bars. He directed shows during the golden age of the alley, immortalizing the "pocket-show" format. He now wants to revisit the musical style with new MPB (Brazilian Popular Music) names. "The idea is to relive the Little Club's jam sessions, which signaled the beginning of instrumental Bossa Nova." For this mission, he has called upon the children of musicians who were acclaimed at that time: Maria Rita, daughter of Elis Regina, Simoninha, daughter of Simonal, and Phillipe and Marcel Powel, sons of Baden Powel, among others.

Miele (Luís Carlos Miele)
31/5/1938 São Paulo, SP

Produtor e diretor de shows. Filho da cantora e instrumentista Irma Miele, que se apresentava com o nome artístico de Regina Macedo. Aos 12 anos de idade, começou a trabalhar como radio-ator em uma emissora de rádio em São Vicente (SP), no programa "Meu filho, meu orgulho", de Mário Donato. Mais tarde, protagonizou outros programas infantis na Rádio Tupi, ao lado de Regis Cardoso, Érlon Chaves e Walter Avancini.

Iniciou sua carreira profissional como locutor das rádios Excelsior, Tupi e Nacional. Em 1959, mudou-se para o Rio de Janeiro, onde conheceu o compositor Ronaldo Bôscoli, com quem formou a dupla Miele & Bôscoli, responsável pela direção e produção de diversos espetáculos, além de programas musicais em emissoras de televisão. Na televisão, atuou na direção e produção dos programas musicais "Noite de Gala" e "Cara & Coroa" (com Caymmi e Silvia Telles), na TV Rio, "Noite de Gala". "Dois no Balanço" (jazz e bossa nova), "Se meu apartamento falasse" (com Cyl Farney e Odete Lara), "Rio Rei", "Os 7 Pecados" (com Fernando Barbosa Lima) e "Musical em Bossa 9", na TV Excélcior, "O Fino da Bossa", "Show em Simonal" e "Elis Especial", na TV Record, "Alô Dolly", "Dick & Betty 17" (com Dick Farney e Betty Faria), "Fantástico" (direção musical), "Elis Especial", "Praça da Alegria", "Sandra & Miele", "Cem anos de espetáculo", "Viva Marília" e "Batalha dos Astros", além de festivais de música, na TV Globo, "Um homem - uma mulher" (com Tuca), "Cassio Muniz Show" (criação dos comerciais) e "Programa Flávio Cavalcanti" (musicais essenciais), na TV Tupi, "Miele & Cia" e "Ele & Ela" (com Leila Richers), na TV Manchete, "Coquetel", no SBT, e "Escolinha do Barulho", na TV Record. Como produtor e diretor de shows, foi responsável por espetáculos de artistas como Roberto Carlos, Elis Regina, Wilson Simonal, Sergio Mendes, Lennie Dale, Sarah Vaughan, Leny Andrade/Pery Ribeiro/Bossa 3 ("Gemini V"), Taiguara/Claudette Soares ("Primeiro Tempo 5x0"), Milton Nascimento/Marcos Valle/Joyce/Wanda Sá (Sucata, RJ), Alcione (Canecão, RJ), Agnaldo Timóteo, Joanna, Angela Maria/Lucinha Lins ("Spot Light"), Os Cariocas, Família Caymmi, Trio Irakitan/Rosana Tapajós (Beco das Garrafas, RJ), Regina Duarte ("Regina Mon Amour", no Canecão), Sandra Bréa/Pedrinho Mattar ("Caso Water-Closed") e Dzi Croquettes
(Monsieur Pujol, RJ), além dos projetos "Chega de Saudade", "Vivendo a Rádio Nacional", "Vivendo Vinícius" e "Festival Internacional de Mágica". Como show-man, participou dos espetáculos "Miele & Juarez Machado" (Sucata, RJ), "Concerto para Miele & Orquestra" (Maksud Plaza, SP), "Miele & Tuca" (Rui Barbossa e Sucata), "Miele no Palladium", com Rosemary, "Elis & Miele" (Teatro Clara Nunes e Teatro Maria Della Costa). Atuou, ainda, como diretor de projetos especiais no Metropolitan (RJ) e como mestre de cerimônias do Prêmio Moliére. Gravou o compacto simples "Miele e Carolina", com a participação de Carol Saboya, registrando as canções "A menina e a TV" (Rolf Zuckowski, vers: Antonio Adolfo e Jésus Rocha) e "Cirrose" (Daltony Nóbrega e Ana Maria). Em 1997, apresentou-se, com Roberto Menescal e Wanda Sá, no Mistura Fina (RJ), em espetáculo gravado ao vivo e lançado pelo selo Albatroz no CD "Uma mistura fina". Dois anos dpois, assinou a direção do espetáculo "Vivendo Vinícius", com Carlos Lyra, Toquinho, Miúcha e Baden Powell, apresentado no Metropolitan (RJ). Ainda em 1999, passou a exercer a função de diretor de projetos especiais na Casa de Cultura da Universidade Estácio de Sá (RJ), onde produziu vários espetáculos, como "Um brasileiro chamado Jobim", com Roberto Menescal, Danilo Caymmi, Joyce, Cris Delanno e o conjunto Os Cariocas, "Minhas duas estrelas - Pery Ribeiro canta e conta - Dalva de Oliveira e Herivelto Martins", "Essa Bahia chamada Caymmi", com Nana Caymmi, Dori Caymmi e Danilo Caymmi", "Jazz para as onze", com o Quinteto Paulinho Trompete, e "Rio Jazz Orquestra", no qual atuou como crooner, entre outros. Em 2004, fez show no Tom Brasil (SP), mostrando pela primeira vez em público o "Hino do Fome Zero" (Roberto Menescal e Abel Silva), cujo DVD foi dirigido por ele, Também nesse ano, publicou o livro "Poeira de estrelas" (Ediouro). Ainda em 2004, foi
responsável pela apresentação do espetáculo "Bossa Nova in Concert, realizado no Canecão (RJ), com a participação de Johnny Alf, João Donato, Carlos Lyra, Roberto Menescal, Wanda Sá, Leny Andrade, Pery Ribeiro, Durval Ferreira, Eliane Elias, Marcos Valle, Os Cariocas e Bossacucanova. O show contou com uma banda de apoio formada por Durval Ferreira (violão), Adriano Giffoni (contrabaixo), Marcio Bahia (bateria), Fernando Merlino (teclados), Ricardo Pontes (sax e flauta) e Jessé Sadoc (trompete), concepção e direção artística de Solange Kafuri, direção musical de Roberto Menescal, pesquisa e textos de Heloisa Tapajós, cenários de Ney Madeira e Lídia Kosovski, e projeções de Sílvio Braga. Também nesse ano, lançou o livro "Poeira de estrelas" (Ediouro). Apresentou-se, em 2005, no Bar do Tom, com o espetáculo "Bênção Bossa Nova", ao lado de Roberto Menescal e Wanda Sá. Nesse mesmo ano, lançou o DVD "Miele, um showman
brasileiro - Um show de música & muito humor" (CID), com festa no Bar do Tom (RJ). Em 2008, apresentou, junto com Thalma de Freitas, o espetáculo "Bossa nova 50 anos", realizado na Praia de Ipanema, no Rio de Janeiro. Também no elenco, Carlos Lyra, Roberto Menescal, Oscar Castro Neves, Wanda Sá, Leila Pinheiro, Emílio Santiago, Zimbo Trio, Leny Andrade, Maria Rita, Fernanda Takai, João Donato, Marcos Valle e Patrícia Alvi, Bossacucanova e Cris Delanno. O show, em comemoração aos 50 anos da bossa nova, e também celebrando o aniversário da cidade do Rio de Janeiro, teve concepção e direção de Solange Kafuri, direção musical de Roberto Menescal e Oscar Castro Neves, e pesquisa e textos de Heloisa Tapajós.

Marilton Borges (Marilton Fragoso Borges)
31/5/1943 Belo Horizonte, MG

Marilton Fragoso Borges was born in Belo Horizonte, on the Santa Tereza neighborhood, on May 31, 1943. He’s the eldest among 11 children of Salomão Magalhães Borges and Maria Fragoso Borges. His father, autodidactic journalist, played a little guitar. His mother, elementary teacher, sang and played the piano. João, his uncle on his mother’s side, introduced Marilton to the world of music when he was still a child, when he gave him his first guitar and then a cavaquinho. With his cousin Vivina he learned the piano, which he only adopted as official instrument in the 70’s. At the age of 14 he was an office boy, his first job. Later, he worked as a mailman, along with brother Márcio. At 18, he moved with his family to Edifício Levy, downtown the ‘mineira’ capital city. In the middle of the 60’s, he was the first of the Borges to meet and play with Milton Nascimento, who would soon be introduced to the entire family. In 1969, participating
in the Belo Horizonte Festival, Marilton celebrated two deeds: he was the first runner-up, singing Tavinho Moura’s song “Como vai minha aldeia” (How is my village doing) and he was the first person to sing in front of the audience the song “Clube da Esquina”, until then an unknown song of his brothers Lô and Márcio and Milton Nascimento’s. Despite being fundamental to the appearance of the movement, Marilton followed his musical career independently of Clube da Esquina.

Clube da Esquina (in English "Corner Club") was a Brazilian music artists collective, originating in the Brazilian state of Minas Gerais. It is also the name of a double album from 1972. The album (at least in its American release) is sold under the names of Milton Nascimento and Lô Borges.
Clube da Esquina mixes progressive rock, bossa nova and jazz styles, with Brazilian country music and classical music influences. The Beatles and The Platters were also an important influence on "Clube da Esquina".

Marilton Borges (Marilton Fragoso Borges)
31/5/1943 Belo Horizonte, MG, Brasilien

Marilton Fragoso Borges wurde in Santa Tereza einem Stadtteil von Belo Horizonte, geboren. Er war das älteste von elf Kindern von Salomão Magalhães Borges und Maria Fragoso Borges. Sein Vater spielte ein wenig Gitarre, seine Mutter, eine Grundschullehrerin, sang und spielte Klavier.
João, sein Onkel mütterlicherseits, schenkte ihm zunächst eine Gitarre und später eine Cavaquinho und öffnete damit Marilton bereits sehr früh die Tür zur Welt der Musik. Gemeinsam mit seinem Kusin Vivina erhielt er Kavierunterricht.

Im Alter von 14 Jahren hatte er seinen ersten Job als Laufbursche in einen Büro, später arbeitete er zusammen mit seinem Bruder Márcio als Postbote.

Mit 18 zog Mariltons Familie von Santa Tereza in den beliebten Stadtteil Edificio Levy, in der sogenannten „‘mineira’ capital city “ mit ungefähr 30 Parks und über 200 weiteren Grünflächen.

Mitte der 60er Jahre begegnete Marilton Milton Nascimento und trat mit ihm auf. Bereits kurz darauf wurde Milton mit der ganzen Familie Borges bekannt.

1969 trat Marilton beim Belo Horizonte Festival auf und war nicht nur der Zweitplazierte mit dem Lied “Como vai minha aldeia” (Wie geht es meinem Dorf) von Tavinho Moura sondern auch der erste der vor Publikum das Lied Clube da Esquina ("Club von der (Straßen-)Ecke") sang. Bis zu diesem Zeitpunkt war es ein völlig unbekannter Song geschrieben von seinen Brüdern Lô and Márcio und Milton Nascimento.

Obwohl Marilton ein nicht wegzudenkender Teil der Clube da Esquina Bewegung war, gestaltete er seine Karriere hiervon unabhängig.

Clube da Esquina war eine Gruppe von Gleichgesinnten (zu Beginn nur aus dem Staat Minas Gerais) die progressiven Rock, Bossa Nova und Jazz mit brasilianischer Volksmusik und klassischen Musikelementen mischten.

Marilton Borges (Marilton Fragoso Borges)
31/5/1943 Belo Horizonte, MG

Instrumentista (pianista). Compositor. Irmão mais velho de Lô Borges, Márcio Borges, Telo Borges, Yé Borges, Nico Borges e Solange Borges.

Na década de 1960, conheceu Milton Nascimento, com quem atuou no conjunto Evolussamba. Participou, em 1969, do Festival de Belo Horizonte, classificando em segundo lugar a canção "Como vai minha aldeia", de Tavinho Moura.

Em 1980, participou, ao lado dos irmãos, da gravação do LP "Os Borges", que registrou suas composições "Outro cais" (c/ Duca Leal) e "Carona", além de "Em família" e "Um sonho na correnteza", ambas de Yé Borges e Márcio Borges, "Voa, bicho" e "Ainda", ambas de Telo Borges e Márcio Borges), "No tom de sempre" (Chico Lessa e Márcio Borges), "Qualquer caminho" (Márcio Borges), "Eu sou como você é" (Lô Borges), "Daniel" (Solange Borges e Nico Borges), "Pros meninos" (Nico Borges e Duca Leal) e "O sapo" (folclore).

Apresenta-se com seu grupo em espaços de Belo Horizonte.

Paulinho da Costa (Paulo Roberto da Costa)
31/5/1948 Rio de Janeiro, RJ

Born in Rio de Janeiro, Brazil, Paulinho DaCosta discovered his love for percussion at the tender age of five by exploring the different sounds of everything he could get his hands on. While still in his early teens, he joined several musical groups, traveling extensively throughout the world. Upon arriving in the United States, the multi-versed percussionist has carved a sizable niche in the music community.

Contributing his professional outlook and friendly appeal to nearly four hundred fellow artists, his name has appeared on numerous top-selling records, including works by Quincy Jones, jazz veterans Dizzy Gillespie and Miles Davis, and pop superstars Madonna, Sting and Michael Jackson. Perhaps even more outstanding than the multitude and caliber of artists he plays with, is the variety of musical styles he has mastered.

A dynamic percussionist, an innovative composer and a qualified producer, Paulinho's musical versatility is also well demonstrated on his four solo albums - AGORA, HAPPY PEOPLE, SUNRISE and BREAKDOWN.

Through his prolific career Paulinho has been involved with some of the decade's best selling projects, including the record breaking Thriller, the landmark recording We Are The World and the percussion dominated successes of All Night Long and La Isla Bonita.

Paulinho da CostaHowever, not only has DaCosta made a profound impact within the record industry, his talents are proudly recognized in both film and television. His credits range from the Oscar-nominated motion picture The Color Purple to box office hits like Saturday Night Fever, The Wiz, Footloose and Coming To America.

Through radio and television the sounds of Paulinho DaCosta come into your home on a daily basis. Whether it be for a car commercial, food commercial or television movies, his music is heard around the world. Even more noted is his composition of the Coca-Cola "Orchestra" commercial which found it's way to number one on the U.S. and international charts.

In recognition of his incredible talent, the National Academy of Recording Arts and Sciences presented Paulinho with its "Most Valuable Player Award" for three consecutive years and the honorary "Musicians Emeritus Award." His skills have provoked the Los Angeles Times to describe him "a virtuoso on percussion" and Downbeat Magazine to label him "one of the most talented percussionists of our time."

Paulinho da Costa (Paulo Roberto da Costa)
31/5/1948 Rio de Janeiro, RJ

Paulinho da Costa (* 31. Mai 1948 in Rio de Janeiro/Brasilien) ist ein brasilianischer Perkussionist.

Seine Liebe zur Perkussion entdeckte er bereits im Alter von fünf Jahren, indem er alles ausprobierte, womit man irgendwelche Rhythmen machen kann. Er beherrscht zahlreiche Perkussionsinstrumente. Schon als Junge trat er mit unterschiedlichen Bands auf und ist um die Welt gereist. In den USA angekommen, wurde er mit den neuen brasilianischen Rhythmen, die er mitbrachte, herzlich aufgenommen und ist dort seit 1972 hauptsächlich als Studiomusiker bei den verschiedensten Produktionen tätig.

Als Studiomusiker hat Paulinho da Costa für zahlreiche Größen der Musikszene gespielt, z. B. für Quincy Jones, Al Jarreau (All fly home, Tenderness), Marcus Miller, Andy Narell, Sting, Madonna, Michael Jackson (Off the wall, Thriller). Er war weiterhin bei der Produktion von Film-Soundtracks wie Die Farbe Lila, Saturday Night Fever und Footloose beteiligt. Seine Diskographie bei All Music Guide umfasst 14 Seiten.

Paulinho da Costa (Paulo Roberto da Costa)
31/5/1948 Rio de Janeiro, RJ

Instrumentista (percussionista). Compositor.

Em 1973, radicou-se em Los Angeles, onde atuou durante quatro anos com o Brasil'77 de Sergio Mendes. Tocando mais de 200 instrumentos de percussão, tornou-se um dos mais requisitados músicos nos estúdios de gravação.

Lançou, em 1977, o LP "Agora", tendo a seu lado Don Grusin (piano), Joe Pass (guitarra), Octavio Bailly (baixo) e Cláudio Slon (bateria), com suas composições "Simbora" e "Ritmo Number One", ambas com Cláudio Slon, "Terra" e "Berimbau Variations", ambas com Octávio Bailly Jr. e Cláudio Slon, e "Toledo Bagel" (c/ Cláudio Slon e Erich Bulling), além de "Belisco" (Erich Bulling).

Em parceria com o guitarrista Joe Pass, gravou em 1979 o LP "Tudo bem!", do qual participaram também os músicos Don Grusin (piano), Octavio Bailly (baixo) e Cláudio Slon (bateria). No repertório, "Corcovado" (Tom Jobim e Vinicius de Moraes), "Tears (Razão de viver)" (Eumir Deodato), "Wave" (Tom Jobim), "Você (You)" (Roberto Menescal), "If You Went Away" (Marcos Valle), "Que que há" (D. Grusin / O. R. Bailly), "The Gentle Rain" (Luis Bonfá), "Barquinho" (Roberto Menescal e Ronaldo Bôscoli), "Luciana" (Tom Jobim e Vinicius de Moraes), "I Live To Love" (Oscar Castro Neves / R. Gilbert).

No ano seguinte, lançou o LP "Happy people", contendo suas composições "Let's Get Together" (c/ J. Henderson e M. Henderson) e a faixa-título (c/ Erich Bulling), além de "Deja Vu" (John Barnes e V. Cameron), "Take It On Up" (K. Barnes, V. White, R. Wright e L. Satterfield), "Love Till The End Of Time" (Gregory Phillinganes), "Seeing Is Believing" (John Barnes e V. Cameron), "Dreamflow" (L. Carlton), "Carnival Of Colors" (Ivan Lins e Vitor Martins - vrs. Deborah Thomas) e "Put Your Mind On Vacation" (G. Mathieson e Deborah Thomas).

Em 1984, gravou o LP "Paulinho da Costa", com suas canções "My Love", "Carioca" e "Groove", todas com Clarence Charles, e "Walkman" (c/ Erich Bulling), além de "Special Kind Of Love", "I'm Going To Rio" e "African Sunrise", todas de Clarence Charles, "You Came Into My Life" (Clarence Charles e Dave Iwataki), "Taj Mahal" (Jorge Benjor) e "O Mar é meu chão" (Dori Caymmi e Nelson Motta).

Lançou, em 1991, o LP "Breakdown", registrando suas composições "Guarujá", "Let's Stay Friends", "No Way Out" e "This Love's For Keeps", todas com Erich Bulling e Peter Canada, "You Can Love Me", "Going North" e "Exótica", todas com Erich Bulling e Viqui Denman, "Sabor latino" (c/ Erich Bulling), "Say It Now Freedom" (c/ Erich Bulling, Jeffrey B. Hull e Peter Canada) e "One Step Two Step" (c/ Erich Bulling e Debbie Franco), além de "I Believe You" e "Real Love", ambas de Erich Bulling e Viqui Denman.

Ao longo de sua carreira, participou de vários discos vencedores do prêmio Grammy e de várias trilhas sonoras de cinema, tendo atuado com inúmeros artistas, entre os quais Dori Caymmi, Djavan, Oscar Castro Neves, João Bosco, Simone, Ricardo Silveira, Maria Bethania, Edu Lobo, Jorge Ben, João Gilberto, Roberto Carlos, Ivan Lins, Rita Lee, Ney Matogrosso, B. B. King, Joe Pass, Herb Alpert, Gato Barbieri, Stanley Clarke, Lalo Schiffrin, Burt Bacarach, Billy Preston, Nancy Wilson, Alice Cooper, Willie Nelson, Jon Secada, Joe Cocker, Josee Koning, Bobby McFerrin, Bob Dylan, Celine Dion, Cher, Paul Anka, Dalilah, Henry Mancini, Stanley Turrentine, John Denver, Dionne Warwick, Diana Ross, Chaka Khan, Manhattan Transfer, Prince, Chicago, Irene Cara, Claus Ogerman, Donna Summer, Aretha Franklin, The Carpenters, Al Jarreau, Dizzy Gillespie, Roberta Flack, Neil Diamond, Patti Austin, Liza Minelli, Elton John, Sadao Watnabe, Shirley Bassey, Madonna, Miles Davis, Sarah Vaughan, Trini Lopez, Dianne Reeves, Sting, Stan Getz, Michael Jackson, Quincy Jones, Lionel Richie, Earth, Wind & Fire, George Benson, George Duke, Herbie Hancock, Ella Fitzgerald, Chuck Mangione, Barbra Streisand, Rod Stewart, Johnny Mathis, Jean Luc Ponti e Toots Thielemans.

Costa Netto (José Carlos Costa Netto)
31/5/1954 São Paulo, SP

Costa Netto is a leading if not the leading copyright attorney in Brazil. Because of his talent to describe, to deal with words, he selected the legal profession. In reality, he is above all a poet and lyricist, a writer who divides his time with the law.

In this interview, Daniella Thompson asked Costa Netto to elaborate on his activities as songwriter, lawyer, and cultural producer.

Brazzil—Please tell us about your family background and childhood.

Costa Netto—I was born in the city of São Paulo to a family of lawyers (my parents are lawyers, and my paternal grandfather was President Dutra’s Minister of Justice in the 1940s). My surname, Costa Netto, is of Genovese origin, Genoa (Italy) being the city of my paternal great-grandfather. My other paternal great-grandparents are paulistas from the time of the founding of the city (called "400-year paulistas"), and my maternal grandparents are Portuguese. My childhood was spent in the Liberdade district, close to the center of São Paulo and several blocks from the courthouse where my parents practiced. It was a simple old house but with a large yard, fruit trees, dogs, rabbits, football, and gatherings of my street friends—always many.

My beginnings as a "writer": in 1961, at the age of seven, I participated in a writing competition among pupils of the first four grades in all the elementary schools of Brazil and reached first place (an absolute surprise for me), which generated a lot of comments in the newspapers of the time.

Brazzil—What kind of music did you hear in your childhood and youth?

Costa Netto—The music I grew up to (from the age of six to sixteen) was basically popular Brazilian music of the ’60s and early ’70s—one of the most fertile periods in our popular music of quality: bossa nova, Jovem Guarda, the festivals of MPB, and all that effervescence). A lot of Dorival Caymmi, Tom Jobim, Vinicius de Moraes, Milton Nascimento (and his lyricist partners Fernando Brant, Marcio Borges and Ronaldo Bastos), Chico Buarque, Caetano Veloso, Elis Regina, Roberto Carlos and Erasmo (in their Jovem Guarda phase), Gil, Geraldo Vandré, Taiguara, MPB-4, Mutantes, Novos Baianos, Boca Livre, João Bosco & Aldir Blanc, and many others, as well as the historic references of Noel Rosa, Lamartine Babo, Orestes Barbosa, Lupicínio Rodrigues, and Ary Barroso.

In the international arena, Burt Bacharach and Hal David, Elton John and Bernie Taupin, Carly Simon, Carole King, Bob Dylan, James Taylor, Steely Dan, Simon and Garfunkel, Italian and French music of the ’60s and, obviously, the eternal songs of Cole Porter and the Beatles—always with attention to the lyrics.

Brazzil—How did growing up in São Paulo mark you personally and artistically?

Costa Netto—As a large metropolis in constant growth, São Paulo concentrates an enormous diversity of musical information from all the centers of Brazil and the world. This cultural melting pot affects the popular music created in São Paulo. Basically, it was this niche that attracted me most, in addition to the literary publications, cinema, theatre, and other such manifestations abundant in my city.

Brazzil—When did you begin to write songs? Do you also write poetry?

Costa Netto—I began intuitively to change the lyrics of songs in which I liked the melody more than the lyrics (without any esthetic connotation, but simply adapting them to my personal anxieties at the time). Later, having learned to play the guitar at age 10 or 11, I began to write music and lyrics at age 12 or 13. After I had personal contact with the composers Otavio Toledo and (later) Paulinho Nogueira, I began to dedicate myself more to creating lyrics. I love to write lyrics and am an avid reader of poetry, but I haven’t dedicated myself except sporadically to creating poems with any literary pretensions.

Brazzil—How did you meet Paulinho Nogueira?

Costa Netto—The great guitarist Paulinho Nogueira lived (and still lives) in the borough of Perdizes, where I sought him out when I was 19 or 20 (around 1974) in order to improve my guitar playing (he gave lessons at the time). Two or three years later, we composed "O Dia Seguinte" and later "Jornada Para Ser Ninguém." Paulinho recorded these songs on his LP Asas do Moinho in 1978. These were my first recorded songs.

Brazzil—Where and when did you meet Eduardo Gudin, and how did you begin writing songs together?

Costa Netto—I got to know Eduardo Gudin first as a listener, hearing his songs on the radio around 1973 or ’74 and attending his show with Paulo Cesar Pinheiro and Marcia, O Importante é que Nossa Emoção Sobreviva at the Teatro Oficina in São Paulo. In 1979, Paulinho Nogueira presented our song "O Dia Seguinte" at Teatro Tuca in São Paulo, and Gudin was in the audience with Geraldo Vandré. Backstage he told Paulinho that he liked the song and the lyrics.

In 1981 I finally met Gudin, who was introduced to me by his then musical editor, Waldemar Marchetti (known as Corisco in musical circles). Since Gudin at that time was impresario of the composer Adoniran Barbosa, our first meeting took place in his office in the traditional Italian district of Bexiga. I left with a tune to put to words—"Te Rever"—recorded by Gudin and his group in the LP Ensaio do Dia, released in 1984. The album contained two more songs we’d written together—"Coração Aberto" and "Ensaio do Dia"—launching our partnership on disc. From then on we never stopped. Our partnership is now 20-years old, with more than 30 songs written.

Brazzil—"Verde" and "Paulista," both written with Gudin, are masterpieces of MPB. How was "Verde" created?

Costa Netto— "Verde" was inspired by the popular movement for reinstating direct elections for President of the Republic in 1984. Gudin and I went to the largest of the demonstrations at the Vale do Anhangabaú in the center of São Paulo and left with the idea for the song. At the beginning of 1985, we finalized the song in order to enter it in TV Globo’s Festival of Festivals. Sung by Leila Pinheiro (who won the festival’s Revelation award), "Verde" placed third in the competition. Since then it’s been adopted by various singers and radio stations and achieved some recognition, even internationally, as a sound portrait of an important and ever-renewed phase of hope for the mudança dos ventos [a change in the winds; see song lyrics] of our country.

Brazzil—Last year, Estado de S. Paulo’s music critic Mauro Dias named "Paulista" as his personal choice for the city of São Paulo’s anthem. He wrote, "To my heart, nobody sang São Paulo in such a beautiful and sensitive manner." How did you write it?

Costa Netto—I wrote "Paulista" in 1988 (Gudin already had the melody for some time). I felt the absence of a song that talked of São Paulo from the inside out, like a person who was born here and lives all the transformations of a great city. Paulista Avenue, one of the principal landmarks of the city, entered the scene as a result of an experience I had as an adolescent in the early ‘70s (I was studying English at UCBEU—União Cultural Brasil Estados Unidos, which was in one of the cross streets off Paulista). Next to the bus stop there was a very beautiful mansion built at the turn of the previous century, and while I waited for the bus, I imagined the various stories that could have taken place there, in the hundred years of its life. One day, however, I arrived at the bus stop to discover that the mansion had been demolished by the owner (rapidly, to avoid the consequences of a law then being passed for obligatory preservation of historic
landmarks). I was so shocked at the sudden disappearance of the mansion that I preferred to imagine that it had only moved to another place (or another country) with more sensitivity to its cultural assets. Thus the principal verses of the song that I wrote years later: "Se a avenida exilou seus casarões, quem reconstruiria nossas ilusões..." and "Se os seus sonhos emigraram sem deixar nem pedra sobre pedra pra poder lembrar..." [see song lyrics].

Brazzil—How do you normally work with your composer partners? Do you write lyrics to existing melodies?

Costa Netto—Yes. I prefer to create the letters based on existing melodies. I have more difficulties with the inverse process.

Brazzil—Please tell us about your songwriting partnership with Vicente Barreto. How did you meet him, and when did you begin to collaborate?

Costa Netto—I met Vicente Barreto at the beginning of the ’90s at a song festival in Ituverava (birthplace of Vitor Martins), where we were members of the jury. We continued to see each other in São Paulo, usually at the musical evenings at the Bar Vou Vivendo in Pinheiros, when we began our collaboration with the song " Toada da Lua." In ’93 we composed "Ano Bom," which ended up being the title of one of the first CDs released by Dabliú at the end of ’94. Since then, Dabliú produced and released two more original CDs by Vicente (Mão Direita and E a Turma Chegando pra Dançar), as well as this year’s compilation O Melhor de Vicente Barreto.

Vicente Barreto is today one of the major melodists (besides being a guitar innovator) in popular Brazilian music. Influenced by the richness of the nordestino rhythms and styles (Vicente lives in São Paulo but is a baiano), his melodies permit the creation of lyrics that have the same touch of Brazilian seasoning. We wrote seven songs together, and I can’t say which one I like most (in order of creation, they are: "Toada da Lua"; "Ano Bom"; "Mão Direita"; "Longa Estrada"; "Suinguiando o Coração"; Mundo Virtuoso"; and "Cisma").

Brazzil—Is there such a thing as a paulista style of popular music? If so, how would you define it?

Costa Netto—São Paulo has the advantage of being a large metropolis, with its contradictions and international influences and, at the same time, being a large center of consumption and creation of music from all Brazilian regions. Thus it ends up having its own innovative movements, like the so called vanguarda paulista led since the ’80s by Arrigo Barnabé, Itamar Assumpção (both from Paraná), Luiz Tatit, Ná Ozzetti, Vânia Bastos, Eliete Negreiros, and other highly original artists in the contemporary line of MPB. The historic line with the sambas of Adoniran Barbosa and Paulo Vanzolini; the MPB of Toquinho and Eduardo Gudin; the pop of Mutantes and Rita Lee; the inventiveness of Tom Zé and other great composers who lived or live here also show much of the paulistano style of music.

Brazzil—Why did you decide to establish Dabliú Discos?

Costa Netto—I decided to create Dabliú in order to make my contribution to the field of quality MPB, which has great difficulty entering the mass media of commercial radio and TV and therefore sustaining itself economically. The Brazilian music that today accounts for 70% of the domestic record market and also for practically the entire pirate industry active in Brazil is composed basically of disposable entertainment consumed primarily by teenagers, as well as by adults susceptible to aggressive marketing, who often have no access to better cultural resources and end up hostages to the strong influence of the mass media. In the last decade, independent record production has grown in Brazil owing mainly to (a) the increasing disregard for artistic quality as a standard for new releases and especially for assessing new musicians on the market, and (b) the evolution of digital technology that has made excellent phonographic results possible, at far more
accessible costs.

Several Brazilian composers, performers, and producers of excellent music have moved away from the isolation of musical and poetic-musical creation to concentrate on recording. Undoubtedly, they also try to smuggle a minimum of cultural survival into this predominantly mercenary environment. With this kind of initiative, an independent music market is taking hold in Brazil. At present there are some four hundred small record companies, as against the five large multinationals (Universal, Sony, BMG, Warner, and EMI). The number of CDs produced independently is beginning to be representative in the Brazilian market—of the 100 million discs sold per year (Brazil is the seventh CD market in the world), about 20 million are produced independently, representing significant billings that can already be estimated at close to a $100 million a year, beyond the obvious underlying cultural benefits they provide.

Brazzil—The Dabliú story makes me think of another independent paulista label, the pioneering Discos Marcus Pereira, which was also owned by a professional (an advertising man). Did you know Marcus Pereira? Did his experience serve as an example of what to do and what not to do in a record label?

Costa Netto—I knew Marcus Pereira personally, although briefly—introduced by the show producer Léo Stingen. His early contributions (especially in the musical mapping of Brazil)—as well as that of the musician Antonio Adolfo, of the label Lira Paulistana (run by Wilson Souto Jr.), and of the vocal group Boca Livre—were fundamental in the initial phase of independent Brazilian production of high quality. The musician and producer Marcus Vinícius Mororó de Andrade, who used to be artistic director of Marcus Pereira, continues this concept today with the label CPC/UMES.

Brazzil—Lamartine Babo appears to have been a great influence on you, judging by the name you chose for your record label and by the disc De Lalá pra Cá which you conceived and produced. What has been the significance of Lalá’s work for you?

Costa Netto—The authors of the song that includes the verse "a, e, i, o, u, dabliú, dabliú..." were the first Chico Buarque (Noel Rosa) and Caetano Veloso (Lamartine Babo) to exist in the evolutionary line of popular Brazilian music. Following these two pioneer songwriters, the line passes through Tom Jobim, Vinicius de Moraes, Chico, Caetano, Milton Nascimento, and so many others who raised MPB to an impressive cultural level.

The object of Dabliú and of other independent labels that have sprung up in the 1990s is to follow this road, seeking to support this kind of music, not only in relation to high-quality artists and repertory that already exist but are marginalized by the market at large, but also (and this applies specifically to Dabliú) in opening the way for new artists who follow this line and who need an opportunity to show and develop their art.

In this context, Lamartine Babo and the songwriters who were influenced by him combined with Marcia Salomon’s interpretative subtlety and sensitivity in the ever bubbling and stirring cauldron of my poetic and musical references to create the project of the CD De Lalá pra Cá. The result, I believe, was very interesting and unusual.

Brazzil—What are Dabliú’s five most successful discs?

Costa Netto—Judging by what the music critics say, most of the CDs released by Dabliú can be considered successful. In terms of sales, the top five are Ná Ozzetti’s LoveLee Rita; Esquina Carioca with Beth Carvalho, João Nogueira, Monarco, Dona Ivone Lara, Nelson Sargento, Walter Alfaiate, and Moacyr Luz; Carmina Juarez’s Arrasta a Sandália; Tetê & Alzira Espíndola’s Anahí; and Jorge Mautner’s O Ser da Tempestade. Other top-selling Dabliú artists are Klébi, Kleber Albuquerque, Moacyr Luz, Vicente Barreto, Luiz Tatit, and Eduardo Gudin. Among the recent launches that are selling well are Kleber Albuquerque’s Pra Inveja dos Tristes; Luiz Tatit’s O Meio; Ione Papas’ Noel por Ione; Eduardo Gudin & Fátima Guedes’ Luzes da Mesma Luz; Lingua de Trapo’s Vinte e Um Anos de Estrada; and Alzira Espíndola’s Ninguém Pode Calar.

Brazzil—In addition to being a lyricist and record company owner, you’re an eminent copyright attorney. Has this legal specialty been useful in running the label?

Costa Netto—My songwriting activity helps me in assuring that repertoires selected for CDs maintain a certain qualitative level in their poetic content. On the other hand, my legal specialty helps a lot in Dabliú’s contractual matters. In any activity, my efforts and professional principle have always been to defend authors’ rights. I believe this is one of the best ways to bring the results of cultural exploitation directly to the creators of the intellectual property (songwriter, interpreter, artistic producer, arranger, and musicians).

Brazzil—Have you ever found yourself on two opposite sides of a copyright dispute?

Costa Netto—So far, Dabliú has not been presented with authors’ demands that it hasn’t been able to duly satisfy.

Brazzil—Would you tell us about some copyright cases you’ve won for your clients?

Costa Netto—In my 23 years of copyright advocacy (interrupted only between 1979 and 1983, when I president of the National Council of Copyrights, organ of the then Ministry of Education and Culture), I’ve had the opportunity to represent great artists and authors in hundreds of cases, both contractual and litigious. Here are a few examples.

The painter Mario Gruber had an unusual case. A famous São Paulo art gallery owned several of his paintings and put together an exhibition of his works as if it were a solo exhibit of the artist’s initiative. The gallery not having adopted criteria that would enhance the value of the exhibited work, the latter was, in fact, depreciated. There was no legal precedent to this case, which was decided in 1991 by the Superior Court in favor of the artist. The decision, which has since become a precedent, stated that although it’s not possible to prevent the owner of a work of art—especially a gallery—from exhibiting it, it also isn’t permissible to leave the creator of artistic or intellectual work without protection.

Another interesting case involved the writer Millôr Fernandes. A well-known newspaper published prominently on its first page—as if it were real news—the solution to a fictional crime from a novela [soap opera] broadcast on a TV channel belonging to the same conglomerate that owned the newspaper. The following day, in his daily column in another newspaper, Millôr wrote an ironic critique beginning: "Yesterday, reading my favorite newspaper, […] I noticed on its first page the notice..." He followed by explaining that he’d been surprised to observe that the "news" was fictitious and questioned the credibility of the newspaper, wondering whether its famous owner might also be a fictitious character. The newspaper retaliated the next day by publishing a prominent ad with the headline Do as Millôr Fernandes does, read our newspaper. This was followed by the opening of Millôr’s article, giving the impression that the expression "favorite
newspaper" was sincere rather than ironic, as the rest of the article (purposely left out of the ad) made clear. Sued by the author, the newspaper was made to indemnify Millôr Fernandes for adulterating his work.

The cartoonist Paulo Caruso had an unusual suit, not only because of the nature of the case itself but also for the high value of the award. One of the largest advertising agencies in Brazil created a campaign for a major beer brand, using famous press features. The central concept was: "Despite the controversy raised in that publication, there’s one thing about which everyone agrees—[brand x] is the best beer in Brazil." One of the items selected for the campaign was Avenida Brasil, a political strip cartoon by Paulo Caruso, published weekly on the last page of the magazine IstoÉ. The beer ad was placed on the magazine’s inside back cover, facing the page with Caruso’s strip. The ad agency refused to pay Caruso a royalty corresponding to the market value of that advertising space ($10,000), claiming that the use of his work had not been effective. The court disagreed and awarded the cartoonist $3 million.

The singer/songwriter Walter Franco revolutionized the panorama of Brazilian music in the 1970s when he presented the song "Cabeça" [Head] in TV Globo’s International Song Festival. The song’s characteristics were not properly melodic, rhythmic, or harmonic, like the principal elements of any musical work. The lyrics were minimalist and repetitive ("Cabeça... Cabeça explode, irmão"). In the 1990s, an important foreign pharmaceutical company launched a radio campaign for a headache remedy, using elements that recalled "Cabeça." In the suit that followed, the defendant alleged that "Cabeça" was neither a musical nor a literary-musical work and therefore had no legal protection. The court disagreed, unanimously recognizing the entitlement of Walter Franco’s work to legal protection and ordering the company to compensate the composer.

Brazzil—In its short life, Dabliú has already been distributed by Warner and Eldorado, and not always successfully. Now that Eldorado is going out of the distribution business, how is Dabliú going to market its discs?

Costa Netto—With the goal of improving Dabliú’s distribution system, we’re seriously thinking of no longer farming out this function and taking on the challenge of direct distribution ourselves. We’re working on doing this within the Brazilian territory. Outside Brazil, we’re concentrating our attention on two objectives: increasing our relationships with exporters and looking for distribution partnerships with firms that operate in America, Europe, and Japan.


(Eduardo Gudin/
José Carlos Costa Netto)

Quem pergunta por mim
Já deve saber
Do riso no fim
De tanto sofrer
Que eu não desisti
Das minhas bandeiras
Caminhos, trincheiras da noite

Eu que sempre apostei
Na minha paixão
Guardei um país
No meu coração
um foco de luz
Seduz a razão
De repente a visão da esperança!

Quis esse sonhador
Aprendiz de tanto suor
Ser feliz num gesto
de amor
Meu país acendeu a cor

Verde as matas no olhar
Ver de perto
Ver de novo um lugar
Ver adiante
Sede de navegar
Verdejantes tempos,
Mudança dos ventos no
meu coração.


(Eduardo Gudin
José Carlos Costa Netto)

Whoever asks after me
Must already know
Of the laughter at the end
Of so much suffering
That I didn’t abandon
My flags
Paths, trenches of the night

I who always persisted
In my passion
Kept a country
In my heart
A point of light
Seduces reason
Suddenly the vision of hope!

This dreamer
Apprentice of so much sweat
Wanted to be happy
in a gesture of love
My country lit up in color

Green the forest in the eye
Seeing up close*
Seeing again a place
Looking ahead
A thirst for sailing forth
Greening times,
A change of winds in
my heart.

* In the original, the final stanza
offers several puns on the
word verde (green).


(Eduardo Gudin/
José Carlos Costa Netto)

Na Paulista os faróis
já vão abrir
E um milhão de estrelas
prontas pra invadir
Os jardins
Onde a gente aqueceu
Numa paixão
Manhãs frias de abril

Se a avenida exilou seus casarões
Quem reconstruiria nossas ilusões
Me lembrei
De contar pra você nessa canção
Que o amor conseguiu

Você sabe quantas noites
eu te procurei
Nessas ruas onde andei
Conta onde passeia hoje
esse seu olhar
Quantas fronteiras ele já cruzou
No mundo inteiro de uma
só cidade

Se os seus sonhos emigraram
sem deixar
Nem pedra sobre pedra
Pra poder lembrar
Dou razão
É difícil hospedar no coração
Sentimentos assim


(Eduardo Gudin/
José Carlos Costa Netto)

On Paulista Avenue the stoplights
will turn green
And a million stars
ready to invade
The gardens
Where we warmed up
In passion
On cold April mornings

If the avenue exiled its mansions
Who would reconstruct our illusions
I remembered
To tell you in this song
That love did it

You know how many nights
I sought you
In these streets where I walked
Tell me where your
gaze roams today
How many borders it has crossed
In the whole wide world of
just one city

If your dreams emigrated
without leaving
Even stone upon stone
For us to remember
I agree
It’s difficult to house in our heart
Such sentiments

Costa Netto (José Carlos Costa Netto)
31/5/1954 São Paulo, SP

Letrista. Produtor cultural. Advogado. Parecerista na área de direitos autorais. Em 1961, foi o vencedor do prêmio nacional de redação infantil realizado pelo Banco da Lavoura de Minas Gerais. É pós-graduado com o título de Mestre e Doutor em Direito Civil pela Universidade de São Paulo (USP).

Em 1977, começou a dedicar-se à atividade de letrista, inicialmente com Otávio Toledo e Paulinho Nogueira, e depois com Eduardo Gudin, Alberto Rosenblit, André

Luiz de Oliveira, Luiz Guedes e Thomas Roth, Guilherme Arantes, Roberto Menescal, Leila Pinheiro, Walter Franco, Elton Medeiros, Philippe Kadosch, Fernando Salem, Dante Ozzetti, Eduardo Santana, Silvana Stiévano, Laura Finocchiaro, Vicente Barreto, Danilo Caymmi, Ricardo Udler, Cássio Gava, Ivaldo Moreira, Juca Novaes, Saul Barbosa e Fernanda Porto, entre outros.

Foi presidente do Conselho Nacional de Direito Autoral (CNDA), órgão do Ministério da Educação e Cultura, de outubro de 1979 a abril de 1983.

Em 1985, participou do Festival dos Festivais (Rede Globo), com a canção "Verde" (c/ Eduardo Gudin), contemplada com o 3º lugar no evento, na interpretação da cantora Leila Pinheiro, que recebeu o prêmio Revelação.

Em 1991, a cantora Márcia Salomon lançou o LP "Mundos e fundos", no qual registrou exclusivamente canções de sua autoria: "Longa metragem", "Abraço vazio", "Suave feitiço", "Mil rios", "Cadê a MPB?" e "Ponto de luz", todas com Roberto Menescal), "Paulista" e "Verde", ambas com Eduardo Gudin, "Coração fique são" (c/ Fernando Salem), "Flores na estufa" (c/ Laura Finochiaro), "Bom presságio" (c/ Guilherme Arantes), "Totem" (c/ Walter Franco), "Mares" (c/ Philippe Kadosch) e a faixa-título (c/ Dante Ozetti). ) disco foi relançado em CD em 1995.

Como produtor cultural, criou e produziu, nos anos 1990, o projeto "Via Paulista" (com Eduardo Gudin), realizado durante dois anos no Teatro SESC Pompéia, além dos projetos "Gema do Novo I e II" (em parceria com a Rádio Musical FM) e "Cadê a MPB" ( em parceria com o Vilaggio Café), em 1997 e 1998, "Revelando Novos Talentos", em 1998, e "Antenas do Ipiranga", em parceria com o SESC-Ipiranga, em 1999, entre outros.

Foi representante brasileiro junto à União de Berna (direito de autor) e Convenção de Roma (direitos conexos aos de autor) em Genebra, Paris e Roma, em reuniões oficiais realizadas pela OMPI e UNESCO.

Coordenou em setembro de 1994 o I Congresso Internacional de Direito Autoral, realizado no Memorial da América Latina pela Secretaria de Estado da Cultura (SP) e com a participação da OMPI - Organização Mundial de Propriedade Intelectual (orgão da ONU).

Em 1994, criou e assumiu a direção da gravadora independente Dabliú Discos, cujo catálogo registrava, em 2004, mais de 110 títulos.

Em maio de 2001, foi o único palestrante latino-americano no "Youth Forum" (painel de música e direito autoral) da III Conferência das Nações Unidas sobre os Países em Desenvolvimento, realizado no Parlamento Europeu em Bruxelas (Bélgica).

Foi coordenador do I Congresso Internacional de Propriedade Intelectual, realizado pela Academia Paulista de Magistrados e pela OMPI - Organização Mundial da Propriedade Intelectual (órgão da ONU), com a participação de juristas brasileiros, europeus e latino-americanos, em março e abril de 2003.

Sua parceria com Eduardo Gudin foi celebrada por Márcia Tauil, em 2003, no CD "Sementes no vento", para o qual a cantora selecionou as canções "Antigos sinais", "Mensagem", "Ensaio do dia", "Poeta maior", "Samba de verdade", "Conciliar", "Nossos caminhos", "Paulista", "Verões virão", "Verde", "Coração aberto", "O carnaval de cada dia" e a faixa-título.

Em 2007, a cantora Bruna Caram registrou no CD “Essa menina” as seguintes canções de sua autoria: “Cavaleiro Andaluz”, “Palavras do coração”, “Sensação”, “Simples cidade”, “Fundo falso” e “Escolta”, todas em parceria com Otávio Toledo.

Foi diretor geral do I Congresso Mundial de Gestão Coletiva de Direito Autoral, realizado em setembro de 2004 pela Academia Paulista dos Magistrados (APM), ABDA, AUTIVIS, com o apoio da OMPI - Organização Mundial da Propriedade Intelectual (ONU) e CISAC - Confederação Internacional das Sociedades de Autores e Compositores.

É vice-presidente da ABDA (Associação Brasileira de Direito Autoral), presidente da BM&A (Brasil Musica & Artes), organização da sociedade civil de interesse público (OSCIP) dedicada à difusão da música e artes brasileiras no exterior, Comendador da Academia Paulista de Magistrados e membro do International Honorary Committee do MIDEM (Cannes-France) 2005.

É autor dos livros "A reorganização do Conselho Nacional de Direito Autoral" (publicação do MEC), "ECAD Cadê o Meu?", com ilustrações do cartunista Paulo Caruso (Editora Mil Folhas) e "O Direito Autoral no Brasil", que integra a coleção "Juristas da Atualidade", coordenada por Hélio Bicudo para a Editora FTD (São Paulo).

Constam da relação dos intérpretes de suas canções intérpretes como Leila Pinheiro, Vânia Bastos, Maria Bethânia, Danilo Caymmi, Fátima Guedes, Ná Ozzetti, Marcia Salomon, Eliete Negreiros, Eduardo Gudin, Márcia Tauil, Guilherme Arantes, Klébi, Lucila Novaes e Rosa Marya Colin, entre outros.