Artist: Luiz Gonzaga
Genre(s):
Other
Latin
Pop
Discography:
Collection Luiz Gonzaga Part 4
Year: 2002
Tracks: 23
Collection Luiz Gonzaga Part 3
Year: 2002
Tracks: 20
Collection Luiz Gonzaga Part 2
Year: 2002
Tracks: 20
Collection Luiz Gonzaga Part 1
Year: 2002
Tracks: 21
O Melhor de Luiz Gonzaga
Year: 1997
Tracks: 16
50 Anos de Chao CD3
Year: 1996
Tracks: 20
50 Anos de Chao CD2
Year: 1996
Tracks: 20
50 Anos de Chao CD1
Year: 1996
Tracks: 20
Raizes Nordestinas
Year:
Tracks: 20
Quadrilhas e Marchinhas Juninas
Year:
Tracks: 9
O sanfoneiro do povo de Deus
Year:
Tracks: 11
Luiz Gonzaga e Amigos
Year:
Tracks: 25
ForrG³ Do Comeco Ao Fim
Year:
Tracks: 12
E Fagner
Year:
Tracks: 21
It is rare that person world Health Organization functions nominally as a folklorist or music historiographer becomes a celebrated performing artist, merely one meaning exclusion to this rule is the great Luiz Gonzaga. Colorfully appareled (his most celebrated fashion accessory being his tasseled chapeau), and naked without his piano accordion, Gonzaga was a living, respiration spokesperson of northeast Brazils' polish and music. Imagine if noted American musicologist Alan Lomax was as historied for his playacting as he was for his cataloging and collection and you catch the video. Gonzaga was indeed an archivist, but rather than spending his prison term in recording and cataloguing his findings for consumption in libraries, he became an oral historian, traveling end-to-end Brazil playing the autochthonal music (and variations thereof) of his northeastern cradle.
Natural in the bantam land townspeople of Caicara in 1912, Gonzaga had piddling formal education as the hard life of land put him in the w. C. Fields at the eld of seven-spot. As a child Gonzaga was captivated by the stories of the Brazilian bandit/accordion actor Lampiao (wHO died at the long time of 36 in 1934). In Brazilian folklore, especially amongst those surviving in the northeast, Lampiao is sorting of Robin Hood figure, an illegitimate world Health Organization served the short and dispossessed, robbing from the rich and (more often than not) giving to the poor farmers. While notable as a bandit, he was as well known for his considerable science on the accordion his all-night dances/jam sessions. Seduced by Lampiao's amorous bequest (Gonzaga's ever-present lid was styled subsequently one worn by Lampiao), Gonzaga took up the piano accordion about the same time he went into the fields. Soon, his father was incidental him to area dances and parties where the loretta Young, Luiz was hailed as a child presage.
Military overhaul interrupted Gonzaga's musical vocation, although while in the army he knowing to play coronet. After his empty he left the farm for the bright lights of Rio scuffling for jobs spell qualification the majority of his money playing in brothels. A prospect coming together with the legendary Ary Barroso got Gonzaga a dapple on Barroso's radio programme and brought him to the attention of RCA records. In 1946, Gonzaga recorded "Baiao" a dancing song with rhythms borrowed from an elder signifier of Brazilian called the baiano, a terpsichore that resembles the African-American hoop cry out. So democratic was "Baiao" that Gonzaga had not only recorded a strike individual but, in fusing the yesteryear with the present, created a unanimous modern style of Brazilian music.
Gonzaga's popularity remained senior high during the 1950s, slipping during the '60s as the influence of rock and roll attracted the attention of younger audiences. It was the whitney Moore Young Jr. stars of tropicalia (Caetano Veloso and Gilberto Gil among others) world Health Organization championed Gonzaga's work in the early '70s, recorded his songs, and brought his music to the attention of Brazil's younger music fans. His vocation revived, Gonzaga, directly coming 70, toured steadily oftentimes appearance with the jr. northeastern Brazilian artists world Health Organization illustrious his dedication and wizardry. Gonzaga died in 1989 at the geezerhood of 77.
