Geraldo Vandré

Geraldo Vandré ( born September 12, 1935, João Pessoa, Paraíba, Brazil), Geraldo actually Pedrosa de Araújo Dias is a Brazilian singer, guitarist and composer. The name Vandré ( as it is called in Brazil ) results from the abbreviation of his father José Vandregisilo name.

In an interview he once said that all his songs of love act: " the love of one person, the love of my friends and love to my people. "

Life

The beginning and first successes

Age of 14, he appeared in a radio program of Rádio Tabajara in João Pessoa. In Nazaré da Mata, where he attended a high school ( Ginásio em internato ), he participated in several shows. In 1951 he and his family moved to Rio de Janeiro. In the same year he already presented a program as a newcomer at César de Alencar, but that fell through. Through his friendship with Ed Lincoln, who was playing at the time with Luis Eca in the bar of the Hotel Plaza, during which he was able to program pauses occur. 1955, under the pseudonym Carlos Dias, he represented the song Menina by Carlos Lyra in a music competition of TV Rio. Later, when he met the folklorist Valdemar Henrique, the opportunity opened to him in the program of Rádio Roquete Pinto to present, for the first time the name Vandré benutzend.

At the Faculty of Law ( Faculdade de Direito ) of Rio de Janeiro, he joined the Centro Popular de Cultura and the former student movement União Nacional dos Estudantes, where he made his first " Parceiro " ( co-composer, literally: Partnership ), Carlos Lyra personally acquainted, who was more interested in the composition. Both were also responsible for the encontrar o amor Quem Quiser, recorded on 24 April 1961 as a 78 rpm at RGE wrote. This song was included in the episode " Couro de gato " of the film Cinco vezes favela, produced by the Centro Popular de Cultura. In 1962, he presented himself in the João Sebastião Bar in São Paulo, where he had moved and where he lives again today, and initiated the collaboration with Luís Roberto Baden Powell and Vera Brasil. In the same year he took with singer Ana Lúcia Samba em Prelúdio of Baden Powell and Vinícius de Moraes on the first big success, and composed with Carlos Lyra Samba Aruanda. 1962 followed the pieces Canção Nordestina and toada Fica com Deus times. In December 1964, he took with audio fidelity on his first album, which contained all previous recordings and the Menino laranjas ( by Theo de Barros ). In 1965 he interpreted Sonho de um carnaval ( Chico Buarque ) at the First National Festival da Música Popular Brasileira ( FNMP ) of the TV Excelsior in São Paulo. In addition, he filed as part of this festival his composition Hora de lutar, which fell through, but was released the same year on an eponymous LP. In this period he created the songs for the film by Roberto Santos A hora ea vez de Augusto Matraga.

The following year brought the LP Som Maior Cinco anos de canção out that contained the pieces Pequeno concerto que virou canção, Canção Nordestina and pink flor ( with Baden Powell). In 1966 he won in São Paulo at the Second FNMP of TV Excelsior with the marcha rancho Porta- estandarte ( with Fernando Lona ), presented by Tuca and Airto Moreira, and broke after a tour in the northeast of Brazil on the Trio Novo, consisting from Theo de Barros ( Violão, a guitar style ), Airto Moreira ( Viola caipira, a rural, simple guitar style, percussion ) and Heraldo do Monte ( fantasia ) (as later Hermeto Pascoal was added, it became the Quarteto Novo). In the same year also won at the Second FMPB of TV Record in São Paulo its composition ( with Theo de Barros ) Disparada interpreted by Jair Rodrigues, together with Chico Buarque of A Banda. He also reached second place at I. FIC of TV Rio in Rio de Janeiro with O cavaleiro, co-composed by Tuca, who interpreted it as well.

In 1967 he was invited to record a whole program Disparada at TV Record in São Paulo, directed by Roberto Santos. Recordings for the III. FMPB ( Festival da Música Popular Brasileira, with Hermeto Pascoal, among others ) and for another music festival of TV Globo in Rio de Janeiro fell through, however. But he ended up with Arueira and the Frevo João e Maria ( co-written by Hilton Accioly ) further success. In this period he composed at the invitation of the Dominican monks in São Paulo Paixão segundo A Cristino, an allegory of Christ's crucifixion in a north-eastern context, and participated in the program Canto Geral, after Canto permitido, the TV Bandeirantes from São Paulo. In 1968 he took the LP Canto geral for Odeon on which Mary Rita O and Plantador ( co-written by Hilton Accioly ) and non- qualified pieces of festivals contained. He did the same with Bonita ( co-written by Hilton Accioly ) on IV FMPB part, this piece was equal recited twice failed of Vandré together with his business partner, but victorious in the interpretation of the trio Maraia.

The highlight: Caminhando

Pra não dizer que 1968 occupied não falei das flores ( Caminhando ) at III. FIC in São Paulo, powerfully sung by Quarteto Livre consisting of Naná Vasconcelos ( Tumbadora, a conga ), Franklin ( Flauta, a Flötenart ), Nelson Ângelo ( fantasia ) and Geraldo Azevedo ( Violão and viola), despite the viewers opinion that the wanted to see song in the first place, only the second place, which led to great resentment (the one on the live recording of this piece, sung and recorded in 1968 in Maracanazinho, the smaller football stadium in Rio by Vandré itself, is heard: to find on the LP Geraldo Vandré, st, RGE 1979). The song still had great success because it is in its nature a student protest anthem or even a revolution song the spirit of the times met: Logically, it was approved by the censorship of the military dictatorship that was in power since 1964, prohibited.

Exile and Return

He fled in 1968 into exile in Chile, where he composed the song Desacordonar, with whom he had been a previous success, while Caminhando in Brazil to a (forbidden ) success was ( it was allowed only in 1979, yet during the military regime, are performed in public again ). After he was forced to leave Chile because he was illegally occurred in the local television, he first went to Algeria, where he took part in the festival Pan - Africano, then traveled to the Federal Republic of Germany, where he recorded several pieces for television of the Bayerischer Rundfunk. He moved on to Greece, Austria, Bulgaria and sang for the population in the interior. In Italy, Sérgio Endrigo edited music from him, and in Paris he brought with him a group of Brazilian artists that Paixão segundo Cristino in the church of St. Germain -des- Prés at Easter 1970 out. He took the LP The terras de Benvirá, released in Brazil by Philips in 1973, with the pieces Na terra como no céu and Canção primeira and De América on. In the same year he appeared in a program of Flávio Cavalcanti and for TV Globo, but they were censored.

It was followed by years of silence, while he was more and more in Brazil into a myth of resistance. 1982 ( and again in 1985 ), in Paraguay the President Stroessner, he broke the silence of 14 years to show up in a show. In March 1995 he gave at Memorial da América Latina in São Paulo concert, realized by the TV Comando Regional ( Conar ), in celebration of Semana da Asa. Before that, however, in the late eighties, was recited by a chorus of cadets his piece Fabiana, as the appreciation of the forcas Aéreas Brasileiras (FAB ), the Brazilian Air Force has been understood and had brought him much criticism. A context, he vehemently denies. Vandré now lives a very secluded life: "Vivo em outro mundo ", " I live in a different world. "

Würdingungen

In 1997, the Quinteto Violado brought the CD Quinteto Violado canta Vandré with old hits and a previously unreleased piece, República brasileira out. Also in 1997, Elba Ramalho took, Geraldo Azevedo and Zé Ramalho Disparada and Canção da despedida on the CD Grande encontro 2 again.