Tim maia e jorge ben jor biography

Brazilian singer-songwriter (1942–1998)

In this Portuguese name, the first or maternal family name is Rodrigues and the second or paternal family name is Maia.

Sebastião "Tim" Rodrigues Maia (Brazilian Portuguese:[tʃĩˈmajɐ]; September 28, 1942 – March 15, 1998) was a Brazilian musician, songwriter, and businessman known for his iconoclastic, ironic, outspoken, and humorous musical style. Maia contributed to Brazilian music within a wide variety of musical genres, including soul, funk, disco, jazz, rock and roll, rhythm and blues, romantic ballads, samba, bossa nova, baião and música popular brasileira (MPB). He introduced the soul style on the Brazilian musical scene. Along with Jorge Ben, Maia pioneered sambalanço, combining samba, soul, funk and rock and roll. He is recognized as one of the biggest icons in Brazilian music.

Maia recorded numerous albums and toured extensively in a long career. After his death in 1998, his recorded oeuvre has shown enduring popularity. A theatrical retrospective of his career, the popular musical Vale Tudo, was first staged in Rio de Janeiro in 2012.

Biography

1950s

Maia was born on September 28, 1942, in the Tijuca neighbourhood, in the north zone of Rio de Janeiro. He began writing melodies while a child, the second youngest of nineteen children. Then known as "Tião Maia", he wrote his earliest songs at age eight. At fourteen, as a drummer, he formed the group Os Tijucanos do Ritmo, which lasted one year. He took guitar classes and was teaching other children in Tijuca. He gave lessons to his friends Erasmo Esteves and Roberto Carlos, fellow members of the so-called Matoso Gang. Named after the street where they used to hang out, the gang also included Jorge Ben, among others. They liked to listen to the earliest styles of rock and roll, with both Maia and Ben being nicknamed "Babulina" after their enthusiastic pronunciation of Ronnie Self's rockabilly song "Bop-A-Le

Jorge Ben didn’t need a hit in 1974. The Brazilian singer-songwriter’s Ben, released two years earlier, had capped a run that definitively established him as one of the country’s most popular musicians, while Caetano Veloso and Gilberto Gil’s tireless boosterism had cemented the legacy of his early work as a harbinger of tropicália, the defining sound of Brazil in the late 1960s.

Nearly every song on Ben had been either a radio hit or a popular anthem. He wrote one about the humility of a local soccer player that became so beloved the player demanded royalties. His social capital had never been higher, and he was free to do whatever he wanted. So he wrote an album about an esoteric medieval philosophy and ancient astronauts. It’s a masterpiece.

Ben emerged in 1963 with the cocksure R&B samba of “Mas Que Nada,” a song that instantly made the 21-year-old singer a star. Its success also locked him into a grueling cycle that saw his label push him to recreate its success, forcing him to churn out samba after samba and stifling his growth. Though he quickly burned out on the process, the training served him well when it came time to follow up Ben.

Unlike most of the certifiable classics of the era — Gal Costa’s Índia, Gilberto Gil’s Expresso 2222, Caetano Veloso’s Araçá Azul, Tim Maia’s Racional series, Lô Borges and Milton Nascimento’s Clube da Esquina — A Tábua de Esmeralda is a small-scale album. Ben’s backing band, Trio Mocotó, had established themselves as one of Rio de Janeiro’s preeminent funk ensembles on 1969’s Jorge Ben and the next year’s Força Bruta. But on A Tábua they’re so deep in the pocket it’s easy to forget they’re even there.

Gone are the screaming brass charts that powered the heavy funk of Jorge Ben’s “Take It Easy My Brother Charles.” Everything, including the occasional bit of orchestration, follows the sound of Ben’s voice. Even the emotional stakes were pitched low, a far cry from the heightened consciousne

Sebastião Rodrigues Maia (September 28, 1942 – March 15, 1998) was a Brazilian musician known for his iconoclastic, ironic, outspoken, and polemical (but always humorous) musical style. He was also known for his habit of lightheartedly missing appointments and even important gigs.

Maia performed in a variety of musical genres, ranging from happy and energetic dance music to sentimental songs such as his hit "Me Dê Motivo". He performed soul music, funk, bossa nova (in the 1990s), romantic songs, American pop, samba, baião, and Música Popular Brasileira.

He started to write his earliest songs at eight and at 14, as a drummer, he formed the group Os Tijucanos do Ritmo, which lasted one year. He then took guitar classes and was soon teaching children in the neighborhood of Tijuca, in Rio de Janeiro, including the Matoso gang (Maia, Jorge Ben, Erasmo Esteves, later Erasmo Carlos, and several others), named after the street where they used to hang out.

In that period, Maia was the guitar teacher of Esteves and when Roberto Carlos joined the gang in 1958, he also took classes with him. Maia, Carlos, and Esteves (together with Edson Trindade, Arlênio Lívio, and José Roberto "China") formed the group The Snakes (later The Sputniks), playing balls and performing on television (including on Carlos Imperial's Clube do Rock on TV Continental, where Carlos was already a regular). The group was soon dissolved due to incompatibility between Carlos and Maia.

After his father's demise in 1959, Maia won a scholarship to study communications in the United States, where he lived for four years. There he started as a vocalist, having joined the Ideals, but in 1963, he was arrested for possession of Weed.

Jailed for six months and then deported to Brazil, he did not find any warmth on the part of his old comrades Esteves and Carlos, who were beginning to enjoy the massive success of Jovem Guarda, which would get a grip on the entire country in a few

For Ben's 1969 self-titled album, see Jorge Ben (album).

Brazilian musician

In this Portuguese name, the first or maternal family name is Lima and the second or paternal family name is Menezes.

Musical artist

Jorge Duílio Lima Menezes (born March 22, 1939) is a Brazilian popular musician, performing under the stage name Jorge Ben Jor since the 1980s, though commonly known by his former stage name Jorge Ben (Portuguese:[ˌʒɔʁʒiˈbẽj̃]). Performing in a samba style that also explored soul, funk, rock and bossa nova sounds, Ben has recorded such well-known songs as "Chove Chuva", "Mas Que Nada", "Ive Brussel" and "Balança Pema". His music has been covered by artists such as Caetano Veloso, Sérgio Mendes, Miriam Makeba, Soulfly and Marisa Monte.

Ben's broad-minded and original approach to samba led him through participation in some of Brazilian popular music's most important musical movements, such as bossa nova, Jovem Guarda, and Tropicália, with the latter period defined by his albums Jorge Ben (1969) and Fôrça Bruta (1970). He has been called "the father of samba rock", by Billboard magazine. According to American music critic Robert Christgau, Ben and his contemporary Gilberto Gil were "always ready to go further out on a beat than the other samba/bossa geniuses".

Biography

Early life and career

Born Jorge Duílio Lima Menezes in Rio de Janeiro, he first took the stage name Jorge Ben after his mother's name (Sílvia Saint Ben Lima, Brazilian-born of Ethiopian origin) but in the 1980s changed it to Jorge Ben Jor (commonly written Benjor).

Jorge Ben obtained his first pandeiro (Brazil's most popular type of tambourine) when he was thirteen, and two years later, was singing in a church choir. He also took part as a pandeiro player in the blocos of Carnaval, and from eighteen years of age, he began performing at parties and nightclub