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Tropicalia Sound
Tom Zé
| Brasilien
Booking-Agent:
Frank Abraham
+49 30 261032920
fa@f-cat.de
(Leider kein deutscher Text vorhanden)
Tom Zé began his career together with Caetano Veloso, Gilberto Gil, Gal Costa and Maria Bethânia . As a composer, influenced Caetano and many others and delivered an expressive body of work through his own discography. Restless thinker, adept of modern erudite music experimentations, he always was ignored by both industry and audiences, until his discovery by David Byrne brought him to worldly appreciation. He can be better understood through his self-coined definition: "I don't make Art, I make spoken and sung journalism". Tom Zé was born in the Bahia hinterlands. The stronger musical references of his childhood were the cocos by Jackson do Pandeiro, the forrós by Luiz Gonzaga, the local folklore, washerwoman's sambas de roda and violeiros' cantigas, together with the mass idols broadcast by the omnipresent Rádio Nacional (only after 1949, when electricity arrived in there). In 1951 he was already in Salvador. A bad student, he discovered a great inspiration in the arid Os sertões (Euclides da Cunha), the coverage of the battle of Canudos which brought a detailed description of him and his northeastern peers. Later he joined the CPC, popular culture centers which acted as cultural resistance organizations during the military dictatorship, researching folklore and producing culture based in the findings. After some partnerships with the poet José Carlos Capinam, for folkloric dances like bumba-meu-boi and chegança, he was criticized by CPC members as he was becoming repetitive. He hadn't accepted the criticism ("folklore is always the same"), but he enrolled at the Music College of Bahia. After a basic course to learn the rudiments of written music, he studied with such luminaries as H. J. Koellreuter (music history), Piero Bastianelli and Walter Smetak (violoncello), Aida Zolinger (piano), Edy Cajueiro (violão), Ernest Widmer (composition), Yulo Brandão (counterpoint), Jamari Oliveira (harmony), Lindembergue Cardoso (instrumentation) and Sérgio Magnani (orchestration). In 1963 he became acquainted with Gilberto Gil and Caetano Veloso in Salvador, where the actress Maria Muniz promoted musical get-togethers weekly, also frequented by musicians and young artists such as Fernando Lona, Alcyvando Luz, Orlando Senna, Maria Lígia and Álvaro Guimarães. At September 7, 1964, Tom Zé had his opening night in the musical directed by Caetano Veloso Nós por exemplo no. 2, with Caetano, Gil, Gal Costa, Maria Bethânia, Alcyvando Luz, Perna Fróes(still known as Antônio Renato) and the percussionist Djalma Corrêa. Soon he joined the other Baianos in the Nova bossa velha - velha bossa nova show, and, in 1965, in the musical Arena conta Bahia, which included his composition, with Chico de Assis, "O cachorro do inglês". The musical was such a success that Caetano, Gal, Gil, Bethânia and Tom were invited to record their singles through RCA. Then, in the same year Tom debuted in the record business with his single "Maria do colégio da Bahia". His "Parque industrial" was recorded in the album-manifesto Tropicália, and he recorded his first Lp Tom Zé (Rozemblit). His "São Paulo, meu amor" won the first place at TV Record's IV FMPB (São Paulo), and got the fourth place and the Best Lyrics award in the same festival with "2001" (with Rita Lee . In 1969 performed in Rio and São Paulo, together with Gal Costa, in the show O som livre de Tom Zé e Gal Costa. In 1970, recorded Tom Zé through RGE. Next year, opened a music course in São Paulo, Sofist Balacobaco - muito som e pouco papo. In 1972 recorded Tom Zé through Continental, followed by 1973'Todos os olhos, 1976' Estudando o samba , 1977'Correio da estação do Brás, for the same label. In 1974 gave a concert with the band Capote, in São Paulo. In 1975 worked in the Brazilian staging of Rock horror show as actor. In 1976 he toured the university circuit with Vicente Barreto . In 1984 went to RGE, where released Nave Maria, and Continental re-released his 1972' Tom Zé as Se o caso é chorar . In all this time, he continued to make sporadic appearances, but, almost completely ignored by the masses due to his unusual approach in music, with plenty of irony, erudite music references and utilization of self-made instruments, Tom was so depressed that was decided to return to his small home town to work at his nephew's gas station. In 1989 David Byrne, visiting Brazil, found an used exemplar of Estudando o samba, which he took as a didactic work. When he listened the album, he was taken by Tom's sound immediately, and called Arto Lindsay , who gave the info he had about Tom . When a Brazilian journalist from a renowned newspaper interviewed Byrne, he saw a note on his desk, "when in Brazil, look for Tom Zé". He reported that, and Tom was alerted. Radiant, he phoned Caetano for more info, and Caetano replied that it shouldn't be about him, but about Tuzé de Abreu, Byrne's friend. The fact yielded some reserves by Tom in interviews. Byrne took then Tom as the first artist of his label Luaka Bop. His releases there would get favorable reviews in The New York Times, the Village Voice, the Rolling Stones, Billboard, Le Monde, and win the Criativity Award in Telluride, Colorado. In 1991 his album The best of Tom Zé was appointed by vote the third better album by the critics, and the fourth by the readers of Downbeat. In 1992 recorded The hips of tradition (Luaka Bop), participating in the Zurich Jazz Festival, Switzerland. He departed then for a successful series of tours in Europe and U.S.A. He is the first and only Brazilian musician to be presented at New York's MoMa (1993), and the first and only Latin American composer to be presented at the Walker Art Center, Minneapolis. Also opened with a concert the Lift - London International Festival of Theatre, Queen Elizabeth Hall, London. Performed concerts in festivals of Canada (Vancouver, Montreal, Edmonton, Saskatoon), and, in New York, in August, as part of 20th Century Artist, and at Summerstage, Central Park.. In 1994 worked in the film Sábado (Ugo Giorgetti) and toured through Amsterdam, Berlin, Switzerland and France. In 1995 and 1996 he toured the biggest capitals of Brazil. In the same year wrote (together with José Miguel Wisnik) the "Parabelo" soundtrack for Grupo Corpo (modern ballet company), which brought them the APCA award. Alvaro Neder
