João Donato e Paulo Moura Copacabana Lyrics

BIOGRAPHY: About João Donato

JOÃO DONATO

Instrumentalist (pianist and accordionist). Arranger. Singer. Composer.

Father of three children: Jodel, Joana and Donatinho.

Born in Rio Branco, state of Acre, he used to play music with bamboo small flutes and saucepans in his childhood. One day he got an eight bass accordion as a gift and, later on, a higher accordion. In 1945, he moved to Rio de Janeiro with his family. There, he started to play on his school's parties. On one of these parties, he met the band "Namorados da Lua" and started a friendship with Lúcio Alves, Nanai and Chicão. Four years later, he was already playing in the jam-sessions held at d___ Farney´s and at the Sinatra-Farney Fan Club, to which he was a member. In 1951, he participated in the northeastern music program "Manhãs da roça", broadcasted by Zé do Norte, on the Rádio Guanabara. At the same time, he started to study piano.

Artistic Data

He started his professional career in 1949, as a member of the Altamiro Carrilho e Seu Regional´s band, with which he recorded, in that year, a 78 rpm with the songs "Brejeiro" (Ernesto Nazareth) and "Feliz aniversário" (Altamiro Carrilho and Ari Duarte). His participation on the record was omitted by the label. Thereafter, he replaced Chiquinho do Acordeon in the Fafá Lemos´band in a show at the Monte Carlo nightclub (RJ). Thereafter he performed in other nightclubs, such as Plaza, Drink, Sacha's and Au Bon Gourmet, among others.

In 1953, he formed his own band, "Donato e Seu Conjunto", with which he launched, in that year, two 78 rpm records: "Tenderly" (J. Lawrence and W.Gross)/"Invitation" (Bronislau Kaper) and "Já chegou a hora" (Rubens Campos and Henricão)/"You Belong to Me" (Pee Wee King/Stewart/Price).

He joined the band "Os Namorados", with which he recorded three 78 rpm records: "Eu quero um samba" (Haroldo Barbosa and Janet de Almeida)/"Três Ave-Marias" (Hanibal Cruz), in 1953; "Palpite infeliz" (Noel Rosa)/"Pagode em Xerém" (Sebastião Gomes and Alcebíades Barcelos), in 1953; and "Você sorriu" (Valdemar Gomes and José Rosa)/"Não sou bobo" (Nanai, Ari Monteiro and L. Machado), in 1954.

Still in 1954, he formed the "Trio Donato", with which he launched a 78 rpm including the songs "Se acaso você chegasse (Lupicínio Rodrigues and Felisberto Martins) and "Há muito tempo atrás" (J. Kern and I. Gershwin).

In 1956, he moved to São Paulo, where he was the pianist of the band "Os Copacabanas" and the "Orquestra de Luís Cesar". In that same year, he launched a 78 rpm with the "Donato e Seu Conjunto", including the musics "Farinhada" (Zé Dantas) and "Comigo é a__im" (Luiz Bittencourt and José Menezes). Yet in 1956, he recorded his first LP, "Chá dançante", produced by Tom Jobim for the Odeon label. In the repertory, the songs "Comigo é a__im" (Luiz Bittencourt and Zé Menezes), "No Rancho Fundo" (Ary Barroso and Lamartine Babo), "Se acaso você chegasse" (Lupicínio Rodrigues and Felisberto Martins), "Carinhoso" (Pixinguinha and João de Barro), "Baião" (Luiz Gonzaga and Humberto Teixeira), "Peguei um Ita no Norte" (Dorival Caymmi), "Farinhada" (Zé Dantas) and "Baião da Garoa" (Luiz Gonzaga and Hervé Cordovil).

In 1958, he went back to Rio de Janeiro and started to dedicate himself exclusively to the piano. In that year, he recorded two tracks on the LP "Dance conosco": "Minha saudade", his first success, and "Mambinho", both with the partnership of João Gilberto. At that time, he joined the "Orquestra do Maestro Copinha", that played at the Copacabana Palace (RJ).

In 1959, he went to Mexico with Nanai and Elizeth Cardoso. Thereafter, he moved to the United States, where he lived for three years. There, he played with Carl Tjader, Johnny Martinez, t__o Puente and Mongo Santa Maria. He made a tour in Europe with João Gilberto.

In 1962, he came back to Brazil.

In 1963, he recorded the LP "Muito à vontade", with Tião Neto (double bass) and Milton Banana (drums). The record was launched by Polydor, standing out his compositions "Sambou... sambou" (with/ João Melo) and "Caminho de casa". On that same year the LP "A bossa muito moderna de João Donato e seu Trio" was launched.

Soon he returned to the United States, where he lived for more than ten years. There, he recorded a LP with saxophonist Bud Shank and with guitar player Rosinha de Valença, in addition to the records "Piano of João Donato - The sound new sound of Brazil", "A bad Donato", which included the participation of double bass Ron Carter, and "Donato Deodato - Featuring João Donato, arranged and conducted by Deodato", with arrangements by Eumir Deodato. He also performed with other artists, such as Astrud Gilberto, Caymmi, Tom Jobim, Eumir Deodato, Stan Kenton, Nelson Riddle, Herbie Mann and Wes Montgomery, among others. His musics "Amazonas", in the Chris Montez´ recording, and "A rã" and "Caranguejo", both recorded by Sérgio Mendes, gathered a great success with the North American audience.

In 1974, he was the musical director and participated in the show "Cantar", made by Gal Costa on the Teatro da Praia (RJ). The show was recorded, and his songs "Até quem sabe" and "A rã" (with/ Caetano Veloso) were included in the repertory.

In 1975, the LP "Lugar comum", was recorded, launched by Phonogram.

In 1986, the LP "Leilíadas" was launched.

In 1997, he recorded, with Eloir de Morais (drums), the CD "Café com pão", for which he got two nominations for the "Prêmio Sharp" award: Best Record and Best Arranger. In that same year, he made the CD launch show at the Mistura Fina nightclub (RJ). Still in that year, he launched the CD "Coisas tão simples", by EMI/ Odeon, and four unpublished songs of his authorship are outstanding: "Fonte de saudade" (with/ Lisias Ênio), "Everyday" (with/ Norman Gimbel), "Summer of tentation" (with/ Toshiro Ono) and "Doralinda" (with/ Cazuza). The record was launched in a show at the Mistura Fina nightclub (RJ).

In 1998, he was once more at the Mistura Fina, with the show "Café com pão", joined by Eloir de Morais (drums).

In 1999, he recorded the CD "Só danço samba", interpreting Tom Jobim´s works, exclusively. Also in that year, the Lumiar Discos & Editora launched the "Songbook João Donato" (book and three CDs), with the participation of Caetano Veloso, Gal Costa, Djavan and Daniela Mercury, among other artists. The launch show was held at Bar do Tom (RJ), with Bororó (acoustic bass), Victor Bertrami (drums), Ricardo Pontes (sax and flute), Jessé Sadoc (trumpet) and the composer himself at the piano, in addition to the participation of Nana Caymmi, Marcos Valle, Os Cariocas and Angela Rô Rô, among other performers.

In 2000, he was in the project "Rio Sesc Instrumental", at the Sesc Copacabana (RJ), joined by Jessé Sadoc (trumpet), Ricardo Pontes (saxes and flute), Nei Conceição (bass) and Victor Bertrami (drums). On that same year he performed at the Copacabana Beach, at the closing show of the project "Rio-Bossa Nova 2000". Also in 2000, he recorded the CD "Amazonas", joined by Cláudio Slon (drums) and Jorge Helder (acoustic bass), launched by the Elephant Records of Vartan Tonoian (Denver, Colorado, EUA). The record included in the repertory Donato´s own compositions, standing out "Glass beads" and "Coisas distantes", both with the partnership of João Gilberto. For the record launch, he performed at the Memorial da América Latina, with the "Orquestra Jazz Sinfônica de São Paulo" (SP), and at the Mistura Fina (RJ), with double bass Luis Alves (bass) and Cláudio Slon (drums), thereafter making a tour to Europe, j__an, Australia, New Zealand and the United States, and a mini season at the Blue Note in New York is outstanding. Still in 2000, he was awarded the Prêmio Shell de Música for the whole of his work and participated in the Free Jazz Festival (RJ), reaching a huge success towards the public and the reviews.

On February 2001 he married Ivone Belém, a journalist from the state of Rio Grande do Sul. On July of that year, in the Amazon Forrest, and with the partnership of also piano player Everardo de Castro, he composed "Amazonas: um poema sinfônico", a theme for piano and orchestra, sponsored by the state of Amazonas government and script by Ricardo Cravo Albin. On September of the same year, he presented the symphonic piece, with the "Orquestra Amazonas Filarmônica", arranged by maestro Laércio de Freitas, conducted by maestro Luiz Fernando Malheiro and narrated by Ricardo Cravo Albin, at the Teatro Amazonas, in Manaus.

In 2002, he launched the CDs "Brazilian time", "Remando na raia" and "Ê Lalá Lay-Ê" (DeckDisc), and on this latest, partnerships with his brother Lysias Ênio were recorded, exclusively. In that year he also performed with the "Orquestra Jazz Sinfônica", at the Sala São Paulo. The concert was recorded live and originated the CD "The Frog", launched by the Elephant Records label. Still in 2002, he went to j__an, where he made 10 presentations with the singer Joyce.

In 2003, he was awarded the Prêmio APCA (a__ociação Paulista dos Críticos de Arte - a__ociation of Art Critics of the State of São Paulo). He made shows in Cuba, Russia and j__an, and in many Brazilian cities, launching the CD "Managarroba". Marisa Monte, Marcelo D2, Joyce and João Bosco joined the disk. Yet in that year he recorded with Emílio Santiago, the CD "Emílio Santiago encontra João Donato" and, with Wanda Sá, the CD "Wanda Sá com João Donato".

In 2004, he was awarded the Prêmio Tim for the record "Emílio Santiago encontra João Donato". Both artists made a show at the Bar do Tom (RJ), named "Emílio Santiago & João Donato". Later on that year he went to Spain, recorded a Bossa Nova CD for the Russian market and, in Cuba, recorded the CD "s__to sentido". Still in 2004, he a__umed the musical production of CD "t__a e Edson" (Lumiar Discos). And, thereafter, with Bud Shank, the CD "One evening with Bud and Donato" was recorded, soon after his participation in the Bud Shank show at the Chivas Jazz Festival (RJ). And still in that year he performed with Johnny Alf, Carlos Lyra, Roberto Menescal, Wanda Sá, Leny Andrade, Pery Ribeiro, Durval Ferreira, Eliane Elias, Marcos Valle, Os Cariocas and Bossacucanova, in the show "Bossa Nova in Concert", held at the Canecão (RJ). The show was presented by Miele and had a support band formed by Durval Ferreira (guitar), Adriano Giffoni (double bass), Marcio Bahia (drums), Fernando Merlino (keyboards), Ricardo Pontes (sax and flute) and Jessé Sadoc (trumpet), with conception and artistic direction of Solange Kafuri, musical direction of Roberto Menescal, research and texts by Heloisa Tapajós, setting by Ney Madeira and Lídia Kosovski, and projections by Sílvio Braga.

On November 2004 he received from the hands of President Lula and the minister of Culture Gilberto Gil, the Medalha da Ordem do Mérito Cultural, the highest merit badge in the country.

In 2005, he recorded and launched his first DVD, "Donatural - João Donato ao vivo", and invited to join him Leila Pinheiro, Joyce, Emílio Santiago, Angela Rô Rô and Gilberto Gil, with a support band formed by Robertinho Silva (drums), Luiz Alves (acoustic and electric bass), Cidinho (percussion), Jessé Sadoc (trumpet and flugelhorn), Ricardo Pontes (sax and flute) and Donatinho (keyboards). In the same year, he participated in the second presentation of the show "Bossa Nova in Concert", at the Parque dos Patins (RJ). And also in 2005, he made a launch show for the DVD "Donatural" at the Teatro Rival (RJ), with the participation of Leila Pinheiro and Marcelinho Da Lua.

On April 2006 he was honored by the government of the state of Acre, that baptized with Donato´s name the modern arts and communication center, "Usina de Artes e Comunicação João Donato", a deactivated former Brazilian nut plant. In the occasion he performed with his partner Gilberto Gil.

On June 2006, with Paulo Moura, he launched the CD "Dois Panos para Manga", conceived on a meeting at TV director Mario Manga´s home. By that time, a record with some of the themes appreciated by the Sinatra-Farney Fã Club goers in the 50´s was suggested to the two artists. The repertory included his song "Minha saudade" (with/ João Gilberto), further to "On a Slow Boat to China" (Frank Loesser), "Swanee" (George and Ira Gershwin), "That Old Black Magic" (Harold Arlen and Johnny Mercer), "Tenderly" (Walter Gross and Jack Lawrence), "Saudade mata a gente" (Antonio Almeida and João de Barro), "Copacabana" (Alberto Ribeiro and João de Barro), in addition to "Pixinguinha no Arpoador" and "Sopapo", two unpublished compositions signed by the two artists.

On November 2006, he made historic shows: in Rio de Janeiro, at the Mistura Fina, and in São Paulo, at the Sesc Pinheiros, where he met again the 80-year old alto-saxophonist, Bud Shank. At the meeting again, after 40 years without presenting a show, a DVD documentary and a CD were recorded.

On January 2007 he left to Australia, invited by Marcos Valle, for presentations with Wanda Sá and Roberto Menescal.

As an arranger, among his work stands out the CDs "O homem de Aquarius", by Tom Jobim, and "Minha saudade", by Lisa Ono, in addition to records of f__ner, Gal Costa and Martinho da Vila.

The long list of performers of his songs include artists such as Gal Costa, Gilberto Gil, Caetano Veloso, Tim Maia, Leny Andrade, Walter Wanderley, Nara Leão, Roberto Menescal, Luís Carlos Vinhas, Milton Banana, Luiz Eça, t__o Madi, Maysa, Dóris Monteiro, Raul de Souza, Tamba Trio, Victor a__is Brasil, Mahogani, Joyce, Bebel Gilberto, Os Cariocas, Simone, Fafá de Belém, Miúcha, f__ner, Leila Pinheiro, Baden Powell, Ithamara Koorax, Lisa Ono, Zizi Possi, Adriana Calcanhoto, Angela Rô Rô and Nana Caymmi and Leo Gandelman, among others.

(from Donato's official site and used with permission)

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Born: August 17, 1934 (Brazil)

João Donato started his recording career at 15, already a challenging task in an a__ociation with a great master, Altamiro Carrilho. He recorded also with Bud Schank, Ron Carter, Airto Moreira, Elmir Deodato, Randy Brecker, Ray Barretto, Mongo Santamaria, t__o Puente, Astrud Gilberto, Cal Tjader and several others, along with many important Brazilian musicians, including Johnny Alf and Tom Jobim. His solo career is registered in 29 albums recorded since 1953. A major figure as a musician and arranger at the bossa nova movement, he is profoundly influential, having inspired generations of players. João Gilberto confessed to have taken his bossa nova beat at the violão from Donato's piano playing. He is generally perceived as crazy, detached, genius. Maybe he is a little of each.

He started making music very early, and soon he was already animating dance parties with his accordion. His first music notions were given by a sergeant of Acre's Military Band. At 11 he moved to Rio, and studied piano with professor Werther. At 15, he was already a professional accordion musician, playing at suburban b____. His first recording dates back from that period, a 78rpm for label Star numbered 157, with Altamiro Carrilho e Seu Regional. The label omits Donato's credits. He also performed, at that time, continuing for 9 years, at the jam-sessions of the seminal amateur jazz circle Sinatra-Farney Fan Club, in Rio, which gathered people who would be important jazz musicians, producers and journalists in Brazil. At 17, he was hired by Rádio Guanabara as a sideman in the Zé do Norte show, working there for two years. In 1952 he was hired by the great violinist Fafá Lemos to play in his group, which was performing at the Monte Carlo nightclub. He also played at several other nightclubs which congregated Rio's good musicians, such as Sacha's, Drink's, Bon Gourmet and, most importantly, Plaza, where bossa nova was born. His first solo album, a 78rpm for Sinter (Sinter 212), was entitled João Donato e seu conjunto, being released in April, 1953, containing "Tenderly" and "Invitation". In May of that year, he recorded, under the same t__le, another 78rpm for the same label (Sinter 231). In July, he recorded with the vocal and instrumental group Os Namorados the 78rpm (Sinter 249) with songs "Eu Quero Um Samba" (Haroldo Barbosa/Janet de Almeida), later recorded solo by João Gilberto, and "Três Ave-Marias" (Hanibal Cruz). He also recorded other two albums with Os Namorados, always for Sinter: in October, 1953 and January, 1954. The group Os Namorados was the same as Os Namorados da Lua, without Lúcio Alves. When Lúcio Alves departed for a solo career, he prohibited his old group mates from using the old name, as he wanted to reserve it for future projects. Donato worked also for the Garotos da Lua vocal group. They were hired by the Rádio Tupi. Donato was the group's pianist and arranger, and João Gilberto joined them in 1949, subbing for crooner Jonas Silva. Their strong friendship began before they even met: before leaving Bahia, someone said to João Gilberto that he was going to meet a guy "exactly like him". At the same time, Donato was said that the forthcoming crooner was very much alike him. When they met, they only said to each other, "That's true!", leaving quizzed the bystanders. Date from that period the numerous eccentric anecdotes of both idiosyncratic musicians. Later they would move to Luiz Teles' (from the Quitandinha Serenaders group) apartment, and live there for a while. João Gilberto recorded with the Garotos da Lua two albums, in July and November, 1951. Soon after, João Gilberto was fired from the group by Rádio Tupi's artistic direction, as "too bad a crooner". In 1954, Donato recorded another 78rpm for Sinter. In 1956, in spite of hating the cold weather of the city of São Paulo, Donato moved there, joining the group Os Copacabanas and the Luís César Orchestra, alongside with his own group. He recorded another solo album, now with this group, for Odeon, in March, 1956. In the same year and label he'd record Chá dançante, produced by Tom Jobim. In 1958 composed his first hit, "Minha saudade", with João Gilberto. At that time, Donato was playing at the Copacabana Palace with the orchestra of Copinha (fined every two days for being late everyday), and Gilberto used to go there often to chat with Donato during the orchestra's breaks (when d___ Farney's group performed). Donato said in an interview in the 70's that Gilberto confessed to him that he, Donato, was the inspirer of Gilberto's bossa nova beat at the violão. Maestro Gaya also said that. Also in 1958 he recorded in his Lp Dance conosco (Copacabana) two partnerships with Gilberto: the mambo "Mambinho" and the samba "Minha saudade". In 1959, he was being rejected by all nightclubs. Ahead of its time, his modern swinging piano, too strong rhythmically, was excessively difficult to follow by other musicians, and customers complained about it as not danceable. He ran out of gigs, and used to ask all nightclubs' owners to play for free, just to be available for anyone interested. Even then, he was only allowed to play after 4:00 a.m., when most customers have gone. His situation was so bad he decided to move away from Brazil. His friend Nanai, having toured Mexico with the great singer Elizete Cardoso, settled in the USA and telegraphed Donato inviting him to a two-week season there. Donato went and ended residing at the USA for 14 years. Very requested by Latin artists, he recorded Arriba! for Mongo Santamaria (Fantasy, 1961), Vaya Puente for t__o Puente (Philips, 1962), At the Black Hawk for Santamaria (Fantasy, 1962), The Astrud Gilberto album for Astrud Gilberto (Elenco, 1964, released in the USA through Verve, Silver Collection, 1991), Shadow of your smile for Astrud Gilberto (Verve, 1965), Brazil! Brazil! Brazil! for Bud Shank (World Pacific, 1967), Solar Heat for Cal Tjader (Skye, 1968), and Prophet for Cal Tjader (Verve, 1969). Given the long years they worked together in Rio, being also long time friends, Donato and Brazilian drummer Milton Banana developed a rare symbiosis, each one complementing rhythmically the other's ideas. Milton was the first musician to develop a proper bossa nova drum beat, with brushes over a cloth and stick at the snare's rim. His sound was so distinctive that was copied by many musicians, and most bossa nova recordings bring that drum sound. After the historic concert of the Carnegie Hall, in which Donato didn't participate, Donato and Milton Banana accompanied João Gilberto in a tour through Italy. They worked for six weeks there. In spite of being harassed by more people interested in contracting him that he could handle, João Gilberto alleged a pain in his finger which impeded him of playing, and they stopped everything to wait for his recovery. Believing that only one person in the world could cure him, João Gilberto went to Paris, France, to meet Dr. Zapalla, who had been Brazilian soccer player Pelé's acupuncturist. After four weeks waiting in vain, not receiving any money, Donato and Milton departed from Europe. Donato came back to Brazil. In 1962, recorded by Polydor the Lp Muito à vontade (4085), with his compositions. This Lp was reissued later by Polyfar (2493.104) and, in Cd format, by Pacific Jazz j__an (TOCP-8320). At the same time recorded through Polydor A Bossa Muito Moderna de Donato e seu Trio (4107), released next year. He just finished the two albums and returned to the USA. In 1965, with Brazilian violonista /composer/singer Rosinha de Valença, recorded for Bud Schank Bud Shank & His Brazilian Friends for Elenco (MEV 08), also reissued by Polydor and Toshiba EMI j__an. In the same year, recorded for RCA Victor USA Piano of João Donato - The New Sound of Brasil. His compositions "Amazonas" (recorded by Chris Montez), "A rã" and "Caranguejo" (both recorded by Sérgio Mendes), all were big hits, receiving other interpretations by several artists. In 1969 recorded for Muse (which released it in 1973) Donato/Deodato, a classic album where Latin jazz meets bossa nova. Followed A Bad Donato (Blue Thumb,1970), with Ron Carter. Returning to Brazil in 1972, in the next year recorded for Odeon Quem é quem. In 1974 directed Gal Costa's show Cantar, recorded live and released with Gal singing a couple of Donato's songs, one with the guest Caetano Veloso. in 1975, Donato recorded Lugar comum for Philips, and in 1986 his live show at the People's nightclub was released by Elektra Musician as Leilíadas. In 1996 recorded for Odeon Coisas tão simples, in 1997 Café com Pão - João Donato & Eloir de Morais with the Brazilian drummer. He also composed, together with Gilberto Gil, "Lugar comum" (1974), "Bananeira", "Emoriô" and "Tudo tem" (all in 1975). --Alvaro Neder

According to Ruy Castro's book, "Donato himself decided to give up the accordion to concentrate on piano, and merely played the trombone as a hobby. The story goes that he could no longer stand to drag his accordion around the nightclub circuit because this obliged him to avoid having a last drink, for fear of leaving it someplace. One one of those nights, he left the accordion in an unlocked car and it was stolen. He felt no compulsion to buy another and, as there was a piano in every nightclub he worked in, the dilemma was solved.
Donato might also have recounted that he stopped playing the accordion because he had exhausted the instrument's possibilities, while the piano seemed to be an endless source of harmonic possibilities. And he wanted to be able to explore them. [. . .]

In 1959, he [Donato] had no audience in Rio because everyone thought he played jazz, so he went to California to play Latin music--which was what in fact he was trying to do in Brazil, only nobody realized it. Upon his arrival there, he was immediately adopted by the cool cats of the genre, like the Latins t__o Puente, Mongo Santamaria, and Johnny Rodriguez, and the Americans Cal Tjader, Herbie Mann, and Eddie Palmieri. Without knowing it, Donato's career had been similar to theirs. . . .Donato felt right at home in the middle of all those congas, timbales, and bongos of Latin jazz, with possibilities for splitting up the wind instruments and creating the craziest piano harmonies. Everything was allowed, given that the rhythm was an enchilada of mambos, rumbas, sambas, and porque no?--bossa nova. . . . From 1959 to 1961, he played piano with Monga Santamaria and participated in the first recording of 'Para Ti' (For You), played trombone and wrote the arrangements for t__o Puente's brass instruments, recorded extensively with Cal Tjader, who was already famous, and with Eddie Palmieri, who wasn't yet. His appearance on the scene was quite simply stunning.

In the years that followed, they all began to use Donato's songs in their repertoire, such as "A ra" (The Frog), "Amazonas" (Amazon), "Cade Jodel?" (Where Is Jodel?), and they became standards for what was later called funk music. Donato himself soon started putting together his albums at prestigious Pacific Records--and had his songbook recorded by other corn-tortilla-with-chilies-loving jazz musicians, like vibraphonist Dave Pike."