From Wikipedia, the free encyclopedia Marcos Valle
Marcos Valle
Marcos Kostenbader Valle (born September 14, 1943 in to. It also featured a surprising political bent almost ab-
Rio de Janeiro)[1] is a Brazilian singer, songwriter and sent in Valle’s previous work - he would go deeper and
record producer. He has produced works in many musi- deeper with political and social contestation in the years
cal styles, including bossa nova, samba, incidental music to come -, and the album as a whole pointed to a broader
and fusions of American/European rock, soul and dance range of musical influences (particularly the Northeast-
music with Brazilian styles. ern Brazilian styles he enjoyed listening to since his
childhood days) that moved him out of the "strictly
Biography "bossa nova artists" club." [1]
This process continued on 1969’s "Mustang Cor De
Valle’s talent was evident from his high school years, Sangue Ou Corcel Cor De Mel," another leap forward that
which coincided with the explosion of the Bossa Nova incorporated rock, soul and pop styles, all stamped with
movement in Rio. His classmates included future legends Valle’s unmistakable melodic style. His singing was
like Edu Lobo and Dori Caymmi, and his composition strong and confident, and his work on the album reflect-
"Sonho De Maria" was included on the Avanco album by ed the sophisticated pop approach of American songwrit-
the highly influential Tamba Trio in 1963. With his broth- ers such as Jimmy Webb and Burt Bacharach as well as
er Paulo Sergio Valle as his lyricist, he had already built the inescapable influence of The Beatles.[1]
an impressive portfolio of songs, prompting the Odeon Around this time, Valle was tapped to create theme
label (a subsidiary of EMI) to sign him as a recording music for assorted TV programs and "novelas" (soap op-
singer. His debut album Samba Demais was released in eras), which over the next few years would become one
April, 1964. His reputation quickly spread, and his fellow of the main outlets for his work, along with advertising
musicians (including Wilson Simonal, Elis Regina, Nara jingles. 1970’s "Marcos Valle" (often referred to as "the
Leão and many others) lined up to record his songs. A Bed Album" due to its cover shot of Valle in bed) was
second album, O Compositor e o Cantor, followed in 1965, his most adventurous effort to date as well as his most
and featured the debut of what would become his most rock and psychedelic-influenced music up to that point.
recognizable song, "Samba De Verão" (known in English Backed by Milton Nascimento’s backing band Som Imag-
as "So Nice (Summer Samba)"), as well as other instant inario, Valle explored a more eccentric approach, with
classics as "Deus Brasileiro," "Gente" and "A Resposta." a number of futuristic tracks and an extended instru-
1966 brought Valle’s first trip to the United States, mental suite not unlike the work of U.S. composer/pro-
where he and his then-wife Anamaria teamed up with the ducer David Axelrod. 1971’s "Garra" was a career high-
also recently-emigrated Sérgio Mendes briefly in an em- point, a pop masterwork that summed up his music and
bryonic version of what would later become the latter’s still stands as one of the finest pop albums of the era,
hugely successful Brasil ’66. The threat of being draft- Brazilian or otherwise. Its effervescent
ed and sent to Vietnam caused him to return quickly pop/jazz/soul/bossa/film soundtrack musical stylings
to Brazil, however, although the following year saw him were matched by lyrics that attempted to reconcile
back to America and have a more positive experience Valle’s hippie leanings with his status as a wealthy young
which included his debut American release "Braziliance!" musician who was also a successful businessman because
on Warner Bros. Records, and several appearances on of his successful novela soundtracks and corporate ad-
the Andy Williams TV show. Following session work on vertising accounts. Telenovelas he provided some or all
Verve Records releases by compatriots Walter Wanderley of the music for during this period included "O Ca-
and Astrud Gilberto, the label released Valle’s "Samba fona,"Uma Rosa Com Amor", "Minha Doce Namorada,"
’68" album featuring English-language versions of assort- "Pigmalião 70," "Os Ossos Do Barão" and, most promi-
ed songs from his earlier Brazilian releases. nently, "Selva De Pedra." He also wrote the score for the
Shortly thereafter, feeling homesick, Valle returned film "O Fabuloso Fittipaldi" (1973).
to Brazil and entered a new creative phase in his career. 1972’s "Vento Sul" album found Valle long-haired
1968’s "Viola Enluarada" album was a more introspective and bearded, and backed by the progressive rock band O
affair, with Valle’s songwriting attaining a more mature Terço. His most experimental and left-field effort to date
and reflective tenor far removed from the frothy and (he even flirted with heavy metal on the song "Mi Her-
lighthearted feel of the "Samba ’68" album. The title moza"), it was something of a sales flop, although it has
track became one of Valle’s signature compositions in accumulated many admirers over the ensuing decades.
Brazil and was a duet with future icon Milton Nascimen- The following year’s "Previsão Do Tempo" fared better
1
From Wikipedia, the free encyclopedia Marcos Valle
and was an innovative effort made in conjunction with which reached back to his roots in bossa nova and added
the band who initially formed to back Valle at live shows contemporary electronic influences to his music. At this
and named themselves after one of his songs, Azimuth point Valle had signed with the London-based Far Out la-
(soon to change the spelling to Azymuth). This album had bel, which specialized in the recordings of Brazilian mu-
a notable jazz fusion influence due to his enthusiasm for sicians such as Azymuth (his backing band on 1973’s Pre-
the Fender Rhodes piano and Azymuth keyboardist Jose visão do Tempo) and Joyce. In 2001 Valle also produced
Roberto Bertrami’s expertise on the Hammond organ and two other discs, Live in Montreal with guitarist Victor
assorted synthesizers such as the Mini-Moog and the ARP Biglione and a backing band, and Bossa Entre Amigos, a
Soloist. This sound would later prove a decisive influence release aimed at the Brazilian market that featured Valle
on the Acid Jazz scene in Europe twenty years later.[1] sharing the bill with famed Braziilian guitarist and song-
One innovation in "Previsão do Tempo" was the use writer Roberto Menescal and singer-guitarist Wanda Sá.
of vocal percussion on the track "Mentira", ten years be- Escape, and especially its follow-up, Contrasts (re-
fore hip-hop artists introduced beatboxing. Valle emu- leased in 2003) showed increased electronica influences,
lates a drum kit with his voice to perform a pattern and a aided by the production skills of London-based electron-
fill. ica producer Roc Hunter. Valle showed on these releases
From 1972 to 1974, Valle provided the music for "Vila that he was able to stay true to the roots of his sound,
Sésamo," Brazil’s version of Sesame Street. In ’74, he also but also remained open to modern influences and pos-
released his final album for EMI, another self-titled ef- sessed the ability to integrate them into his style. On
fort. This album differed yet again from its predecessors 2005, Valle released Jet Samba, an all-instrumental col-
in pursuing a piano-pop sound reminiscent in turns of lection, highlighting reworked compositions from past
Elton John, Todd Rundgren and Bread, and replete with albums, as well as several new songs. Valle continues to
elaborate vocal arrangements. At this point, Valle had perform in Brazil and throughout Europe.
grown tired of the strictures of living and working under In 2010, he released Estática, an album which saw him
Brazil’s military dictatorship, then in its darkest and return to a more organic approach, albeit with the use of
bleakest phase. He therefore decided to return to the some analog synthesisers. The record features expansive
U.S., where he spent the rest of the decade. Settling in horn and string arrangements and has been referred to
Los Angeles, he entered into collaborations with artists as a ’masterpiece’ by some.[2]
as diverse as Sarah Vaughan, Chicago and R&B singer and In 2011, he collaborated with Phenomenal Handclap
songwriter Leon Ware. Valle and Ware found themselves Band to contribute a version of the song "Tudo o Que
especially compatible, and wrote many songs together, Você Podia Ser" for the Red Hot Organization’s most re-
Valle appearing on several of Ware’s Elektra album re- cent charitable album "Red Hot+Rio 2." The album is a
leases.[1] follow-up to the 1996 "Red Hot + Rio." Proceeds from the
Valle returned to Brazil in late 1980 and completed sales will be donated to raise awareness and money to
two albums, 1981’s Vontade de Rever Você, and 1983’s fight AIDS/HIV and related health and social issues.
Marcos Valle. These albums had prominent boogie, soul
and funk influences. These had been present in Valle’s
work since the beginning of the 1970s and would be per-
Discography
manent influences on his music, also being solidified by • 1963: Samba Demais (Odeon Records)
his work with Leon Ware and Chicago. His 1982 7-inch • 1965: O Compositor e o Cantor (Odeon/EMI)
single for "Estrelar", a boogie dance track marketed as • 1966 : Braziliance (Odeon)
"workout music" at the time happened to be his best-sell- • 1968: Samba ’68 (Verve)
ing record ever with a total of about 90,000 copies sold. In • 1968: Viola Enluarada (Odeon)
1984, he released another boogie single, "Bicicleta", but • 1969: Mustang côr de Sangue (EMI)
his recording label (Som Livre) decided to dismiss its en- • 1970: Marcos Valle (Quarentão Simpático) (EMI)
tire cast and concentrate on soap opera LPs and Marcos • 1971: Garra (Odeon)
did not make it to release a new album. His final album • 1972: Vento Sul (EMI)
from the eighties was 1986’s Tempo da Gente, and then • 1973: Previsão do Tempo (EMI/Odeon)
he took a hiatus from recording. But he kept on playing • 1974: Marcos Valle (No Rumo Do Sol) (Odeon)
gigs (something he did not do in his Estrelar days) and • 1980: Vontade de Rever Você (Som Livre)
writing songs for many different artists like Tim Maia, • 1983 : Marcos Valle (Som Livre)
Roberto Carlos and Ricky Martin. • 1986 : Tempo da Gente (Arca Som)
In the meantime, many collectors had become ac- • 1999: Nova Bossa Nova (Far Out Recordings)
quainted with Valle’s work of the ’60s and ’70s, and his • 2001: Escape (Far Out)
music started to enjoy renown among European and • 2002: Bossa Entre Amigos (with Roberto Menescal and
American fans, as well as connoisseurs of dance music. Wanda Sá)(Albatroz)
Valle recorded a new album in 1999, Nova Bossa Nova, • 2002: Live in Montreal (Rob)
2
From Wikipedia, the free encyclopedia Marcos Valle
• 2003: Contrasts (Far Out) Name Valle, Marcos
• 2005: Jet Samba (Dubas)
Alternative names
• 2008: Conecta ao Vivo No Cinematheque (live)
• 2010: Estática (Far Out Recordings) Short description
Date of birth September 14, 1943
References Place of birth
[1] ^ allmusic Biography Date of death
[2] Marcos Valle -- Estática Place of death
Persondata
Retrieved from "http://en.wikipedia.org/w/index.php?title=Marcos_Valle&oldid=457737681"
Categories:
• 1943 births
• Living people
• Bossa nova singers
• Bossa nova guitarists
• Música Popular Brasileira singers
• Música Popular Brasileira guitarists
• Brazilian pop singers
• Brazilian pop guitarists
• Brazilian record producers
• Mr Bongo Records artists
• Far Out Recordings artists
This page was last modified on 27 October 2011 at 23:23. Text is available under the Creative Commons Attribution-
ShareAlike License; additional terms may apply. See Terms of use for details. Wikipedia® is a registered trademark of
the Wikimedia Foundation, Inc., a non-profit organization.Contact us
Privacy policy About Wikipedia Disclaimers Mobile view
3