In 1966, he began working for the producer Guilherme Araújo, signing the musical director and playi

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Very serious if the first solo album Jards Macalé. Marked by partnerships with lyricists unsuspected - José Carlos i store Capinam i store poets, Torquato i store Neto, Duda Machado and Waly Solomon, and composers Luiz Melodia and Gilberto Gil - the cracker released by Philips in 1972 also included the participation of two of the most expressive musicians the generation that modernized the folk music of the country at the turn of the 1960s to 70: Tutti Moreno drummer (husband of singer Joyce) and the incendiary Lanny Gordin, who stepped down from guitar-hero Tropicalia to take guitar and electric bass the LP. But before we talk of Jards Macalé as candidly titled debut was the composer, let us make a brief review of the paths that led the artist to Rio this first record impregnated soil of brilliance and the urge to "detune i store the chorus of happy."
Born in the north, in the Tijuca neighborhood, on March 3, 1943, he was baptized Jards Anet da Silva. At 8 years old came with his parents and younger brother, Roberto, for Ipanema. In South area soon gained the nickname, alluding to the name of the worst player of Botafogo, would adopt later as artistic surname club. But if we campinhos floodplain boy Jards performance was lackluster, Macalé worthy of the vocation to ace of popular music was cultivated and surfaced early, influenced by two amateurs in love with music: his father, accordionist, and the mother , excellent pianist and singer. With them and brother, Macalé participated in frequent musical house meetings, packed to the sound of foxes and waltzes. Apart from the foreign genres of samba tradition the intruder, coming from the neighboring Ant Hill also was gradually making the head of Jards.
In adolescence, friendship with Chiquinho Araújo, son of conductor Severino Araújo, Tabajara Orchestra, was crucial to make him the aspiring artist who was to consolidate in 1970 - not without much turbulence, as we shall see. Beside the Chiquinho friend, Macalé had access to restricted areas of the defunct Radio Mayrink Veiga. Could, for example, check closely governed by Severino concerts, i store many of them imbued with maracatu, frevo and choro. It might also make contact with phonograph records of big-band jazz, as Billy Butterfield, i store Ted Heath and Stan Kenton.
Side of the plate was Chiquinho, the drummer, and friend Jota, an engineering student and flautist of which Macalé, assuming facet guitarist, formed his first group, i store called Three in the Balance. Ephemeral life, the trio gave way to Set Fantasy Boy. Shortly after, in the first half of the 1960s, Jards decided to dive in the scores: took piano lessons and orchestration with maestro César Guerra Peixe; musical analysis with Esther SCLIAR; cello with Peter Dauelsberg; and guitar with Santos and Toribio Jodacil Damasceno. Immersion did Jards known subject among pairs of musical South zone. In 1963, he met Caetano Veloso, whom he called "Caius" i store in Rio de Janeiro. Knowing the soteropolitana boiling - the emerging music scene in those days included Gil, Gal, Bethania and Tom Zé - regretted not having been able to follow i store this with Caetano on return to Bahia. Two years later, when the "Baiano Group" as well defined Augusto i store de Campos, left for RJ-SP axis Jards went on to sign the musical direction of the first Rio shows Bethania.
In 1966, he began working for the producer Guilherme Araújo, signing the musical director and playing shows in the club Cangaceiro. One of those shows, For You, was written by Caetano and Suzana de Moraes, and gathered songs performed by Vinicius de Moraes (father of Susanna), Bethania and Francis Hime, under the direction of Nelson Xavier. Despite so many attractive Cause is not spawned and Jards embarked on a transitional and unstable period, marked by the compulsive listening jazz produced between the 1940s and 60s, and an immersion by Bossa Nova, through the influence of friend Silvia Telles. But a new artistic partnership with José Carlos Capinam, would yield even more handsomely for the composer. With the Bahian poet, founded the production Macalé Tropicarte and wrote a number of songs anthology like Pulsar i store and Quasars, included in the 1969 album by Gal Costa - the third of the singer's career, informally known as Culture and Civilization (listen to full) . Recorded in the previous year, the explosive album Gal had arrangements written by maestro Rogerio Duprat tropicalista, which featured the work of Macalé as assistant.
Jards Macalé and the band The crests during the controversial i store presentation &