And of course, this Pernambucano (from the state of Pernambuco) singer-composer's poetry always had a romantic side. "Lyrics have always been part of my career," he reminds us. Azevedo is a sensible and steady-paced artist. He came from a melancholic region, where folkloric songs have more melody. It was the slave's getaway where they would compose songs of regret.
So, his music and his history became one. Brazil and its people echoed through his throat. His rhythms of frevo enchanted Brazil, the places where he lived or visited while traveling, the humble people, and the simple happiness that dancing forró transmits resonates through his songs.
There's been some controversy about the origin of the word forró. One of the most common explanations talks about British engineers who went to the Northeast in the past century to build railroads, and who used to organize noisy parties that were opened "for all."
Geraldo Azevedo was born in 1945 in Petrolina, a small town in the state of Pernambuco by the banks of the San Francisco river. Growing as a country boy Azevedo developed a very peculiar vision of the world and his own native Pernambuco. Early on, Azevedo began to be attracted by the music and the traditional songs of his corner of the world. At the age of 12 he was already playing guitar like no other. But soon all the peace brought by the San Francisco River and his tiny Petrolina weren't enough for that young man who sensed that beyond the waters of old Chico, as the river is affectionately called sometimes, there was another world to be sung in verse and song.
In 1963 Geraldo decided to go to the nearest city, where he thought he would have a better chance to progress. Then he went to Recife, the state's capital, where he met female singer Teca Calazans and his first big partner percussionist Naná Vasconcelos, with whom he started Grupo Construção, his first folk-group. Soon after, he met renowned singer Eliana Pittman who took him in 1967 to Rio de Janeiro where he would establish his reputation as a musician.
Immediately Geraldo Azevedo fell love with Rio. As a virtuoso guitar player, he started playing with the great names of pop Brazilian music. And later joined the group Quarteto Livre with Naná Vasconcelos, Nélson Ângelo and Franklin, a group that accompanied legendary composer Geraldo Vandré, and with whom Azevedo composed the famous Canção de Despedida (Farewell Song).
On December 13, 1968 the military government of Arthur da Costa e Silva closed Congress and put in force the AI-5 (Ato Institucional n° 5 -- Intitutional Act no. 5). More restrictive than all other presidential decrees since the inception of the military regime in 1964, the AI-5 instituted censorship on the media and songs' lyrics were closely watched and frequently banned for political and sexual overtones. With Vandré in exile (his "Pra Não Dizer que Não Falei de Flores" -- "So You Won't Say I Didn't Talk About Flowers," with the refrain quem sabe faz a hora, não espera acontecer --"he who knows makes the hour, doesn't wait for things to happen" attracted the military wrath) the group was dissolved.
Soon after, Geraldo Azevedo joined his friend Alceu Valença. Together they took part in a festival with a song called "78 Rotações" (78 RPM) which became a hit. Since then Azevedo gained nationwide fame. Legendary Jackson do Pandeiro became his friend and partner at the International Song Festival of Rio de Janeiro in 1972. After a memorable appearance at the festival, Geraldo Azevedo and Alceu Valença recorded their debut album which was named after the authors.
Azevedo never stopped including the relish of Northeastern rhythms to his compositions. His songs were included in the soundtrack of Globo TV series like Gabriela and Saramandaia. Famous now, Azevedo would finally record his first solo album that included songs that became classics. Tunes like "Caravana" (Caravan), "Em Copacabana" (In the Beach of Copacabana), and "Barcarola do São Francisco" (São Francisco's Barcarole).
In the middle of all this Geraldo Azevedo first met actress and singer Elba Ramalho who introduced him to musicians Pipo Spera, Eduardo Marquez and Pato Rores. "I remember the first time I saw Geraldo," reminisced Marquez, himself exiled in Brazil after fleeing the Uruguayan dictatorship. "We were recording Clube da Esquina, and at this time, our home was a boat... Elba Ramalho invited us to stay with her for a while in her house in Ipanema. She helped us very much."
The partnership and friendship between them were promising. In 1979 they recorded Bicho de 7 Cabeças (Seven-Headed Beast) with songs by Tom Jobim, Caetano Veloso and Milton Nascimento. Again, this album gave a big boost to Azevedo's career.
After coming back from touring Angola, where he formed part of the Calunga Project, Azevedo recorded his third album Inclinações Musicais, with special participation of Sivuca, Jackson do Pandeiro and arrangements by Dori Caymmi. Compositions like "Dia Branco" (White Day), "Moça Bonita" (Pretty Girl) and "Canta Coração" (Sing, Heart), were big hits and are remembered until today.
Since then Geraldo Azevedo has been touring the world, exposing the Brazilian culture in France, Switzerland at the Jazz Festival in Montreux, Italy, Moscow where he performed at the International Youth Festival. In 1985, as part of the project Luz do Solo (Soil's Light), Azevedo launched his first live recording , at the Golden Room of Copacabana Palace in Rio de Janeiro. This work featured solo performances by a number of top Brazilian artists. The album covers the whole spectrum of Geraldo's influences, and goes from the unforgettable Luiz Gonzaga to the fabled Bob Dylan.
But his major hit in Brazil was De Outra Maneira (In Another Way), produced independently, and preceding the recording of the show Cantoria, performed at the Castro Alves Theatre in Salvador, Bahia, with the participation of his friends Elomar, Xangai and Vital Farias.
Even though it was recorded in Big Bear Lake, California, the CD Berekekê expressed all of Geraldo's Brazilian characteristics. Soon after finishing this work, he started traveling extensively through Brazil, especially in the Northeast, his homeland, where he had a wide and growing audience. His music has proven to be a popular success and also received critical acclaim.
Geraldo Azevedo, Ao Vivo...Comigo, one of his most recent recording, was issued by his own label Geração, recorded live at the Guararapes Theatre in Recife, Yemanjá Theatre in Salvador and Rival Theater in Rio de Janeiro.
The singer-composer will be in Los Angeles to perform at the John Anson Ford Amphitheater in Hollywood in celebration of September 7th, Brazil's Independence Day. He will use the occasion to present Futuramérica his 19th record, recorded with his long time partners musicians Pippo Espera, Eduardo Marquez and Pato. The new show had its debut at the Castro Alves Theatre in Salvador, Bahia.
Futuramérica brings a collection of new songs with lyrics by Capinam, Carlos Fernando and Fausto Nilo, his most recent musical partners, along with some of his own unique musical compositions. "This album reflects the work that Geraldo Azevedo has created for 25 years, offering the public only the best, filling his career as a musician with nothing but dignity", comments Sérgio Cabral, well-known music critic in Rio de Janeiro.
According to Geraldo Azevedo, the name of this CD reflects the will of an America eager to become better. "Its the fruit of concern for the future, ecology and our planet's outlook", says the composer. People recognize me for my singing poems. I am happy about this, because it lets me continue to be truthful to my style. I think I will always be the incorrigible romantic" concludes the Pernambucano singer.
Geraldo Azevedo, Elba Ramalho, Alceu Valença and Zé Ramalho have decided to get together and record live at the famous Rio's nightclub Canecão this coming October. The quartet also plans on recording a series of classics, some of which are Luiz Gonzaga's compositions.