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Elomar, Geraldo Azevedo, Vital Farias & Xangai

From northeastern origin, Elomar was deeply influenced by the folklore of his region, which mixes medieval troubadour traditions and Arab and Iberian influences with indigenous Brazilian creation yielding a strongly modal music. His cultural background makes it possible for him to crossover between folklore and classical music. He has about 13 recorded albums. Elomar studied music and architecture in Salvador BA and returned to his hometown, where he keeps a small farm where raises billy goats in an conscious effort to place his world in perspective. In 1972, he recorded the LP Das Barrancas do Rio Gavião (Philips) with no success. The double album Na Quadrada Das Águas Perdidas (Marcus Pereira/Rio Gavião, 1979) followed, where he exposed the exquisite and strange dialect of his region, a mix of corrupt Portuguese with ancient traces of Dutch. International success came with 1990's Elomar em Concerto, where he was accompanied by the Quinteto Bessler-Reis. Elomar wrote operas, also with strong regional character, like O Retirante. In 1980, recorded Parcelada Malunga with classical pianist Arthur Moreira Lima. In 1982, he teamed with the stars Arthur Moreira Lima, Heraldo do Monte (guitar), and Paulo Moura (clarinet/saxes) for the formation of the ConSertão project, which involved the recording of the album and shows throughout Brazil. Cantoria (Kuarup, 1984) was also a project, with three live recorded albums and several shows together with Geraldo Azevedo, Vital Farias, and Xangai. In 1986, he recorded the Concerto Sertanez, with classical violonista Turíbio Santos, Xangai, and João Omar. In 1996, he performed with his group Kaleidoscópio (violonista João Omar, flutist Elena Rodrigues, cellist Ocelo Mendonça) at the Centro Cultural São Paulo, with the show De Cantoria Concertante. ~ Alvaro Neder, Rovi
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