Herivelto Martins Biography

Herivelto Martins was one of the most successful singers and composers of Brazilian Popular Music. His compositions became true classics: in 1936, “Acorda, escola de samba” (with Benedito Lacerda), recorded by Sílvio Caldas through Odeon; “Duas lágrimas” (with Benedito Lacerda), recorded by Nestor Amaral through Odeon; “Se o morro não descer” (with Darci de Oliveira), recorded by Araci de Almeida through Victor; in 1937, the samba-canção “Palmeira triste” recorded by Carmem Barbosa for Victor; the samba “No picadeiro da vida” (with Benedito Lacerda), recorded by Carmem Barbosa; and “Cabaré no morro,” recorded by Carmem Miranda for Odeon; in 1938 the samba “Goma de gomá,” recorded by Aurora Miranda for Odeon; the choro “Meu rádio e meu mulato,” recorded by Carmem Miranda for Odeon; “Batuque no morro” (Martins/Humberto Porto/Ozon), and the march “Seu condutor,” recorded by Alvarenga e Ranchinho. He also enjoyed popular acclamation as a performer, in his Dupla Preto e Branco and Trio de Ouro, and as arranger of all vocal parts in these groups. Through his works, he chronicled the Rio from 1930 on, the hills and the city, the Praça Tiradentes, the Mangue and the Lapa. He greatly contributed to the dissemination of samba amidst the middle-classed whites through his own samba school, Escola de Samba Herivelto Martins.His father, Félix Martins, was a railroad worker, pursued his passion for theater writing, organizing and directing amateur plays; was also a musician, playing violão, cavaquinho, trumpet, pandeiro and piano. In those plays debuted Herivelto at three, declaiming his father’s verses. In 1917 they moved to Barra do Piraí, RJ, where the artistic activities continued, with the addition, to their dramatic vocation, of the nascent Carnaval expression. In fact, the Carnaval, having been born at the city of Rio de Janeiro in 1835, soon would spread throughout Brazil, becoming more and more popular. Inspired in the model of Rio, every tiny Brazilian village had its own Carnaval annually. So, at eight, Herivelto was parading in his father’s all-purpose group, playing reco-reco. In 1921 he wrote his first composition, “Nunca mais,” which remained unrecorded. At 15 he was invited to join a circus which came to the town, where he performed illusionist tricks. The circus was dissolved by the police, and Herivelto decided to move to Rio, in 1930. The timing couldn’t be worse. The crack of New York’s stocks exchange had thrown Brazil at dire straits. But, as the enthusiastic novice couldn’t evaluate the economic circumstances of that major breakdown, he also couldn’t figure the sociological consequences of a series of events which would, ultimately, provide support for his artistry: the new media of recordings, radio and cinema propelled the nascent Brazilian popular music, opening an immense consumer market.Arriving in Rio, Herivelto went to live with his brother Hedelacy (Lacy), who was sharing a room with other three people. Herivelto became a barber while offering himself to recording studios. Being invited to work in another barbershop, he started to have great intimacy with two Carioca hills, Pinto, where he lived, and Estácio, the most traditional redoubt of sambistas and samba in Rio, where he worked. In that time he composed the valse “Capela de São José,” recorded by Francisco Alves. He met Cartola, who introduced him to the sambistas of Mangueira. In 1934, he moved to Morro de São Carlos, and composed “Acorda, escola de samba,” recorded by Sílvio Caldas. This samba portrayed the life in the hill, with common days interspersed with nights of hot samba and love. According to Herivelto, this would be the first time that such common everyday life events would be pictured in song lyrics.”Caboclo abandonado” was written because of an unrequited love in São Carlos. Also in São Carlos he composed the marchinha “Seu condutor,” which, recorded later by Alvarenga e Ranchinho, was said theirs. In that time, he was already friends with Noel Rosa and other artists, but he wasn’t yet a professional, just an amateur who liked to compose. Then he knew one of the barbershop’s clients, Príncipe Pretinho, who was a composer. He introduced Herivelto as a percussionist to the popular singer J.B. de Carvalho (João Batista de Carvalho), who was specialized in pontos de macumba e candomblé (music for rituals of the ancient Afro religions). Invited to join Carvalho’s group Conjunto Tupy, Herivelto would met there Francisco Sena, who would be his partner at the first duo Dupla Preto e Branco. Having composed “Da cor do meu violão,” he succeeded in recording it (Victor, 1932), after giving partnership on it to Carvalho. Harry Evans, director and sound engineer for Victor, appreciated the rhythmic and vocal tricks performed by Herivelto, and hired him for the Victor choir. In 1934, the Dupla Preto e Branco was hired by Teatro Serrador. In that year, the duo recorded for Odeon “Preto e branco” (Herivelto Martins), “Quatro horas” (Martins/Sena) and “Vamos soltar balão” (Martins/Sena). In 1935 Sena died, and he went to work at the Pascoal Segreto’s company, performing comic sketches. In 1936, he met there the singer Dalva de Oliveira, who’d be his wife and also a very successful singer. With Nilo Chagas, formed the second Dupla Preto e Branco. He was being recorded by names such as Sílvio Caldas (“Samaritana,” written with Benedito Lacerda), Araci de Almeida (“Pedindo a São João,” with Darci de Oliveira). In 1936, Dalva was added to the duo, which was re-baptized as Trio de Ouro. They recorded next year for Victor the batuque “Itaquari” and the marchinha “Ceci e Peri” (both by Príncipe Pretinho), scoring two big hits, which brought them a contract with Rádio Mayrink Veiga. They would work also at Rádio Tupi (1938) and Rádio Clube (1940). Pery Ribeiro, the couple’s first son, was born in 1937 and would become a successful singer himself. Soon they would be hired by Cassino da Urca, the most sophisticated showroom of that time, working there until 1946, when the federal decree prohibiting gambling in Brazil closed all casinos. The apex of their success came in the decade of 1940, and his most successful compositions date from these years. Always interpreted by the Trio de Ouro, those are considered genuine all-times classics in Brazil: “Praça Onze” (with Grande Otelo), “Ave-Maria no morro” and “Minueto” (with Benedito Lacerda). Other compositions from these years are “Segredo” (with Marino Pinto), recorded by Dalva de Oliveira; “Cabelos brancos” (with Marino Pinto), recorded by Quatro Ases e um Curinga, and later by Alcides Gerardi, “A Lapa” (with Benedito Lacerda), “Que rei sou eu” (with Waldemar Ressurreição), “Caminhemos” and “Isaura” (with Roberto Roberti), all four recorded by Francisco Alves. The 13 years of marriage ended in six other years of mutual accusations intensively explored by the media. Noemi Cavalcanti replaced Dalva at the Trio, and in 1952 Lourdinha Bittencourt and Raul Sampaio replaced Noemi and Chagas. The Trio was dissolved in 1957. Herivelto has ever since keeping a low profile, appearing occasionally in music festivals and other shows.