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Experimental rock band from Mexico Helicon was formed in the early ’80s by guitarist Exequiel Solis, drummer Juan Blend, and guitarist Francisco Delahay, playing as a trio until 1985 when Delahay left
A Guadeloupian entrepreneur who began his career as a biguine artist and gained renown as the creator of a style dubbed ‘biguine kombas’ Currently he is best known for his studio in Point … Pitre, Guadeloupe, known sometimes as Studio Zouk La Terreur
Henrique Annes, founder of the Orquestra de Cordas Dedilhadas de Pernambuco (Orchestra of Fingered Strings of Pernambuco), the Oficina de Cordas do Recife (Recife Strings Workshop, another group), and of the Orquestra Armorial (Armorial Orchestra), has been performing as a soloist of chamber and symphonic orchestras both in Brazil and the U
Dedicated to the rootsy genres of samba and choro, Henrique Cazes has been active in the music scene of Rio de Janeiro as a researcher, musician, arranger, and professor Cazes started to play the violão (acoustic guitar) at six
Composer of several classics of the golden era of Brazilian song, Henrique Vogeler was also a skilled pianist and writer of successful operettas Son of Jaime Vogeler, he began his piano studies at five, later completing the course at the Conservatório Nacional de Música
Bandleader and timbalero Henry “Pucho” Brown was among the architects of Latin soul, pioneering the boogaloo sound alongside the better-known likes of Mongo Santamaria and Willie Bobo
The nephew of merengue hitmakers Los Hermanos Rosario, bachata singer Henry Rosario was discovered while performing on the television series Remate and quickly signed to the RMM label
In 1982 Brazilian singer/guitarist Herbert Vianna joined bassist Bi Ribeiro and drummer Vital Dias, later replaced by Joâo Barone to assemble a rock band called Os Paralamas Do Sucesso aka Paralamas
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
Although las Hermanas Segovia were a duo sister act, there were, in fact, three sisters named Segovia who recorded as part of the group in the 1950s Originally the members were Aurelia Segovia and Sara Segovia, who started to record in the norteño style for the Ideal label in Texas in 1949