Biography
Ataulfo Alves grew up as the son of Severino Alves de Souza, a violeiro, repentista, and harmonica player. By age eight he was already answering his father’s desafios with verses of his own. Orphaned at ten, he took a series of jobs and relocated to Rio in 1927, where he continued working while spending free time at rodas de samba. He had already mastered the violão, cavaquinho, and mandolin, and he formed a neighborhood group that performed locally. He later served as diretor de harmonia for the bloco Fale Quem Quiser.
In 1933 Bide introduced him to RCA Victor’s director, resulting in Almirante’s recording of “Sexta-feira.” The following year Carmen Miranda, already familiar with Alves, recorded “Tempo Perdido.” His first major success arrived in 1935 with “Saudades do Meu Barracão,” cut by Floriano Belham and the Bando da Lua; that same year the Bando da Lua also released the march “Menina Que Pinta o Sete,” written with Roberto Martins. Sílvio Caldas recorded the samba “Saudade Dela” in 1936, and in 1937 Carlos Galhardo released both the valse “A Você,” composed with Aldo Cabral, and the samba “Quanta Tristeza,” written with André Filho. Orlando Silva recorded “Errei...Erramos” in 1938 and continued to champion other Alves songs in subsequent years.
Alves and Wilson Batista won the Carnival contest in 1940 with “Oh! Seu Oscar” and repeated the victory in 1941 with “O Bonde de São Januário.” That year Alves approached Odeon’s Max Strauss about pressing an album intended solely for family and friends; the resulting release featured “Leva Meu Samba” and “Alegria Na Casa de Pobre,” the latter written with Abel Neto, with backing supplied by the Escola de Samba da Cidade.
In 1942 Alves and Mário Lago completed a samba that no performer would accept, prompting Alves to approach Strauss again, only to learn that Odeon wished to sign him exclusively. He then recorded “Ai, Que Saudades da Amélia!” and “Não Posso Viver Sem Ela,” the latter credited to Bide and Cartola, accompanied by the Academia de Samba with an introduction from Jacob do Bandolim. The album established him definitively as both composer and singer; “Ai, Que Saudades da Amélia!” became an enduring Carnival standard. Further collaborations with Lago yielded “Atire a Primeira Pedra” for the 1944 Carnival, “Capacho,” and “Pra Que Mais Felicidade” in 1945. For practical reasons Alves replaced the Academia with a three-girl choir that Pedro Caetano nicknamed the Pastoras, after which a steady run of hits followed: “Pois É...,” “Vai Mesmo,” “Mulata Assanhada,” “Inimigo do Samba” (with Jorge de Castro), “Todo Mundo Enlouqueceu” (with Jorge de Castro), “Boêmio Sofre Mais” (with Floriano Belham), “Vá Baixar Noutro Terreiro” (with Raul Marques), and “Infidelidade” (with Américo Seixas).
During the 1950s, when fossa and dor-de-cotovelo dominated, Dalva de Oliveira scored successes with “Fim de Comédia” and “Errei Sim.” In 1954 Alves appeared in the Casablanca nightclub revue O Samba Nasce do Coração, performing “Pois É....” After RCA Victor dropped him, the song finally appeared on Sinter in 1955. The next year he released the LP Ataulfo Alves e Suas Pastoras. In 1957 he composed “Meus Tempos de Criança” and “Vai, Mas Vai Mesmo,” the latter a Carnival hit in 1958. Invited by Humberto Teixeira, he joined the 1961 Brazilian popular music caravan, where he performed “Mulata Assanhada” and “Na Cadência do Samba,” the latter written with Paulo Gesta. That same year he established his own publishing firm, Ataulfo Alves Edições, disbanded the Pastoras, and resumed performing solo. The Philips LP Meu Samba...Minha Vida, issued in 1962, revived “Na Cadência do Samba” to notable success. In 1966 he represented Brazil at the First World Festival of Negro Arts in Dakar, Senegal. “Laranja Madura” became a hit in 1967 and received numerous recordings; that year Roberto Carlos also recorded “Ai! Que Saudades da Amélia.” With Carlos Imperial, Alves wrote “Você Passa e eu Acho Graça,” “Você Não é Como as Flores,” and his final composition, “Mandinga,” which Clara Nunes later recorded.
In 1933 Bide introduced him to RCA Victor’s director, resulting in Almirante’s recording of “Sexta-feira.” The following year Carmen Miranda, already familiar with Alves, recorded “Tempo Perdido.” His first major success arrived in 1935 with “Saudades do Meu Barracão,” cut by Floriano Belham and the Bando da Lua; that same year the Bando da Lua also released the march “Menina Que Pinta o Sete,” written with Roberto Martins. Sílvio Caldas recorded the samba “Saudade Dela” in 1936, and in 1937 Carlos Galhardo released both the valse “A Você,” composed with Aldo Cabral, and the samba “Quanta Tristeza,” written with André Filho. Orlando Silva recorded “Errei...Erramos” in 1938 and continued to champion other Alves songs in subsequent years.
Alves and Wilson Batista won the Carnival contest in 1940 with “Oh! Seu Oscar” and repeated the victory in 1941 with “O Bonde de São Januário.” That year Alves approached Odeon’s Max Strauss about pressing an album intended solely for family and friends; the resulting release featured “Leva Meu Samba” and “Alegria Na Casa de Pobre,” the latter written with Abel Neto, with backing supplied by the Escola de Samba da Cidade.
In 1942 Alves and Mário Lago completed a samba that no performer would accept, prompting Alves to approach Strauss again, only to learn that Odeon wished to sign him exclusively. He then recorded “Ai, Que Saudades da Amélia!” and “Não Posso Viver Sem Ela,” the latter credited to Bide and Cartola, accompanied by the Academia de Samba with an introduction from Jacob do Bandolim. The album established him definitively as both composer and singer; “Ai, Que Saudades da Amélia!” became an enduring Carnival standard. Further collaborations with Lago yielded “Atire a Primeira Pedra” for the 1944 Carnival, “Capacho,” and “Pra Que Mais Felicidade” in 1945. For practical reasons Alves replaced the Academia with a three-girl choir that Pedro Caetano nicknamed the Pastoras, after which a steady run of hits followed: “Pois É...,” “Vai Mesmo,” “Mulata Assanhada,” “Inimigo do Samba” (with Jorge de Castro), “Todo Mundo Enlouqueceu” (with Jorge de Castro), “Boêmio Sofre Mais” (with Floriano Belham), “Vá Baixar Noutro Terreiro” (with Raul Marques), and “Infidelidade” (with Américo Seixas).
During the 1950s, when fossa and dor-de-cotovelo dominated, Dalva de Oliveira scored successes with “Fim de Comédia” and “Errei Sim.” In 1954 Alves appeared in the Casablanca nightclub revue O Samba Nasce do Coração, performing “Pois É....” After RCA Victor dropped him, the song finally appeared on Sinter in 1955. The next year he released the LP Ataulfo Alves e Suas Pastoras. In 1957 he composed “Meus Tempos de Criança” and “Vai, Mas Vai Mesmo,” the latter a Carnival hit in 1958. Invited by Humberto Teixeira, he joined the 1961 Brazilian popular music caravan, where he performed “Mulata Assanhada” and “Na Cadência do Samba,” the latter written with Paulo Gesta. That same year he established his own publishing firm, Ataulfo Alves Edições, disbanded the Pastoras, and resumed performing solo. The Philips LP Meu Samba...Minha Vida, issued in 1962, revived “Na Cadência do Samba” to notable success. In 1966 he represented Brazil at the First World Festival of Negro Arts in Dakar, Senegal. “Laranja Madura” became a hit in 1967 and received numerous recordings; that year Roberto Carlos also recorded “Ai! Que Saudades da Amélia.” With Carlos Imperial, Alves wrote “Você Passa e eu Acho Graça,” “Você Não é Como as Flores,” and his final composition, “Mandinga,” which Clara Nunes later recorded.
Albums
