Biography
Herivelto Martins ranked among the leading figures in Brazilian Popular Music as both singer and songwriter. His output yielded enduring standards, among them the 1936 pieces “Acorda, Escola de Samba” (Benedito Lacerda) cut by Sílvio Caldas on Odeon, “Duas Lágrimas” (Benedito Lacerda) cut by Nestor Amaral on Odeon, and “Se o Morro Não Descer” (Darci de Oliveira) cut by Araci de Almeida on Victor; the 1937 samba-canção “Palmeira Triste” cut by Carmem Barbosa on Victor; the samba “No Picadeiro da Vida” (Benedito Lacerda) also cut by Carmem Barbosa; and “Cabaré no Morro” cut by Carmem Miranda on Odeon. The 1938 releases included the samba “Goma de Gomá” cut by Aurora Miranda on Odeon, the choro “Meu Rádio e Meu Mulato” cut by Carmem Miranda on Odeon, “Batuque no Morro” (Martins/Humberto Porto/Ozon), and the march “Seu Condutor” cut by Alvarenga e Ranchinho. He further earned widespread popularity as a performer in Dupla Preto e Branco and Trio de Ouro while serving as vocal arranger for both ensembles. His songs documented Rio de Janeiro from 1930 onward, encompassing its hills, downtown districts, Praça Tiradentes, Mangue, and Lapa. Through his own Escola de Samba Herivelto Martins he helped introduce samba to middle-class white audiences.
Born to railroad worker Félix Martins, who also wrote, staged, and directed amateur theater while playing violão, cavaquinho, trumpet, pandeiro, and piano, the future artist first appeared onstage at age three in one of his father’s productions. The family relocated in 1917 to Barra do Piraí, RJ, where their theatrical pursuits expanded to include the emerging local Carnaval. By age eight Herivelto was already marching in his father’s multipurpose ensemble on reco-reco. His first known song, the 1921 valse “Nunca Mais,” remained unrecorded. At fifteen he briefly performed illusionist feats with a visiting circus that was subsequently shut down by police, prompting his move to Rio in 1930 amid the economic fallout of the Wall Street crash. Despite the hardship, the rise of recordings, radio, and cinema began to create a broad market for Brazilian popular music.
In Rio, Herivelto shared cramped quarters with his brother Hedelacy (Lacy) and took up barbering while auditioning at recording studios. A subsequent barbershop job brought him into daily contact with the communities of Morro Pinto and Morro do Estácio, the latter long regarded as a stronghold of samba. There he composed the valse “Capela de São José,” later recorded by Francisco Alves, and was introduced by Cartola to the sambistas of Mangueira. After moving to Morro de São Carlos in 1934 he wrote “Acorda, Escola de Samba,” recorded by Sílvio Caldas, a portrait of everyday hill life alternating between ordinary routines and evenings of samba and romance; he later described it as the first lyric to treat such ordinary events. An unrequited affair in São Carlos inspired “Caboclo Abandonado,” and he also completed the marchinha “Seu Condutor,” later recorded by Alvarenga e Ranchinho. Although already acquainted with Noel Rosa and other professionals, he remained an amateur composer until meeting barbershop client and fellow songwriter Príncipe Pretinho. Pretinho introduced him as a percussionist to J.B. de Carvalho, specialist in pontos de macumba e candomblé. Joining Carvalho’s Conjunto Tupy, Herivelto befriended Francisco Sena, with whom he formed Dupla Preto e Branco. Their first recording, “Da Cor do Meu Violão,” appeared on Victor in 1932. Victor director and engineer Harry Evans, impressed by the duo’s rhythmic and vocal interplay, engaged Martins for the label’s choir. In 1934 Dupla Preto e Branco performed at Teatro Serrador and recorded “Preto e Branco” (Herivelto Martins), “Quatro Horas” (Martins/Sena), and “Vamos Soltar Balão” (Martins/Sena) for Odeon. Sena’s death in 1935 led Martins to the Pascoal Segreto company, where he performed comic sketches. That same year he met singer Dalva de Oliveira, whom he would marry; with Nilo Chagas he reconstituted Dupla Preto e Branco. Recordings of his work followed, including Sílvio Caldas’s version of “Samaritana” (Benedito Lacerda) and Araci de Almeida’s version of “Pedindo a São João” (Darci de Oliveira). In 1936 Dalva joined the duo, which became Trio de Ouro. The group scored immediate successes with the 1937 batuque “Itaquari” and the marchinha “Ceci e Peri” (both by Príncipe Pretinho), both on Victor, securing a contract with Rádio Mayrink Veiga; they later appeared on Rádio Tupi in 1938 and Rádio Clube in 1940.
Martins and de Oliveira’s son Pery Ribeiro, later a noted singer, was born in 1937. The couple soon joined the roster at Cassino da Urca, remaining until the 1946 federal ban on gambling closed Brazil’s casinos. Their greatest popularity arrived during the 1940s, when the Trio de Ouro introduced a string of lasting standards: “Praça Onze” (Grande Otelo), “Ave-Maria no Morro,” and “Minueto” (Benedito Lacerda). Other songs from the period include “Segredo” (Marino Pinto), recorded by Dalva de Oliveira; “Cabelos Brancos” (Marino Pinto), recorded by Quatro Ases e um Curinga and later by Alcides Gerardi; and “A Lapa” (Benedito Lacerda), “Que Rei Sou Eu” (Waldemar Ressurreição), “Caminhemos,” and “Isaura” (Roberto Roberti), all four recorded by Francisco Alves. After thirteen years the marriage ended amid public recriminations lasting another six years. Noemi Cavalcanti replaced Dalva in the Trio; in 1952 Lourdinha Bittencourt and Raul Sampaio replaced Noemi and Chagas. The ensemble disbanded in 1957. Thereafter Herivelto maintained a low public profile, making occasional appearances at festivals and concerts.
Born to railroad worker Félix Martins, who also wrote, staged, and directed amateur theater while playing violão, cavaquinho, trumpet, pandeiro, and piano, the future artist first appeared onstage at age three in one of his father’s productions. The family relocated in 1917 to Barra do Piraí, RJ, where their theatrical pursuits expanded to include the emerging local Carnaval. By age eight Herivelto was already marching in his father’s multipurpose ensemble on reco-reco. His first known song, the 1921 valse “Nunca Mais,” remained unrecorded. At fifteen he briefly performed illusionist feats with a visiting circus that was subsequently shut down by police, prompting his move to Rio in 1930 amid the economic fallout of the Wall Street crash. Despite the hardship, the rise of recordings, radio, and cinema began to create a broad market for Brazilian popular music.
In Rio, Herivelto shared cramped quarters with his brother Hedelacy (Lacy) and took up barbering while auditioning at recording studios. A subsequent barbershop job brought him into daily contact with the communities of Morro Pinto and Morro do Estácio, the latter long regarded as a stronghold of samba. There he composed the valse “Capela de São José,” later recorded by Francisco Alves, and was introduced by Cartola to the sambistas of Mangueira. After moving to Morro de São Carlos in 1934 he wrote “Acorda, Escola de Samba,” recorded by Sílvio Caldas, a portrait of everyday hill life alternating between ordinary routines and evenings of samba and romance; he later described it as the first lyric to treat such ordinary events. An unrequited affair in São Carlos inspired “Caboclo Abandonado,” and he also completed the marchinha “Seu Condutor,” later recorded by Alvarenga e Ranchinho. Although already acquainted with Noel Rosa and other professionals, he remained an amateur composer until meeting barbershop client and fellow songwriter Príncipe Pretinho. Pretinho introduced him as a percussionist to J.B. de Carvalho, specialist in pontos de macumba e candomblé. Joining Carvalho’s Conjunto Tupy, Herivelto befriended Francisco Sena, with whom he formed Dupla Preto e Branco. Their first recording, “Da Cor do Meu Violão,” appeared on Victor in 1932. Victor director and engineer Harry Evans, impressed by the duo’s rhythmic and vocal interplay, engaged Martins for the label’s choir. In 1934 Dupla Preto e Branco performed at Teatro Serrador and recorded “Preto e Branco” (Herivelto Martins), “Quatro Horas” (Martins/Sena), and “Vamos Soltar Balão” (Martins/Sena) for Odeon. Sena’s death in 1935 led Martins to the Pascoal Segreto company, where he performed comic sketches. That same year he met singer Dalva de Oliveira, whom he would marry; with Nilo Chagas he reconstituted Dupla Preto e Branco. Recordings of his work followed, including Sílvio Caldas’s version of “Samaritana” (Benedito Lacerda) and Araci de Almeida’s version of “Pedindo a São João” (Darci de Oliveira). In 1936 Dalva joined the duo, which became Trio de Ouro. The group scored immediate successes with the 1937 batuque “Itaquari” and the marchinha “Ceci e Peri” (both by Príncipe Pretinho), both on Victor, securing a contract with Rádio Mayrink Veiga; they later appeared on Rádio Tupi in 1938 and Rádio Clube in 1940.
Martins and de Oliveira’s son Pery Ribeiro, later a noted singer, was born in 1937. The couple soon joined the roster at Cassino da Urca, remaining until the 1946 federal ban on gambling closed Brazil’s casinos. Their greatest popularity arrived during the 1940s, when the Trio de Ouro introduced a string of lasting standards: “Praça Onze” (Grande Otelo), “Ave-Maria no Morro,” and “Minueto” (Benedito Lacerda). Other songs from the period include “Segredo” (Marino Pinto), recorded by Dalva de Oliveira; “Cabelos Brancos” (Marino Pinto), recorded by Quatro Ases e um Curinga and later by Alcides Gerardi; and “A Lapa” (Benedito Lacerda), “Que Rei Sou Eu” (Waldemar Ressurreição), “Caminhemos,” and “Isaura” (Roberto Roberti), all four recorded by Francisco Alves. After thirteen years the marriage ended amid public recriminations lasting another six years. Noemi Cavalcanti replaced Dalva in the Trio; in 1952 Lourdinha Bittencourt and Raul Sampaio replaced Noemi and Chagas. The ensemble disbanded in 1957. Thereafter Herivelto maintained a low public profile, making occasional appearances at festivals and concerts.