Biography
Mauro Duarte occupies a notable place in samba history through his tenure with Os Cinco Crioulos and through a catalog of distinctive songs that Clara Nunes and fellow interpreters such as MPB-4, Quarteto em Cy, Alcione, Roberto Ribeiro, and Elizeth Cardoso committed to disc. Standout works include the collaborations “Jogo de Angola” (with Paulo César Pinheiro), “Reserva de Domínio,” “Lamentação,” “Lama,” “Foi Demais” (with Paulinho da Viola), “A Paixão e a Jura,” “Sorri de Mim” (with Walter Alfaiate), “Cuidado, Teu Orgulho Ainda Te Mata” (with Paulinho da Viola/Walter Alfaiate), “A Alegria Continua” (with Noca da Portela), and “Maioria sem nenhum” (with Elton Medeiros). He also supplied the samba-enredos “Imperatriz,” “Academia do Salgueiro,” “7,” “Beija Flor,” and “Mangueira, Estação Primeira.”
Duarte reached Rio at six, accompanying his family. Largely self-taught on piano, he soon functioned as both composer and percussionist inside Carnival blocos. In the early 1960s Miltinho recorded his “Palavra,” and Duarte entered the ranks of Os Autênticos alongside Walter Alfaiate, Noca da Portela, and other noted sambistas. He replaced Paulinho da Viola in Os Cinco Crioulos in 1967. Meeting Clara Nunes in 1970, he saw her release his “Tributo aos Orixás” (with Ruben Tavares) that same year; she later taped further pieces, among them his initial success “Menino Deus” (with Paulo César Pinheiro) in 1974, “Canto das Três Raças” in 1976, and “Portela na Avenida” in 1981. He entered the Ala dos Compositores of the Portela samba school in 1973. An independent LP, Cristina e Mauro Duarte, appeared under his name in 1985.
Duarte reached Rio at six, accompanying his family. Largely self-taught on piano, he soon functioned as both composer and percussionist inside Carnival blocos. In the early 1960s Miltinho recorded his “Palavra,” and Duarte entered the ranks of Os Autênticos alongside Walter Alfaiate, Noca da Portela, and other noted sambistas. He replaced Paulinho da Viola in Os Cinco Crioulos in 1967. Meeting Clara Nunes in 1970, he saw her release his “Tributo aos Orixás” (with Ruben Tavares) that same year; she later taped further pieces, among them his initial success “Menino Deus” (with Paulo César Pinheiro) in 1974, “Canto das Três Raças” in 1976, and “Portela na Avenida” in 1981. He entered the Ala dos Compositores of the Portela samba school in 1973. An independent LP, Cristina e Mauro Duarte, appeared under his name in 1985.