Nonô

During Brazil’s Golden Age of song, this accomplished pianist lent live and recorded support to many of its leading voices. Nonô also issued solo albums, collaborated as a composer with Noel Rosa, and saw his own material interpreted by numerous artists, Rosa among them. Born into a musical family, he counted among his nephews Ciro Monteiro, Moacir Peixoto, Araquém Peixoto, and Caubi Peixoto. Already working professionally by the age of nine, he entered the Brunswick recording company’s orchestra, directed by J. Tomás, in 1929. Nonô further belonged to Bambas do Estácio, Gente Boa, Gente do Choro, Orquestra Copacabana, and additional ensembles, appearing on hundreds of discs as accompanist to featured singers. By roughly 1932 he had become the preferred pianist for such luminaries as Francisco Alves, Sílvio Caldas, and Mário Reis. At Rádio Philips’ Programa Casé he supported Luís Barbosa, Noel Rosa, and Marília Batista. That same year Nonô joined Noel Rosa, Mário Reis, and Francisco Alves on a tour to Porto Alegre, RS, and co-wrote the samba “Vitória” with Rosa; Sílvio Caldas recorded the piece for Victor the following year. Also in 1932, Nonô cut the choro “Uma Farra em Campo Grande” as a solo Columbia release. His keyboard work can be heard alongside Mário Reis, Francisco Alves, Noel Rosa—who preserved Nonô’s samba “Arranjei um Fraseado”—Sílvio Caldas, Luís Barbosa, and many others. As a composer he created “Perto do Céu” with Francisco Matoso, waxed by Silvinha Melo on Philips in 1935; “Vai-te Embora,” again with Matoso, which Mário Reis recorded in 1936; the valse “Cigana,” credited with Paulo Roberto and cut by Sílvio Caldas for Odeon in 1937; and “Jardim das Flores Raras,” another Matoso collaboration, recorded by Roberto Paiva for Odeon in 1938. In 1957 Fats Elpídio paid tribute with the Victor LP Recordando Nonô.