Raphael Rabello

Despite his abbreviated lifespan, Raphael Rabello earned worldwide recognition for his instrumental brilliance. Evidence of that command appears across sixteen issued solo recordings, more than four hundred sessions as an accompanist, and additional unissued solo pieces. Among the many colleagues with whom he collaborated were Paulo Moura, Elizete Cardoso, Turíbio Santos, Canhoto da Paraíba, and Paul Simon. A proponent of flamenco technique—he employed fingertips rather than fingernails—Rabello remained rooted in Brazilian popular traditions while keeping the classical lineage always in view, earning admiration from leading musicians and commentators across the globe. Pat Metheny, for instance, declared: "He is the most prominent guitarist of our generation and one of the greatest of all times."

Rabello’s grandfather, José de Queirós Batista, himself a violonista, exerted a decisive musical influence throughout the family. His sisters Luciana, a cavaquinista, and Amélia, a vocalist, both became recognized professionals. A self-taught violonista, Rabello began musical studies at age seven. After absorbing the example of Dino Sete Cordas he received lessons from Meira (Jayme Florêncio). By twelve he was working professionally; at fourteen he organized his first choro regional, Os Carioquinhas, which included Luciana. In 1977 the ensemble issued its debut LP, Os Carioquinhas no Choro (Som Livre), featuring the seven-stringed Brazilian guitar. Two years later Rabello joined mandolin virtuoso Joel do Nascimento to form Camerata Carioca, a group devoted to the choro idiom yet intent on merging it with the erudite refinement suggested by both its name and the players’ technical command. The ensemble attracted the notice of composer, arranger, and orchestrator Radamés Gnatalli, who devoted himself to erasing barriers between classical tradition and Brazilian popular music. It was therefore fitting that Rabello later became one of the foremost interpreters of Radamés’s violão works. In 1984 the pair recorded Tributo a Garoto for Funarte, presenting Garoto’s pieces alongside Gnatalli’s “Concertino No. 2.” That same year Polygram released Rabello’s first solo album, Rafael Sete Cordas, containing works by Tom Jobim, Augustin Barrios, Jacó do Bandolim, João Pernambuco, and others.

In 1986 he appeared with singer Ney Matogrosso in the production Pescador de Pérolas; its strong reception prompted a national tour and the subsequent album of the same title. Also in 1986 Vision issued Rafael Rabelo Interpreta Radamés Gnatalli. Vision followed in 1988 with the solo set Rafael Rabello. A 1989 automobile accident fractured his right arm, yet four months afterward he still accompanied Elizete Cardoso in the program Todo Sentimento, issued as a 1991 CD on BMG/RCA. The 1990 duo venture with Ney Matogrosso produced the show À Flor da Pele, documented by Som Livre on the album of that name. In 1991 Rabello recorded with his earliest idol, Dino Sete Cordas; released by Caju Music under the marketed name Raphael, the album Raphael Rabello & Dino Sete Cordas included classic choros by João Pernambuco, Pixinguinha, and Ernesto Nazareth, sambas by Noel Rosa and Lamartine Babo, and Garoto’s virtuosic waltz “Desvairada.” That year he also partnered with Paulo Moura on Dois Irmãos (Caju Music/Milestone), featuring sambas, choros, and Tom Jobim’s waltz “Luísa.” The recording received the 1992 Prêmio Sharp for Best Instrumental Album; Rabello earned another Sharp that year for his duo project with Carlão.

BMG/RCA issued his 1992 album Todos os Tons, comprising his own arrangements and transcriptions of Tom Jobim compositions and featuring guest appearances by Jobim himself, Paco de Lucia, Paulo Moura, Luiz Avelar, Nico Assumpção, and additional noted musicians. In 1993 he recorded Shades of Rio (BMG/RCA) with Romero Lubambo, a stylistically varied collection containing pieces by Rabello, Dori Caymmi, Jobim, Ary Barroso, Pixinguinha, Gnatalli, and others that extended beyond choro into samba-canção. The same year he and fellow choro master Déo Rian made Delicatesse for the label, presenting only one popular work—by Jacó do Bandolim—with the remainder devoted to classical repertoire. Further Prêmio Sharp awards for Best Soloist arrived in 1994 and 1995. In 1994 Rabello demonstrated his arranging prowess by transcribing significant works recorded or composed by virtuoso violonista Dilermando Reis to suit his own approach; the resulting album earned yet another Sharp for Best Instrumental Album.

That year he relocated to California, where he taught at the Los Angeles Music University and completed two additional recordings. Back to Life appeared in Los Angeles in 1995. He subsequently returned to Brazil to participate in Orgulho do Brasil, a Banco do Brasil foundation initiative comprising a series of albums honoring Brazilian composers, beginning with Capiba. Rabello committed himself fully to the project, which proved to be his final undertaking; the foundation nevertheless discontinued it without explanation when the work was nearly complete. Spotlight released Em Concerto (With Armandinho) in 1997, documenting a live performance by Rabello together with a separate live set by mandolinist Armandinho. Rabello had deemed the material technically inadequate for release and had not authorized it during his lifetime. Luciana, who regularly accompanied her brother in regional settings, publicly denounced the Música Viva project from which the recordings originated, stating that none of the participating musicians, herself included, had consented to the CD or received any royalties.