Biography
Sebastião Tapajós stood as a celebrated Brazilian musician whose discography surpassed fifty albums. Classically trained on the violão, he forged an individual voice that united Brazil’s deep-rooted musical heritage with the refinement, nuance, and elegance of the classical idiom. Over the course of his career he collected more than twenty honors, among them Germany’s Album of the Year designation. He maintained an extensive touring schedule across Europe, collaborating onstage and in the studio with Gerry Mulligan, Astor Piazzolla, Oscar Peterson, Paquito de Rivera, Zimbo Trio, Hermeto Pascoal, and numerous others; audiences for these performances exceeded 600,000 listeners.
His father, the first to guide his playing, set him on the instrument at age nine. Tapajós pursued music largely as an autodidact until relocating to Belém in Pará, where he studied theory under Professor Drago. In 1963 he moved to Rio and worked with Othon Salieri; the following year he settled in Portugal, completing his studies at the Lisbon National Music Conservatory. Already active as a performer, he gave concerts in Portugal and Spain. In Madrid he trained with Emilio Pujol and earned a diploma from the Hispanic Culture Institute. Beginning in 1968 his recordings appeared in Brazil, Argentina, Japan, and throughout most of Europe. After a period back in Belém he returned to Rio to pursue further engagements and to investigate Brazilian popular music. His initial major presentation paired Villa-Lobos’ Concerto for Guitar and Orchestra with the National Symphonic Orchestra at Rio’s Teatro Municipal; the reception prompted nationwide and U.S. tours. Drawn to composition, Tapajós produced works that remained anchored in Brazilian tradition yet displayed a distinctly personal stamp free of overt commercial concessions.
In 1972 Discmedia/Trova-Alfa issued Brasil: El Arte de la Guitarra, featuring pieces by Brazilian classical and popular composers, original works by Tapajós, and Weiss’s “Allemande.” After 1973 he toured Europe to strong acclaim. That year he appeared at the Folklore and Bossa Nova of Brazil Festival alongside Maria Betânia and Paulinho da Viola and recorded Bienvenido Tapajós for MPS. He subsequently sustained a rigorous itinerary through Germany, Austria, Denmark, Norway, Italy, Holland, Belgium, and additional countries, regularly introducing European listeners to fellow Brazilian artists including Maurício Einhorn, Zimbo Trio, Joel do Bandolim, Djalma Correa, and Sivuca. In 1981 he and Zimbo Trio released Sincopando on Stockfisch. Guitarra Criolla, issued in 1982, was named Album of the Year in Germany; two years later Tropical Music brought out Xingu, recorded with Pedro “Sorongo” Santos and Djalma Correa. His LP Terra also received Germany’s Best Foreign Album award. In 1988 Tapajós and Maurício Einhorn recorded Luá, Joá for Caju Music. The Academia Brasileira de Letras named him Brazil’s foremost musician of 1992. The following year L’Art released Villa-Lobos, a disc devoted entirely to that composer’s music. In 1994 he issued an album centered on Hispanic classical repertoire. Visões do Nordeste, recorded for L’Art in 1995, presented his own compositions shaped by Northeastern Brazilian rhythms, save for the traditional “Mulher Rendeira.” With pianist Gilson Peranzzetta he made Affinities in 1996, comprising chiefly joint compositions. Although sometimes identified as a jazz musician, Tapajós regarded himself simply as a Brazilian music player; he died on October 2, 2021, at the age of 78.
His father, the first to guide his playing, set him on the instrument at age nine. Tapajós pursued music largely as an autodidact until relocating to Belém in Pará, where he studied theory under Professor Drago. In 1963 he moved to Rio and worked with Othon Salieri; the following year he settled in Portugal, completing his studies at the Lisbon National Music Conservatory. Already active as a performer, he gave concerts in Portugal and Spain. In Madrid he trained with Emilio Pujol and earned a diploma from the Hispanic Culture Institute. Beginning in 1968 his recordings appeared in Brazil, Argentina, Japan, and throughout most of Europe. After a period back in Belém he returned to Rio to pursue further engagements and to investigate Brazilian popular music. His initial major presentation paired Villa-Lobos’ Concerto for Guitar and Orchestra with the National Symphonic Orchestra at Rio’s Teatro Municipal; the reception prompted nationwide and U.S. tours. Drawn to composition, Tapajós produced works that remained anchored in Brazilian tradition yet displayed a distinctly personal stamp free of overt commercial concessions.
In 1972 Discmedia/Trova-Alfa issued Brasil: El Arte de la Guitarra, featuring pieces by Brazilian classical and popular composers, original works by Tapajós, and Weiss’s “Allemande.” After 1973 he toured Europe to strong acclaim. That year he appeared at the Folklore and Bossa Nova of Brazil Festival alongside Maria Betânia and Paulinho da Viola and recorded Bienvenido Tapajós for MPS. He subsequently sustained a rigorous itinerary through Germany, Austria, Denmark, Norway, Italy, Holland, Belgium, and additional countries, regularly introducing European listeners to fellow Brazilian artists including Maurício Einhorn, Zimbo Trio, Joel do Bandolim, Djalma Correa, and Sivuca. In 1981 he and Zimbo Trio released Sincopando on Stockfisch. Guitarra Criolla, issued in 1982, was named Album of the Year in Germany; two years later Tropical Music brought out Xingu, recorded with Pedro “Sorongo” Santos and Djalma Correa. His LP Terra also received Germany’s Best Foreign Album award. In 1988 Tapajós and Maurício Einhorn recorded Luá, Joá for Caju Music. The Academia Brasileira de Letras named him Brazil’s foremost musician of 1992. The following year L’Art released Villa-Lobos, a disc devoted entirely to that composer’s music. In 1994 he issued an album centered on Hispanic classical repertoire. Visões do Nordeste, recorded for L’Art in 1995, presented his own compositions shaped by Northeastern Brazilian rhythms, save for the traditional “Mulher Rendeira.” With pianist Gilson Peranzzetta he made Affinities in 1996, comprising chiefly joint compositions. Although sometimes identified as a jazz musician, Tapajós regarded himself simply as a Brazilian music player; he died on October 2, 2021, at the age of 78.
Albums
