Alfredo da Rocha Viana Filho (1897-1973), Pixinguinha

Jørgen Larsen

Alfredo da Rocha Vianna Jr., nicknamed the "Pixinguinha", had a prominent role in the definition of the so-called regional of choro, as how are named the typical small groups of this genre. Virtuose flutist at tender age, composed his first song at age 13, the choro "Lata de Leite," dedicated to his friends with whom he used to play tricks as stealing milk cans from the front of the houses of the neighborhood.

Taking the small groups, very chamberistic in their execution, that were common by then, based on flute, acoustic guitar and cavaquinho, he modified their structure to come to the one he employed in his fundamental one, Os Oito Batutas. This revolutionary ensemble introduced the jazz-based instrumentation in Brazil, with trumpet, trombone, saxophone, banjo, in addition to the varied Brazilian percussion.
 

Jørgen Larsen

It was September, 1920. After touring São Paulo and Minas, Os Oito Batutas were invited to work at the Assírio cabaret, at the Theatro Municipal of Rio de Jainero. Millionaire Eduardo Guinle, huge admirer of the Batutas, decides himself to sponsor one season for them in Europe. They arrived in Paris in the winter of 1922 to play in the Scheherazade cabaret. With the main concern of having his sound to be heard in the ample Parisian rooms, that were larger than the carioca ones, Pixinguinha started to think of an instrument with a more powerful sound. Because of that, he bought a Selmer soprano sax, introducing this instrument, typical of jazz, in Brazil. The season initially intended to be one month long, is expanded through half an year. Paris invades the cabaret, raving with the hallucinating rhythm of the Brazilians. Total success of audience and critic.

Jørgen Larsen

In 1932, still working for Victor, he created the famous group Guarda Velha, with rare artists as Bonfiglio de Oliveira, Luís Americano, Vantuil, Donga, João da Baiana among others. Of the recordings of this group deserve mention "Linda Morena," "O Teu Cabelo Não Nega" and "Moleque Indigesto”.
 

Jørgen Larsen

In 1940, renowned maestro Stokowsky comes to Brazil to supervise the recording of the best popular music of the Latin-American countries. He was advised to look for Pixinguinha, who called Donga, João da Baiana, Cartola, Luís Americano, Zé da Zilda, Jararaca, Ratinho. On board of the "Uruguai" ship, this group contributed in the 8 records that would be sold in USA.

In that same year, 1940, Pixinguinha joins Benedito Lacerda's regional and begins one of the most fertile periods of Brazilian music, with a perfection of execution not known until then. At this point comes the time when Pixinguinha revolutionizes the Brazilian musical writing, with his sax doing superb improvised counterpoints to the Lacerda's flute melody. New creative and innovative works are born in this phase, like "Ingênuo," "Um a Zero," "Segura Ele," "Sofres Porque Queres," "Proezas do Sólon," "Oito Batutas," "O Gato e o Canário," "Ainda me Recordo," among others. Although Benedito Lacerda appears as co-author, they are from Pixinguinha alone, who gave partnership to Lacerda because of the divulgation he did.

 Benedito Lacerda and Pixinguinha   

But soon, in 1964, he would suffer the stroke that would take away most of his pleasure and music. In 1968 he said he was retiring from Brazilian popular music. At February 17th of the next year, he left out to baptize one of his grandsons. After some time talking with family people he began to feel sick. He didn't wait for medical care. At half past 4 in the afternoon died the Pixinguinha, in the Igreja da Paz, at 74 years of age.

Jørgen Larsen

Pixinguinha, Genius & Soul

Guitar Choro part one | part two | part three | part four | part five | part six