Adelaide Chiozzo was born in São Paulo on May, 13, 1931, in the Brás neighborhood; which had a strong predominance of Italian immigrants. She was the daughter of Leonor Cavallini and Geraldo Chiozzo, a master carpenter. One day he did a job for a music store that paid him with an accordion, which he had no idea how to play. It was his younger daughter, Adelaide who, without anybody knowing, learned how to play the instrument and still in childhood played her first song: the Brazilian waltz "Saudades De Matão" without the help of any teacher.
At the age of 11, Adelaide showed on a competition at the Rádio Bandeirantes, in São Paulo, hosted by Vicente Leporace, soloing the Brazilian waltzes "Branca" and "Saudades De Matão", and after all the steps of that competition, she won the first prize and an invitation to play at the program Serra da Mantiqueira, every day at 8:00 o'clock in the morning, under the direction of the Mota Brothers. Her father, a very strict man, imposed that her older brother, Afonso, also accompanied her in the accordion and the duo was known as the Chiozzo Brothers.
In 1946 the family moved to Niteroi, RJ, and started a furniture business. The composer Irani de Oliveira took Adelaide to the program Papel Carbono, hosted by Renato Murce, and once again she won the first prize and a contract with Rádio Nacional, as an accordionist. She became one of the musicians of the Regional Dante Santoro, one of the best in Brazil, and even as young as she was, she was a match for all of those experienced musicians.
One and a half year after, one singer didn't show for a program, and in the emergency, Adelaide substituted her and after that she started interpreting songs as a singer as well.
Irani de Oliveira also took her for an audition at Atlântida Filmes and she was hired. With her brother Afonso, she played for Bob Nelson, the Brazilian Cowboy, in two films: "Esse Mundo É Um Pandeiro" (1947) and "E O Mundo Se Diverte" (1948), but only in 1949 she had a part for herself, where she played the song "Tempo De Criança", her debut single in 78 r.p.m. for Star in 1950. Now, as a radio singer at Rádio Nacional, where she stayed for 25 years, she didn't have to play for Bob Nelson anymore.
In the film "Carnaval No Fogo" (1950) she had the opportunity to play a part, and also sing the polka "Pedalando" a big hit and one of her most requested songs until today.
In 1951 she married the guitar player Carlos Mattos who started to play with her and thanks to the incredible popularity of Rádio Nacional, Adelaide estimates that now, she had showed in more than 800 cities in Brazil, many of which, more than once.
Paulo Gracindo suggested to Revista do Rádio to launch a competition to choose the "Brazilian Girlfriend" and Adelaide won. She holds the title until today, for there was no other competition of the kind since then.
Adelaide, always the same adorable person, lives today with Carlos Mattos in the neighborhood of Tijuca, Rio de Janeiro, and recently they celebrated their 50 years of marriage.
Paulo Gracindo suggested to Revista do Rádio to launch a competition to choose the "Brazilian Girlfriend" and Adelaide won. She holds the title until today, for there was no other competition of the kind since then.
Adelaide, always the same adorable person, lives today with Carlos Mattos in the neighborhood of Tijuca, Rio de Janeiro, and recently they celebrated their 50 years of marriage.
Alencar Terra (???? - 20/05/1963) was a multi-instrumentist and for many years had his own academy of music in Rio de Janeiro.
In 1944 recorded for Odeon "Melodias Russas" and "Melodias Infantis". He composed and accompanied, among others, Adelaide Chiozzo, with whom he recorded "Saudades De Guarapari" and "Recordações De Anápolis", both composed by him, "Venho De Minas", with J. Portella, "A Saudade Que Não Me Deixa", by Jorge Tavares and Nestor de Holanda, "Pedalando", by Anselmo Duarte and Bené Nunes, and Tempo De Criança", by João de Souza and Ely Turquine, all in 1950.
When he passed away, in 1963, he left an invaluable collection of compositions on the regional repertory.
Pedalando
These records were part of my toys and survived my childhood. Unfortunately, the amount of noise you find on such records, especially the 78 r.p.m.'s is too big. I used all my knowledge to clean them up, but some frequencies might have been altered and some noise was left to avoid a larger distortion of the music. If any of you wish to try the cleaning for yourselves, please let me know and I'll make the original rip available.
01. Pedalando (Anselmo Duarte/Bené Nunes) • 2:44
02. Tempo de Criança (João de Souza/Ely Turquine) • 2:50
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