TIM MAIA (Rio de Janeiro, September 28, 1942 - Niterói, March 15, 1998)

            Born and raised in Tijuca, where the parents held a pension, the youngest son of eleven brothers, Sebastião Rodrigues Maia liked to listen to the sambas of Angela Maria, Cauby Peixoto, baião of Carmélia Alves, boleros of Anísio Silva and Trio Los Panchos , Who hummed as he delivered the kettles prepared by His Haughty One. At age 14, with his first musical group, Os Tijucanos da Tijuca, held by the priests of the church of São Sebastião dos Capuchinhos, began to animate the quermesses and domingueiras in the parish hall, of short duration. After winning a guitar from his father, he quickly learned to play it, developed a rock-hitting beat, imitating the singing of Little Richard and Elvis Presley, the news of the moment.

Thus, in 1957, formed the set The Sputnicks, and included a kid from the suburb of Lins de Vasconcelos, named Roberto Carlos. They performed at the Clube do Rock, produced by Carlos Imperial for TV Tupi, when they sang Little Darling, original recording of the Canadian quartet The Diamonds. For disagreement between the two "stars" (Tiao and Roberto), the group had a brief career. With the death of her father in 1959, accompanied by a group of priests on a trip promoted by the Archdiocese of Rio de Janeiro, without speaking a word of English, she embarked for New York with small dollars in her pocket, a letter of introduction to a family friend , And the dream of working on television. A tumultuous experience, which for a time earned him the friendship, housing, and guitar of the generous O'Meara couple in Tarrytown (40 miles from Manhattan), Americanization at Sleepy Hollow High School, Greenwich Village and Harlem, Apollo Theater, modest jobs that maintained their survival, forming a vocal ensemble The Ideals (with presentations at bars and parties), traveling with three friends in a car stolen by several states, some prisons, and finally being deported in 1964.

In 1966, he left for São Paulo with the intention of rejoining Roberto and Erasmo Carlos, who were successful with the Jovem Guarda program at the Record Theater. Frustrated in his attempt, he managed to launch himself on TV Bandeirantes' Quadrado e Redondo program, accompanied by the young Os Mutantes and at nightclub Molambo, by boleros singer Roberto Luna, where he played ballads by Ray Charles. Finally, he was invited to sing in 1968 in Jovem Guarda, receiving a few palms from an audience accustomed to other types of music. From Erasmo Carlos, the friend of the tijucana childhood, got his song No Quero Nem Saber (already signing Tim Maia) to be recorded on the album Erasmo Carlos (RGE, 1968), doing backing vocal in all the tracks. The following year, Roberto Carlos recorded, on CBS label, the first hit of Tim Maia, Não Vou Esticar.

In 1970, the singer and songwriter began a brilliant artistic career with the LP Tim Maia (Polydor label), which included Coroné Antônio Bento (Luiz Wanderley, João do Vale) in a rhythm of soul music, the epic "Padre Cicero" ( Tim Maia, Cassiano) of repercussion in the novel Brothers Courage (from Janete Clair to Rede Globo), and the romantic Spring (Cassiano, Silvio Rochael), Blue of the Sea Color (Tim Maia). The following year, a new success with the album Tim Maia (Polydor label), when he presented the mega-hit "Não Quero Dinheiro, Só Quero Amar" (Tim Maia) at the base of samba-soul, "Você" (Tim Maia), bossa nova "Eu preciso aprender a ser só" (Marcos Valle, Paulo Sérgio Valle), and the beautiful song It's For You That I Live (Rosa Maria's coauthor). After touring to London and then to New York in 1972, he released his 3rd album Tim Maia (Polydor label), featuring These Are The Songs (Tim Maia) duet re-recording with Elis Regina, and the beautiful ballad "O que me importa"(Cury).

In 1973, he recorded Tim Maia (Polydor), with the great samba-soul "Réu Confesso", "Over Again" (both lyrics), "Told You So Much" (Edinho Trindade) another hit, and the romantic " Amado "(Tim Maia), accompanying the guitar. The following year, led by composer Tiberius Gaspar, he went to Belfort Roxo, going to an old and modest house known as the Shrine of the Universe in Disenchantment, ministered by a strong mulatto man in his 70s, Manoel Jacintho, babalorixá de candomblé and author Of the book "Racional Superior". Impressed by everything he saw, heard and read, Tim Maia felt the prospect of new paths of peace and success for his life. In order to publicize the collected lessons, he released "Seroma Discos" (Sebastião Rodrigues Maia), Tim Maia LPs "Racional. Vol. 1 and 2" (1975/76), where he gave his message in reggae-soul: "Uh Uh uh what beauty / what beauty is feeling the nature / to be sure where it goes and where it comes / what beauty is to come from purity / and without fear distinguish between evil and good ... "(Rational Immunization" What Beauty ") , "Live the Rational Culture / beautiful transcendental culture / it is not history, it is not doctrine / it is not science, sect or religion / it is clean thing, it is pure thing / for the path of eternal salvation ..." (Wills Want No Please partner with Fabio). Steeped in body and soul in this new doctrine, he gradually saw that his artistic trajectory only worsened, definitively disenchanting with his ex-guru, and did not allow the two discs produced to be re-circulated (relaunched only in 2006/2011). Also in 1976, the album Tim Maia (Polydor) was published, in particular the romantic ballad "É Preciso Amar" (autoral) and "The Dance Is Over" (partnership with Hyldon, Reginaldo). In 1977, he re-recorded Tim Maia (Som Livre label), and signed partnerships with Paulo Ricardo (Without You), Carlos Simões (Do not Warm His Head), and the dance "Come Sleep At Home". In club times, nothing more appropriate than the release of the album Tim Maia Disco Club (Warner, 1978), with a true selection of musicians like Paulo Braga (drums), Jamil Joanes (bass), Lincoln Olivetti (organ), Edmundo Maciel (trombone), for the envelopes Ignite The Lighthouse, Sossego, All I Want, "If I Remember It Hurts", all copyright. Also in 1978, he edited Tim Maia (Seroma), totally sung in English: "To Fall In Love" and "Only A Dream" (Tim Maia), among others. The following year, he recorded Reencontro (EMI-Odeon), featured for romantic songs "Pra Você Voltar" (Tim Maia), "Vou Correndo Te Buscar" (Renato Piau, Arnaud Rodrigues).

In the 80's, Tim Maia continued as one of the most popular Brazilian singers, with recordings always with a good repertoire: Tim Maia (Polydor, 1980), it is worth mentioning: "Não Vá" (partnership with Robson Jorge, Lincoln Olivetti), "Não Be Sad "(Cassiano); "Nuvens" (Seroma, 1982), interprets the samba "Another Woman" (Tim Maia), the classic "On the Street in the Rain" (Hyldon); "The Discoverer of the Seven Seas" (Araponga, Lança, Polygram, 1983), includes the merry and engaging title song (by Michel and Nilson Mendonça), the romantic ballad "Give Me Motives" (Michael Sullivan, Paulo Massadas); "Sufocante" (Araponga, Lança, Polygram, 1984), highlighted: "Good Moments" (Marcos Cardoso, Michel), "Sufocante" (William Félix, Carlos Dafé); Tim Maia (RCA Victor, 1985), good to hear: "Ask Her" (Ed Wilson, Carlos Colla), "A Estrela A Mais" (Fernando Gama, Ronaldo Bastos); Tim Maia (Continental, 1986), another "hit" "Pudera" (Marquinhos, Michel) and excellent re-recording for "Do Leme Ao Pontal", of his authorship; "We Are America" ​​(Continental, 1987), to applaud: "True Friend" (Antônio Marcos, Lincoln Olivetti), "Somos América" ​​(Tim Maia), "Sem Volta" (Rique Pantoja, Sérgio Natureza); Carinhos (BMG, Ariola, 1988), romantic hits in: "Carinhos" (Prêntice, Gabriel O'Meara), "Ancient Passion" (Marcos Valle, Paulo Sérgio Valle), and the ranch with funk " "(Willie, Dom Mita).

In 1990, he began a new phase in his career, with the album Tim Maia Interpreta Clássicos da Bossa Nova (Vitoria Régia Discos), produced by Almir Chediak (who taught him a lot of harmony and chords), anthology, sophisticated readings and softness for the voice (Tom Jobim, Newton Mendonça), "Samba da Querida" (Penarilho, Marcos Vasconcellos), "Meditation" (Tom Jobim, Newton Mendonça), "Me E Brisa" (Johnny Alf), "Minha Namorada" (Carlos Lyra, Vinicius de Moraes) , among others. In 1992, with the artistic direction of his biographer, journalist and composer Nelson Motta, he released Tim Maia Ao Vivo (Seal Warner), based on the revised record of the show performed at Olympia / SP, with his band including Jorjão, Moyses and Michel ), Piau (guitar), Silvério (trumpet), Paulo Braga (drums), among others, and his hits "Vale Tudo" (Tim Maia), "Telephone" (Nelson Kaê, Beto Correia), "A Rã" Donato, Caetano Veloso), "A Sunday Day" (Michael Sullivan, Paulo Massadas). On the label "Vitória Régia" (in 1994), Tim presented the CD Voltou Clarear with unpublished songs, and included bossa nova classics "O Barquinho" (Roberto Menescal, Ronaldo Bôscoli), "Corcovado" (Tom Jobim), "End of Night "(Chico Feitosa, Ronaldo Bôscoli), besides the title track, coautoria of Cláudio Mazza and João Batista. With his weakened health, he also recorded his "Vitória Régia" (1997), among his last works: Friends of the King: Tim Maia and Os Cariocas, when the dream of a boy came true, a vocal ensemble like that of Severino Filho , Teacher leader of the group and friend of his father. Among the tracks: "She Is Carioca" (Tom Jobim, Vinicius de Moraes), "Telephone" (Roberto Menescal, Ronaldo Bôscoli), "I Do not Want Money, Just Want to Love" (Tim Maia), "Friend of the King" , Braulio Tavares), "What A Wonderful World", reminiscent of American songs of the 50s and 60s, when he had returned to Brazil, he performed the track that gives name to the album (George David Weiss, Bob Thiele), "Save The Last Dance for Me "(Dris Ters)," On Broadway "(B. Menn, C. Well, J. Leciber, M. Stoler)," When We Get Married "(Don Hogan); (Johnny Alf), "Olê Olá" (Chico Buarque), "Só Você" ("Only You"), to listen and sing, (Tim Maia), "Só Danço Samba" (Tom Jobim, Vinicius de Moraes) and "Vivo Sonhando" (Tim Maia).

On March 8, 1998, he performed at the Municipal Theater of Niterói for a performance to be recorded live on the Multishow channel. With the crowded room, he entered the scene trying to sing uselessly, being led by an ambulance of the Fire Department to the Hospital Antônio Pedro, in very serious condition, passing away a week later. In 2014, the powerful film Tim Maia, directed by Mauro Lima, was released based on the book Vale Tudo - O Som and the Fury of Tim Maia, of Nelson Motta.

The charismatic Tim Maia, a powerful and exuberant voice singer, creative composer, in spite of his extemporary fantasies, controversial uncensored, transgressor, irresistible humor, conquered the whole of Brazil, causing people to dance and sing, in various styles, Soul, funk and bossa nova, sambas, baião, xotes, romantic ballads and North American standards, deserving countless awards throughout his effervescent career.

© Copyright 2008 - Pelo Telefone: A trip through Popular Brazilian Music.

Development and Design: Marcio Cunha