JORGE VEIGA (Rio de Janeiro, April 14, 1910 - June 29, 1979)

            Poor children in the suburb of Engenho de Dentro, the boy Jorge de Oliveira Veiga worked as a shoeshine, in the grocery store and butchery. As an adult, as a wall painter he used to sing, being discovered by a client who indicated him, in 1934, to work in a freshman program of Radio Educadora. Thus began his artistic career, performing in circus and other popular places.

In 1939, he made his first recording with the rancher Adeus João, by the accordion player Antenógenes Silva (B side, Odeon label). As a singer on Radio Guanabara, from 1942, he met the program presenter Paulo Gracindo, who guided him in his style of performing, giving him the nickname of The Samba Caricaturist. Among his initial successes are sambas Rosalina and Cabo Laurindo, both of Haroldo Lobo and Wilson Batista, Vou Sambar In Madureira, by Haroldo Lobo and Milton Oliveira (1945), the march Can Be That It Is not (João de Barro, Antônio Almeida) and samba de breque Baile da Piedade (authored by Raul Marques), dated 1947, and the baião A Primeira Umbigada by Manezinho Araújo and Fernando Lobo in 1951 (all on the Continental label). At that time, he gained great popularity by opening his programs, now on Rádio Nacional, with the famous phrase, created by Floriano Faissal: Hello, hello, gentlemen who cross the skies of Brazil, here is Jorge Veiga, from Rádio Nacional do Rio from January. Stations of the interior want to give their prefixes to guide our aircraft. The debut LP Café Soçaite in Ritmo de Samba (Copacabana, 1957) marked definitively the classic Café Soçaite by Miguel Gustavo.

The next year, Hello! Hello! Sings Jorge Veiga (Copacabana), brought new hits like Talk of Botequim (Noel Rosa, Vadico) and Acertei No Milhar (Wilson Batista, Geraldo Pereira). In 1959, the album The Caricaturist of the Samba (Copacabana) was released, when he presented the great Recado Que A Maria Mandou (Haroldo Lobo, Wilson Batista) and Faustina (Gadé) among others. He then ended his contract with the Copacabana label, with the LP Thank you Dr !, highlighting: Enduring the Old Branch (Heitor Catumbi), Pernambuco Você É Meu (Daniel Lustosa, Tancredo Silva). On the label RCA Victor, he recorded: Samba E Ginga (1963), with the megachurch Bigorrilho (Sebastião Gomes, Paquito, Romeu Gentil), Nega (Waldemar Gomes, Afonso Teixeira), Eu Vi Pau Roncar (João da Baiana) and Samba + Samba = Jorge Veiga (1965), it is worth pointing out: Queen of Mangueira (Ary Barroso), Que Speak of Me (Bidú Reis), Seventh Heaven (Zé do Acoustic). Talent in a double dose came with the LP De Leve: Cyro Monteiro and Jorge Veiga (RCA Vik, 1971), a parade of classics such as Farewell to Mangueira (Benedito Lacerda, Aldo Cabral), No Tears (Max Bulhões, Milton de Oliveira), If You Swear (Ismael Silva, Nilton Bastos, Francisco Alves), Isaura (Herivelto Martins, Roberto Roberti). In the same year, the collection Jorge Veiga was edited: the samba cartoonist (RCA label, BMG), full of hits: Pistom de Gafieira (Billy Blanco), Escurinha (Geraldo Pereira, Arnaldo Passos), Girl of Saint-Tropez Of Barro, Jota Júnior), Velório No Morro (Raul Marques, Tancredo Silva). The famous controversy between Wilson Batista and Noel Rosa, also recorded in LP, next to Roberto Paiva (Studio Hara, 1974), when interpreting Scarf in the Neck, Mocinho da Vila, Conversa Fiada, Frankstein, Land of the Blind, My World Is Today (that of Wilson Batista with José Batista). His last work, edited by Jorge Veiga em Grande Estilo (label Veralex, 1977), highlighted his composer side (always with good humor) in bands such as: Mister Sifrão (with Bidú Reis), Moleque Frajola, Fatty Eating (those with Avarese), Samba de Subúrbio (with Paulo Tito), Song of the Aviators (with Ze of the Guitar) and others.

With his death in 1979, CBS edited the LP O Eterno Jorge Veiga, of good moments, like: Heart Also Forgets (Raul Marques, Príncipe Pretinho) and of its authorship Casa Que Has Dog (with Newton Teixeira and Blackout), Samba In Heaven (with Zé of the Guitar), Festival of Bolachada (with Fatty). In another compilation, The Best of Jorge Veiga (Movie Play, 1992), we should also mention: Woman Malandra (Zé da Zilda), Who Am I? (Fatty).

In the movies, he participated in the comedies Rico Ri À Toa (by Roberto Farias, 1957) and Minervina Vem Aí (Eurídes Ramos, 1959). Jorge Veiga, an exceptional interpreter of anasal voice, with a contagious and unequaled rhythm, whether in samba de breque, gafieira or in carnival music, a subtle, critical, ironic repertoire, a perfect chronicler of his time.


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