Jackson do Pandeiro
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About Jackson do Pandeiro
Maybe the most original Brazilian percussionist/singer ever, and certainly the most influential one, Jackson do Pandeiro (born as Jose Gomes Filho in Aug 31,1919 Alagoa Grande/PB; died in Jul 10, 1982 Brasília) was, together with Luíz Gonzaga, responsible for the nationwide dissemination of Northeastern Brazilian music. During his career, he had hits that continue to be re-recorded until today, like the arrasta-pé "Casaca de Couro," the xamego "Forró na Gafieira," the baião "A Cantiga do Sapo," the cocos "O Falso Toureiro" and "Cajueiro," "Meu Enxoval" (co-written by Gordurinha), "17 Na Corrente," "Coco do Norte," "O Velho Gagá," "Vou Ter Um Troço," "Sebastiana," "O Canto da Ema," and "Chiclete com Banana." He had a fundamental role in the Brazilian popular music tradition celebrated by a broad selection of contemporary figures, ranging from Lenine to David Byrne (who produced the CD Forró Etc.).
Jackson had a broader success from the mid-'50s until the late '60s, during the period in which he kept the duo with his wife Almira. With the "Jovem Guarda" and the explosion of youth music in the '60s, the opportunities for Jackson gradually diminished and the duo came to an end, together with the marriage, in 1967. It was only in 1972 that Jackson's contribution to Brazilian popular music would be celebrated, by Gilberto Gil's re-recording of "Chiclete com Banana" (not by coincidence, a song whose lyrics are full of references dear to Tropicalia) on Gil's Expresso 2222. The title track also evidences Jackson's strong influences in the vocal/rhythmic line. Gil later re-recorded "O Canto da Ema" and "A Cantiga do Sapo," while Gal Costa re-recorded "Sebastiana." Also in 1972, Alceu Valença called Jackson to perform as a duo Valença's "Papagaio do Futuro." It was enough to reinvigorate the coco master, who returned to the recording studios and tours throughout Brazil, nevertheless restricted to the June parties known as festas juninas, with its specific repertory of marchas juninas.
After another decade of activities and lesser popularity, Jackson died on the road, soon after doing a show. One year after his death, he was paid tribute in São Paulo in the 30 Anos de Rojão performance, with the presence of Zé Kéti, Odair Cabeça de Poeta, Paulinho Boca de Cantor, Edgar Ferreira, and others. In 1997, Jackson was given an homage during the ceremony of the Sharp Awards.
Jackson had a broader success from the mid-'50s until the late '60s, during the period in which he kept the duo with his wife Almira. With the "Jovem Guarda" and the explosion of youth music in the '60s, the opportunities for Jackson gradually diminished and the duo came to an end, together with the marriage, in 1967. It was only in 1972 that Jackson's contribution to Brazilian popular music would be celebrated, by Gilberto Gil's re-recording of "Chiclete com Banana" (not by coincidence, a song whose lyrics are full of references dear to Tropicalia) on Gil's Expresso 2222. The title track also evidences Jackson's strong influences in the vocal/rhythmic line. Gil later re-recorded "O Canto da Ema" and "A Cantiga do Sapo," while Gal Costa re-recorded "Sebastiana." Also in 1972, Alceu Valença called Jackson to perform as a duo Valença's "Papagaio do Futuro." It was enough to reinvigorate the coco master, who returned to the recording studios and tours throughout Brazil, nevertheless restricted to the June parties known as festas juninas, with its specific repertory of marchas juninas.
After another decade of activities and lesser popularity, Jackson died on the road, soon after doing a show. One year after his death, he was paid tribute in São Paulo in the 30 Anos de Rojão performance, with the presence of Zé Kéti, Odair Cabeça de Poeta, Paulinho Boca de Cantor, Edgar Ferreira, and others. In 1997, Jackson was given an homage during the ceremony of the Sharp Awards.
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About Jackson do Pandeiro
Maybe the most original Brazilian percussionist/singer ever, and certainly the most influential one, Jackson do Pandeiro (born as Jose Gomes Filho in Aug 31,1919 Alagoa Grande/PB; died in Jul 10, 1982 Brasília) was, together with Luíz Gonzaga, responsible for the nationwide dissemination of Northeastern Brazilian music. During his career, he had hits that continue to be re-recorded until today, like the arrasta-pé "Casaca de Couro," the xamego "Forró na Gafieira," the baião "A Cantiga do Sapo," the cocos "O Falso Toureiro" and "Cajueiro," "Meu Enxoval" (co-written by Gordurinha), "17 Na Corrente," "Coco do Norte," "O Velho Gagá," "Vou Ter Um Troço," "Sebastiana," "O Canto da Ema," and "Chiclete com Banana." He had a fundamental role in the Brazilian popular music tradition celebrated by a broad selection of contemporary figures, ranging from Lenine to David Byrne (who produced the CD Forró Etc.).
Jackson had a broader success from the mid-'50s until the late '60s, during the period in which he kept the duo with his wife Almira. With the "Jovem Guarda" and the explosion of youth music in the '60s, the opportunities for Jackson gradually diminished and the duo came to an end, together with the marriage, in 1967. It was only in 1972 that Jackson's contribution to Brazilian popular music would be celebrated, by Gilberto Gil's re-recording of "Chiclete com Banana" (not by coincidence, a song whose lyrics are full of references dear to Tropicalia) on Gil's Expresso 2222. The title track also evidences Jackson's strong influences in the vocal/rhythmic line. Gil later re-recorded "O Canto da Ema" and "A Cantiga do Sapo," while Gal Costa re-recorded "Sebastiana." Also in 1972, Alceu Valença called Jackson to perform as a duo Valença's "Papagaio do Futuro." It was enough to reinvigorate the coco master, who returned to the recording studios and tours throughout Brazil, nevertheless restricted to the June parties known as festas juninas, with its specific repertory of marchas juninas.
After another decade of activities and lesser popularity, Jackson died on the road, soon after doing a show. One year after his death, he was paid tribute in São Paulo in the 30 Anos de Rojão performance, with the presence of Zé Kéti, Odair Cabeça de Poeta, Paulinho Boca de Cantor, Edgar Ferreira, and others. In 1997, Jackson was given an homage during the ceremony of the Sharp Awards.
Jackson had a broader success from the mid-'50s until the late '60s, during the period in which he kept the duo with his wife Almira. With the "Jovem Guarda" and the explosion of youth music in the '60s, the opportunities for Jackson gradually diminished and the duo came to an end, together with the marriage, in 1967. It was only in 1972 that Jackson's contribution to Brazilian popular music would be celebrated, by Gilberto Gil's re-recording of "Chiclete com Banana" (not by coincidence, a song whose lyrics are full of references dear to Tropicalia) on Gil's Expresso 2222. The title track also evidences Jackson's strong influences in the vocal/rhythmic line. Gil later re-recorded "O Canto da Ema" and "A Cantiga do Sapo," while Gal Costa re-recorded "Sebastiana." Also in 1972, Alceu Valença called Jackson to perform as a duo Valença's "Papagaio do Futuro." It was enough to reinvigorate the coco master, who returned to the recording studios and tours throughout Brazil, nevertheless restricted to the June parties known as festas juninas, with its specific repertory of marchas juninas.
After another decade of activities and lesser popularity, Jackson died on the road, soon after doing a show. One year after his death, he was paid tribute in São Paulo in the 30 Anos de Rojão performance, with the presence of Zé Kéti, Odair Cabeça de Poeta, Paulinho Boca de Cantor, Edgar Ferreira, and others. In 1997, Jackson was given an homage during the ceremony of the Sharp Awards.
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