Latin Jazz / Pop/Art Song/Folk • Uruguay
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Taiguara Chalar da Silva (Montevideo, October 9, 1945 – São Paulo, February 14, 1996), whose stage name was Taiguara, was a Brazilian singer and songwriter. Taiguara was born in Montevideo, Uruguay as his father toured the country as a musician, but grew up in Rio and later moved to São Paulo. While attending Law School at Mackenzie University, he became increasingly involved with student organized recitals and performances, eventually abandoning the course altogether to pursue a musical career full time. In 1964, he joined the Sambalanço Trio and started receiving media attention, which yielded his first offer from a record label. In 1965, Taiguara recorded his first of several albums, and in the following years won many awards. Due to a series of disagreements with the military dictators in power, his career in Brazil was interrupted in the mid-1970s and he was forced to move abroad, settling in London, where read more...
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TAIGUARA Taiguara! album cover 3.00 | 1 ratings
Latin Jazz 1965
TAIGUARA O Vencedor De Festivais album cover 3.00 | 1 ratings
O Vencedor De Festivais
Pop/Art Song/Folk 1968
TAIGUARA Hoje album cover 3.50 | 1 ratings
Pop/Art Song/Folk 1969
TAIGUARA Viagem album cover 4.00 | 1 ratings
Pop/Art Song/Folk 1970
TAIGUARA Carne E Osso album cover 4.00 | 1 ratings
Carne E Osso
Pop/Art Song/Folk 1971
TAIGUARA Piano E Viola album cover 4.00 | 1 ratings
Piano E Viola
Latin Jazz 1972
TAIGUARA Fotografias album cover 4.50 | 1 ratings
Pop/Art Song/Folk 1973
TAIGUARA Imyra, Tayra, Ipy - Taiguara album cover 5.00 | 1 ratings
Imyra, Tayra, Ipy - Taiguara
Latin Jazz 1976
TAIGUARA Canções De Amor E Liberdade album cover 4.00 | 1 ratings
Canções De Amor E Liberdade
Latin Jazz 1983
TAIGUARA Teu Sonho Não Acabou album cover 0.00 | 0 ratings
Teu Sonho Não Acabou
Latin Jazz 1990
TAIGUARA Brasil Afri album cover 4.00 | 1 ratings
Brasil Afri
Latin Jazz 1994

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TAIGUARA Canções De Amor E Liberdade

Album · 1983 · Latin Jazz
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There is a reason why I have a great admiration for Taiguara. The past albums are great, and he is a superb musician, but its in his last two works that his political voice gain more sound and reverberation.

"Canções de Amor e Liberdade" (Songs of Love and Freedom), is the kind of album that shows an ageing musician dealing with themes new and old, in a new way. He gave attention both to more traditional tecniques as to a great bit of improvisation and experimentation. The whole album is filled with a communist reading of brazilian and latinamerican reality, as Taiguara were, by 1983, already in touch with Karl Marx and Lenin works, besides becoming a comrade of the communist leader Luiz Carlos Prestes.

The interesting is that his music is not "affected" by his politics: its accesible yet bold; popular yet scholar. As great music should be.

TAIGUARA Imyra, Tayra, Ipy - Taiguara

Album · 1976 · Latin Jazz
Cover art Buy this album from MMA partners
Contextualization is necessary: ​​in the late sixties, Taiguara was seen as one of the biggest names in Brazilian popular music. He have won festivals, their albums sold well, their songs were reproduced constantly in the radios. Over time, Taiguara was fond of singing more freely, allowing himself to make small comments about the military dictatorship and the dreams of a new society - all in metaphors and innuendos. In 1971, in the album "Carne e Osso", there was a song dedicated to Cuba. The Brazilian censorship never left Taiguara rest for then on. In the following years, more than 60 songs would be prohibited, censored, or prevented from being reproduced in radio and concerts. His shows were constantly attacked by police forces. Taiguara decided to go on exile. In England, he records an album with Michel Legrand and the London Symphonic Orchestra. The album is banned from being released in England by the Brazilian government - today the original tapes have not yet been found. In 1975 he was allowed to return to Brazil and record a new album.

How? How to express his indigenous roots, his displeasure with censorship and dictatorship and his dream for another society without censorship attacking him? "Imyra, Tayra Ipy" is born.

With Wagner Tiso, Hermeto Pascoal and more than 80 musicians, "Imyra, Tayra Ipy" becomes a lavish album, absurdly complex, with thematic and concept from start to finish. The arrival in Brazil, his feeling of belonging to a land whose birds do not sing anymore; its indigenous, African and Spanish roots sung, while more than 3 musicians solo at the same time. "Imyra, Tayra Ipy" is a landmark of both the artist and Brazilian music. Albums like this were not usually recorded in Brazil: by technical and financial condition to gather all the attributes. "Imyra, Tayra Ipy" grandeur comes, often in the album, in its ability to completely subvert brazilian songs and themes in something completly different. One of the best example is his reading of "Aquarela do Brasil" in the track "Aquarela de um país na lua".

The result? Three days later, the Brazilian police collected the album form the shelves of the stores and destroyed the copies. Taiguara went into exile in Europe and Africa and would record again only almost ten years later.

But no matter, the song has come to us, we have the opportunity to see an artist who used the music to take revenge on a system, whith strings, drums and highly dreamy lyrics.

The Taiguara of the following decades would be extremely bold and would definitely drop the metaphors to reach his political ideas in a direct form.

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