The singer who would have turned 80 this Wednesday sought excellence in North American singing, bypassing the normalization of limits brought by the Bossa Nova
He has never been seen for what he actually left behind in his 55 years of life nearly all of which are over 100 pounds of body mass. Because we have to make it stand out and buy it in books, films and documentaries, us Tim Maia through the anecdote filter and we drink it hot and tasty like a cappuccino. Part of the blame for this unfathomable reductionism lies with him. Tim loved to tell the stories that made us laugh. It was Sebastião Maia, from Tijucano, Tião Marmiteiro, who delivered the lunches made by his family when he wasn’t eating them along the way. He taught Roberto Carlo play the guitar; he lived in the United States until he was arrested and deported for possession of marijuana; he stole chairs from a bar; he was again arrested; he was beaten by the police until he lost consciousness; he was part of the sect Universe in disenchantment; forced his musicians to give up marijuana, cocaine and alcohol; sex, even if only for procreation; he became disenchanted by the Universe in Disenchantment and sent his guru and all the rest to the brink; he asked Roberto Carlos for help and didn’t get it; he died of a generalized infection in 1998, at 140 pounds.
Tim in 1970 Photo: Estadão Collection
This is Tim Maia, irresistible by nature. Who doesn’t want it like that in a movie? Who doesn’t want it like that in a biography? singer of Blue of the Color of the Sea, From Leme to Pontal, I liked you so much And I do not want money, to be among the most consulted by Spotify, Tim is even more than that, above the point where we have seen. When you talk about your person, it is necessary to talk about the voice in Brazilian music, no matter how uncomfortable it may seem to its surroundings. Just as Elis was the greatest female voice of her time, Tim was the greatest male voice, and for the same reasons: the technical characteristics and the way the two used them to ignite their volcanoes. So, laughing at Tim, in addition to laughing at Elis and calling her tacky early in her career, she also worked as a kind of class protector in a country that had already chosen the vocal school they wanted to follow.
Generous to composers, the late 1950s bossa nova, the gateway to the modernity of popular music on LP and the post-radio era, framed formerly expansive instrumentalists and powerful singers in more limited fields. Little transmission, no improvisation, almost no resources, short extensions and possible discordant notes. Everything is valid, as long as it serves a sublime composition. Suddenly, singing was no longer an act reserved for those with great voices, but a natural gesture possible even for those who are out of tune and have a heart. Bossa, which circumscribes and whitens Brazilian singing, is an important point not only for what it was in that first half decade of the 1960s, but for the degree of behavioral disruption it would cause in relation to the foundations of North American pop singing.
Because they experienced nothing comparable to bossa nova, all the musical revolutions of North Americans occurred in the light of the instruments, not the voice. Blues, soul, jazz, rock, funk, rap, R&B and their descendants: the reforms were made on the instrumental basis and under the mantle of the same song which, in essence, has not changed from the blue notes of Robert Johnson and the fields of 19th century cotton So, without a point in its history that validated a low-range voice, American pop music can admit anything, but it doesn’t admit vocal farces. Unlike Brazilian pop, the farce did not normalize even in the mass artists that emerged in the United States.
Tim Maia finds his corner on North American black thought and manages to transcribe it into Portuguese without making a caricature of it. It’s a rare moment in a country where male singing has been linearized since composers with exceptional but not technically instinctive voices, such as Gil, Caetano, Milton and Chico, started recording their music instead of looking for performers. Tim is already an amazement in his first album, released in 1970. Colonel Antonio Bento there is drive (a typical rocker distortion) and black vibrato in the first verses. Cristina brings an exceptional gear shift when he says “I’ll see Cristina” for the second time, throwing his chest voice into an almost falsetto, a mixed voice that blues singers love. Swear, in English, opens up all the soul music that Tim wanted for himself, with a strong James Brown trait after the chorus. And that was just the beginning. When we reduce Tim Maia to the graces of a story full of funny passages, we also reduce the reach of him. Today, when he would be 80, he is still an island in a country that could have him as a school.
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Source: Terra

Emily Jhon is a product and service reviewer at Gossipify, known for her honest evaluations and thorough analysis. With a background in marketing and consumer research, she offers valuable insights to readers. She has been writing for Gossipify for several years and has a degree in Marketing and Consumer Research from the University of Oxford.