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Marcos Kostenbader Valle (born 14 September 1943 in Rio de Janeiro)〔(allmusic Biography )〕 is a Brazilian singer, instrumentalist, songwriter and record producer. He has produced works in many musical styles, including bossa nova, samba, and fusions of rock, soul, jazz, and dance music with Brazilian styles. ==Early career== Valle's talent was evident from his high school years, which coincided with the explosion of the bossa nova movement in Rio. His classmates included future legends such as Edu Lobo and Dori Caymmi, and his composition "Sonho de Maria" was included on the ''Avanco'' album by the influential Tamba Trio in 1963. With his brother Paulo Sergio Valle as his lyricist, he had already built an impressive portfolio of songs, prompting Odeon Records (a subsidiary of EMI) to sign him as a singer. His debut album ''Samba "Demais"'', was released in April 1964. His reputation quickly spread, and his fellow musicians (including Wilson Simonal, Elis Regina, and Nara Leão) lined up to record his songs. A second album, ''O Compositor e o Cantor'', followed in 1965, and featured what would become his most recognisable song, "Samba De Verão" – known in English as "So Nice (Summer Samba)" – along with other hits such as "Deus Brasileiro," "Gente", and "A Resposta". Nineteen sixty-six brought Valle's first trip to the United States, where he and his then-wife Anamaria briefly teamed up with Sérgio Mendes in an early version of what would later become Brasil '66. The threat of being drafted and sent to Vietnam caused Valle to return quickly to Brazil, although the following year saw him back to the United States and enjoying some success, including the release of his U.S. debut album, ''Braziliance!'', on Warner Bros. Records, and several appearances on the Andy Williams TV show. Following session work on Verve Records releases by compatriots Walter Wanderley and Astrud Gilberto, the label released Valle's ''Samba '68'' featuring English-language versions of songs from his earlier Brazilian releases. Shortly thereafter, feeling homesick, Valle returned to Brazil and entered a new creative phase. ''Viola Enluarada'' (1968) was more mature and introspective, far removed from the frothy feel of ''Samba '68''. The title track was a duet with Milton Nascimento and became one of Valle's signature compositions in Brazil. It also betrayed a political consciousness largely absent from Valle's previous work – he would become more overtly political in the years to come. The album as a whole pointed to a broader range of musical influences (particularly the Northeastern Brazilian styles he had enjoyed listening to since his childhood days) that moved him out of the "strictly 'bossa nova artists' club."〔 This process continued on 1969's ''Mustang Cor de Sangue ou Corcel Cor de Mel'', another leap forward that incorporated rock, soul and pop idioms, all stamped with Valle's own melodic style. His work on the album reflected the sophisticated pop approach of American songwriters such as Jimmy Webb and Burt Bacharach as well as the inescapable influence of The Beatles.〔 Around this time, Valle began writing music for TV programs and telenovelas (soap operas), which over the next few years would become one of the main outlets for his work, along with advertising jingles. ''Marcos Valle'' (1970) (often referred to as ''The Bed Album'' due to its cover shot of Valle in bed) contained his most adventurous as well as his most rock-influenced and psychedelic music up to that point. Backed by Milton Nascimento's band Som Imaginario, Valle explored a more eccentric approach, with a number of futuristic tracks and an extended instrumental suite not unlike the work of U.S. composer and producer David Axelrod. ''Garra'' (1971) was a career highpoint that summed up his music and still stands as one of the finest pop albums of the era, Brazilian or otherwise. Its effervescent pop, jazz, soul, bossa, and film soundtrack stylings were matched by lyrics that attempted to reconcile Valle's hippie leanings with his status as a wealthy young musician who was also a successful businessman because of his successful novela soundtracks and corporate advertising accounts. Telenovelas he provided some or all of the music for during this period included ''O Cafona'', ''Uma Rosa com Amor'', ''Minha Doce Namorada'', ''Pigmalião 70'', ''Os Ossos do Barão'', and, most prominently, ''Selva de Pedra''. He also wrote the score for the film ''O Fabuloso Fittipaldi'' (1973). ''Vento Sul'' (1972) found Valle long-haired and bearded, and backed by the progressive rock band O Terço. His most experimental effort to date (he even flirted with heavy metal on the song "Mi Hermoza"), it was a sales flop, although it has acquired admirers over the ensuing decades. The following year's innovative ''Previsão do Tempo'' fared better. It was made in conjunction with the band that initially formed to back Valle at live shows and named itself after one of his songs, Azimuth (soon to change the spelling to Azymuth). This album had a notable jazz fusion feel thanks to Valle's enthusiasm for the Fender Rhodes piano and Azymuth keyboardist Jose Roberto Bertrami's expertise on the Hammond organ and assorted synthesizers such as the Mini-Moog and the ARP Soloist. This sound would prove a decisive influence on the acid jazz scene in Europe twenty years later.〔 Another innovation in ''Previsão do Tempo'' was the use of vocal percussion on the track "Mentira", ten years before hip-hop artists introduced beatboxing. Valle emulates a drum kit with his voice to perform a pattern and a fill. From 1972 to 1974, Valle provided the music for ''Vila Sésamo'', Brazil's version of Sesame Street. In 1974, he also released his final album for Odeon, again self-titled. This album differed yet again from its predecessors in pursuing a piano-pop sound reminiscent in turns of Elton John, Todd Rundgren and Bread, and replete with elaborate vocal arrangements. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Marcos Valle」の詳細全文を読む スポンサード リンク
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