Despite missing the São João of my childhood and adolescence when I passed by either Simão Dias (inland Sergipe), my mother Dona Bené’s birthplace, or in Serrinha my father Odilon, a son of an Indian, at least I have a consolation. With all the changes that have taken place at the June festivals with the “invasion” of rhythms other than traditional forró, at least there is a consensus: in the repertoire of axé, pagode, piseiro, sertanejo and sofrência singers there must be a song by Luiz Gonzaga (1912-1989).
It is impossible to disassociate the King of Baião from the June festivities. Gonzagão composed masterpieces such as Asa Branca, Olha pro ciú meu amor, Forró de cabo a rabo, Dança do Cossaco and so on. He has other outstanding songs by names like Trio Nordestino, Jackson do Pandeiro, Dominguinhos among others. Not touching them is already blasphemy. But forgetting Gonzagão is unforgivable.
In this regard, the Bahians Adelmário Coelho, Del Feliz, Virgilio, Carlos Pitta Flor Serena, Quininho de Valente never forgot the Rei do Baião. That’s why they, nowadays, are disputed by city halls that don’t give up their presence in the June festivities. All with full agenda. The late Zelito Miranda also never forgot the old Lua as he was called Gonzagão.
I confess that I have a frustration as a journalist: I have never interviewed Gonzagão. In the same way that I didn’t interview Caymmi and Jorge Amado either. Born in the city of Exu (Pernambuco) on December 13, 1912, Luiz Gonzaga conquered Brazil with his xotes, xaxados and baiões, always accompanied by his zabumba and triangle accordion.
He gained notoriety with Asa Branca, a classic of Brazilian music, and influenced other MPB artists such as Caetano Veloso and Gilberto Gil who brought him back to the music scene at a time when he was in a downturn. Luiz Gonzaga died on August 2, 1989, in Recife.
National Forró Day is celebrated on December 13. The chosen date refers to the birth of its main representative, the singer, composer and accordionist Luiz Gonzaga. It was enacted by the National Congress and sanctioned by the then President of the Republic, Luiz Inácio Lula da Silva by Law No. 11,176, of September 6, 2005, based on a suggestion by the then federal deputy Luiza Erundina.
The importance of Luiz Gonzaga is such that there is the Museum of Gonzagão dedicated to his life and career. It is located in Exu, his hometown, in Parque Aza Branca, in Pernambuco. The museum has the largest collection of original pieces by the musician, known as “King of Baião. Even knowing his importance and the recognition of his work, Gonzagão never hid that everything he achieved in life was due to his father Januário. there’s a song he wrote that talks about it: Luiz respects Januário.
Another passage in his life was the tumultuous relationship with his son Gonzaguinha. Until they reconciled and recorded Traveller’s Life. “My life is to walk around this country”. Like any normal human being, Gonzaga was not perfect. After all, no one is. But that never diminished the value of his work, which remains alive today.
Even with the “feud” between Pernambuco and Bahia, Gonzagão always had a very strong connection with Bahia and played many shows in the state. Once, in 1988, he even declared that the Bahian Lindu, the singer of the first formation of the Trio Nordestino, sang better than him. Once the singer and composer Carlos Pita also told me “that there was never a forró singer like Lindu”.
