Dorival Caymmi

Many of Caymmi's lyrics pay homage to the lifestyle, beaches, fishermen, and women of his native Bahia.[3] He drew much of his inspiration from music indigenous to northeastern Brazil, especially Afro-Brazilian music and samba.[4] He recorded for more than five decades and released about 20 albums, sometimes singing and playing guitar as a soloist and at other times accompanied by bands and orchestras.[2] Although active for the better part of the 20th century, Caymmi wrote only about 100 songs.[4] Despite having a relatively small body of work, Caymmi held a reputation for composing songs of exceptional quality. He occasionally collaborated with Jobim, who called him a "universal genius" and Brazil's greatest composer.[4] Many contemporary Brazilian artists, including Caetano Veloso, Gilberto Gil and Beth Carvalho cite Caymmi as a significant influence on their music.[4]

Caymmi in 1956

"O Que É Que a Baiana Tem?" gained even more fame in Brazil when Miranda performed it in the 1939 film Banana da Terra, and it was this song that garnered her international attention and helped launch her career. After this success, Caymmi began to focus more on making music, and he wrote songs that appeared in other Brazilian films.[2][4] In late 1939, he signed with Odeon Records and recorded his first three singles, "Rainha do Mar/Promessa de Pescador" ("Queen of the Sea/Promise of the Fisherman"), "Roda Pião" ("Spinning Wheel"), and "O Que É Que a Baiana Tem?/A Preta do Acarajé" ("What Is It About Bahian Women?/The Black Beauty Who Sells Acarajé").[8] He came to more attention in the early 1940s when he performed as a regular on the Brazilian radio network Rádio Nacional. He recorded "Samba da Minha Terra" ("Samba of My Homeland") in 1940 and "A Jangada Voltou Só" ("The Raft Returned Alone") in the following year.[1] In 1944, he performed his own "Acontece Que Eu Sou Baiano" ("It Just So Happens That I'm Bahian") in the movie Abacaxi Azul (Blue Pineapple).[4] In the late 1940s, he was a member of the samba-canção movement largely founded by his sometime creative rival, composer Ary Barroso. Other prominent Brazilian musicians of the day covered several of his songs, including Dick Farney, who famously recorded Caymmi's "Marina" (1944) in 1947.[1] In 1957 Caymmi wrote "Suíte do Pescador", which appeared in the film The Sandpit Generals.

In the 1950s and 1960s, Jobim, João Gilberto, and others who contributed to the birth of the bossa nova style collaborated with Caymmi and often referenced his work when composing their own pieces. During this era, Gilberto covered several of Caymmi's songs, including "Rosa Morena" ("Dark-skinned Rose") and "Saudade da Bahia" ("Longing for Bahia"). Jobim was particularly enamored of Caymmi's music, and the two grew to be close friends.[1] American lyricist Ray Gilbert translated Caymmi's "Das Rosas" into English in 1965, and it was released in the United States as "...and Roses and Roses".[1][2] The song was recorded by Brazilian vocalist Astrud Gilberto and by American singers Andy Williams and Perry Como.[2] Williams's version became a hit, and as a result, Caymmi was invited to spend four months in Los Angeles, where he performed, filmed a television show, and recorded an LP record.[1]

Jorge Amado, Caymmi's lifelong friend and collaborator, in 1972

Caymmi was a lifelong friend of Bahian author Jorge Amado, and in 1945, he set one of Amado's politically driven poems to music to aid the senatorial campaign of Luís Carlos Prestes.[1][4] In the late 1970s, Caymmi again took inspiration from Amado when he composed "Modinha para a Gabriela" ("A Little Song for Gabriela"), a musical adaptation of Amado's novel Gabriela, Cravo e Canela (Gabriela, Cloves and Cinnamon). Perhaps the best known product of Caymmi and Amado's collaboration is the song "É Doce Morrer no Mar" ("It's Sweet to Die in the Sea"), which the two wrote over dinner one night at Amado's home. Other songs they co-wrote include "Beijos pela Noite" ("Kisses Through the Night"), "Modinha para Teresa Batista" ("A Little Song for Teresa Batista"), "Retirantes" ("Migrants"), and "Essa Nega Fulô" ("This Feisty Dark Lady").[1]

While working at Rádio Nacional in 1939, he met Brazilian vocalist Adelaide Tostes, who is better known by her stage name Stella Maris, and the two married in 1940.[3][4] Tostes responded to a 1994 press query about Caymmi's habit of frequenting bars with a short story: "One night I went to look for him in a bar ... He was surrounded by women. I went in and slammed a table. A glass broke. The bouncer came, and I punched Caymmi's face. Then I left cussing. I thought he was involved with drugs, but it wasn't the case. He was with the tramps."[4] Despite such incidents, however, they remained together for 68 years, until his death in 2008.[2] The couple had three children, Nana, Dori, and Danilo, all of whom followed their father into musical careers.[4]

Although Caymmi rarely incorporated political messages into his music, he often spoke bitterly about the government's corruption. Jorge Amado, his close friend, was sent into exile for several years after he publicly criticized the country's rulers during the period of military dictatorship. In 1994, Caymmi said, "I have concluded that to act as a citizen in Brazil today is to live a joke. It's the same as playing the lotto, dreaming about nonsense, trying to get rich when you are 80."[4]

Prior to 1988, all of Caymmi's albums were released as LP records. His last four albums were released as CDs.[8]

All of Caymmi's singles were released as 78 rpm gramophone records.[8]