Trio Nordestino (Northeastern Trio) is a forro trio started in 1957 in Salv… Read Full Bio ↴Trio Nordestino (Northeastern Trio) is a forro trio started in 1957 in Salvador, Bahia - located in the Northeast of Brazil.

Origin: Salvador
Country: Brazil
Style: forro
Active: 1957 – present

Members

Current Members
Luiz Mário - triângulo (triangle) and vocals
Beto Sousa - accordion
Coroneto - zabumba

Original & Former Members
Lindú - vocals and accordion
Coroné - zabumba
Cobrinha - triângulo (triangle)
Genaro - accordion

Official page
www.trionordestino.com.br

History

The original Trio Nordestino was a forro trio formed in between late 1957 and early 1958 by Lindú (vocals and accordion), Coroné (zabumba) and Cobrinha (triangulo). Touring nightclubs in Salvador, when they were working for the nightclub “Boite Clock”, they met the newly hired Gordurinha, a musician and composer who would open the doors of Rio de Janeiro. With the promise of recording an album, Gordurinha took them to Odeon Records and RCA Victor, where they didn't have the opportunity. In a new attempt, this time at Discos Copacabana, they passed the test directed by composer and singer Nazareno de Brito. Hired, they would record in ten days a Long-Play and K7 with 12 songs.

In search of success, the Trio decided to try to participate in the famous radio show “O Trabalhador Se Diverte” on Rádio Mayrink Veiga, commanded by Raimundo Nobre. Upon arriving at the show's auditorium, they meet Luiz Gonzaga and immediately ask him to show them the path to work at Rio de Janeiro. Gonzagão refuses to help and continues to rehearse. Frustrated with the idol, they call on Raimundo Nobre, who, after Gordurinha's insistence, agreed to the performance of only one song, "Carta a Maceió", that turned into an instant success among the auditorium audience, who applauded fervently asking for an encore. From then on, everything changed; Raimundo asked Ângela Maria, the next attraction, to give Trio Nordestino five of her ten minutes of presentation. Ângela, who had loved "Carta a Maceió", accepted the request and became the Trio's godmother, and they were able to present two more songs. This guaranteed a contract with the radio to perform in shows alongside Ângela herself and artists such as Luiz Gonzaga and Nelson Gonçalves.

With the success of the song and "Chupando gelo" from their first album, the Trio started recording an LP per year, releasing several hits. Now famous, they left for the Northeast region along with Luiz Gonzaga for 75 days, to advertise a brand of cachaça. It was on that occasion that, having dinner in Recife, Gonzagão (Luiz Gonzaga) recalled the request for help made by the Trio in the Rádio Mayrink auditorium and said: ”If I had helped, you would have settled and today you would not have reached a sales number that exceeds mine”. Since then Gonzagão started to help them and a long friendship was sealed.

After 11 works on Copacabana Discos, they migrated to CBS in 1967. In 1969, Lindú suffered a car accident that required more than a year of medical treatment. Even so, the new label decided to continue to work, taking the accordion player by ambulance to recording studios.

In 1970, the album was released with the song "Procurando tu", composed by Antonio Barros, which became Trio Nordestino's greatest success, leveraging more than 1 million copies sold and taking them from only sertanejo charts (Brazilian country side music) to the charts of radio stations in the most diverse segments in all of Brazil. The national success led the Trio to remain in first place on the Sílvio Santos show on SBT TV for 90 days and to receive the Chico Viola award from CBS for second place in 1970 record sales. First place went to Roberto Carlos.

The success continued throughout the decade and brought Luiz Gonzaga and forró back to mainstream radio stations. They were also responsible for enriching the genre itself, introducing a second accordion and drums to the traditional forró (zabumba, triângulo aka triangle, accordion). In 1982, back at Copacabana Discos, Lindú died of kidney failure. The remaining band members were determined to continue with forró, in the name of a pact made when they had just formed the Trio. Coroné and Cobrinha found in Genaro a substitute for playing the accordion. That's how they passed through the 1980s, until Genaro left in the early 1990s, being replaced by Beto Souza, Lindú's godson. In 1994, Trio Nordestino suffered another casualty. This time, bowel cancer took Cobrinha and his triângulo. Depressed, Coroné almost abandons the zabumba. However, a dream and the memory of the pact made over 30 years ago in the name of forró kept him on the road. Cobrinha's replacement was found in Luís Mário, who was once a rock fan, but who inherited the voice and talent of his father, Lindú, and turned to forró for good.

Shortly afterwards, in 2000, confirming Gonzagão's prophecy when he was close to death, forró became a national success again, leveraged by Gilberto Gil and the hits from the soundtrack of the movie “Eu, Tu, Eles” and with the emergence of new groups such as Falamansa and Forróçacana. This allowed Trio Nordestino to return to the charts with its new formation, honored by a renewed and young audience. Driven by the new wave, they went to Europe four times, where they played popular shows in Paris, at the famous Favela Chic restaurant, and in London, through Bar do Luiz, frequented by the Brazilian colony.

In 2017, the album “Trio Nordestino Canta o Nordeste” was nominated for the 2017 Latin Grammy for Best Brazilian Roots Album.

Discography

* 1963 - Trio Nordestino (Chupando Gelo)
* 1964 - Pau-de-Arara é a
* 1965 - Aqui Mora o Xaxado
* 1966 - O Troféu é Nosso
* 1966 - Prece ao meu Sertão
* 1967 - Vamos Xamegá
* 1968 - É Forró que Vamos Ter
* 1969 - Nós Estamos na Praça
* 1970 - No Meio das Meninas
* 1971 - Ninguém Pode com Você
* 1972 - Renovação
* 1973 - Primeiro e Único
* 1974 - Trio Nordestino (Chililique)
* 1975 - Forró Pesado
* 1976 - O Alegríssimo Trio Nordestino
* 1977 - Estamos Aí para Balançar
* 1978 - Os Rouxinhos da Bahia
* 1979 - Trio Nordestino e o Homem de Saia
* 1980 - Corte o Bolo
* 1981 - Ô Bicho
* 1982 - Dia de Festejo
* 1983 - Amor para Dar
* 1984 - Com Amor e Carinho
* 1985 - Forró de Cima a Baixo
* 1986 - Forró Temperado
* 1987 - Forró de Categoria
* 1988 - Na Intimidade do Trio Nordestino
* 1989 - Festa do Povão
* 1990 - Trio Nordestino Somos Nós
* 1991 - Vale a Pena Ouvir de Novo, vol. 1
* 1994 - Vale a Pena Ouvir de Novo, vol. 2
* 1997 - Xodó do Brasil
* 1999 - Nós Tudo Junto
* 2001 - Balanço Bom
* 2003 - Baú do Trio Nordestino
* 2004 - Baú do Trio Nordestino, vol. 2
* 2006 - Meu Eterno Xodó
* 2007 - Nova Geração
* 2008 - 50 Anos
* 2009 - O Povo Quer Forró
* 2011 - Tá Ligado Doido
* 2012 - A Bahia do Trio
* 2014 - Trio Nordestino
* 2017 - Canta o Nordeste

Other bands with the same name

The Trio Nordestino we know is composed of Lindú, Coroné and Cobrinha.

The first group that used the name "Trio Nordestino" was Neném (Dominguinhos), Miudinho (João Batista de Lima Filho) and Zito Borborema. The name was given by Helena, Luiz's wife, in 1957. They accompanied Luiz Gonzaga in his shows, but the group lasted a very short time, did not record songs and disbanded when Dominguinhos and Zito Borborema began their solo career.

Another trio with the same name was formed by João Xavier, Heleno Luiz and Toninho do Acordeon, who would become Oswaldinho do Acordeon's father-in-law. They are known today as Trio Nordestino Alagoano. There was a legal dispute over the name and Marinês, Dominguinhos and Luiz Gonzaga testified in favor of Lindú, Coroné and Cobrinha and the judge ruled in their favor.

https://pt.m.wikipedia.org/wiki/Trio_Nordestino

A Bochechuda
Trio Nordestino Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Rosinha vai com João
Chiquinha com Mane
Eu vou com a bochechuda
Pra dançar o arrasta-pé

E as moçada vão gritando
Acorda João
E as meninada vão gritando

Acorda João
E as velha vão gritando
Acorda João

Quero vê tudo juntinho
Dançando num só rojão

Overall Meaning

The lyrics to Trio Nordestino's song A Bochechuda describe a fun night out dancing. The singer recites who is going with whom, and he specifically mentions going with the "bochechuda" or the girl with chubby cheeks. The group of young people go out to dance the arrasta-pé, a traditional dance from the northeastern region of Brazil that involves sliding one's feet on the ground. As they dance, the people around them join in, including the youth, the children, and even the elderly. Everyone is having a good time, and the singer wants to see everyone dancing together as one.

The song paints a picture of the joy of community and coming together to celebrate. The lyrics also highlight the importance of connections, regardless of age or background. The mention of everyone joining in the dancing in the end demonstrates the power of music to unite people and create a sense of togetherness that transcends differences between people.

Line by Line Meaning

Rosinha vai com João
Rosinha is going with João

Chiquinha com Mane
Chiquinha is going with Mane

Eu vou com a bochechuda
I am going with the chubby-cheeked girl

Pra dançar o arrasta-pé
To dance the dragging foot (a traditional Brazilian dance)

E as moçada vão gritando
And the young people are shouting

Acorda João
Wake up João

E as meninada vão gritando
And the kids are shouting

Acorda João
Wake up João

E as velha vão gritando
And the older women are shouting

Acorda João
Wake up João

Quero vê tudo juntinho
I want to see everyone together