Maximiano de Sousa explained
| Maximiano de Sousa |
| Birth Name: | Maximiano de Sousa |
| Birth Date: | 20 January 1918 |
| Alias: | Max |
| Origin: | Madeira, Portugal |
| Instrument: | Vocals |
| Genre: | Fado |
| Occupation: | Singer, Actor |
Maximiano de Sousa (20 January 1918, in Funchal, Madeira - 29 May 1980) was a Portuguese Fado singer.[1] Max was one of the most popular Fado singers from the 1940s until well after his death in 1980.
Personal life
Maximiano de Sousa, known to most people as Max, was a Madeiran (Portuguese: madeirense), born in Funchal in 1918. It was here where his career started. He was a tailor, and even after becoming an artist, he long maintained that profession.
In 1936 he began working at night in a hotel bar in Funchal as a singer and continued to work as a tailor during the day. In 1957, he left for the United States where he remained for two years, afterward he toured Angola, Mozambique, South Africa, Brazil, and Argentina.
Selected discography
(incomplete)
- Noites da Madeira/Bailinho da Madeira (78, VC, 1949)
- Bailinho da Madeira/Noites da Madeira (Single, Decca/VC, 1956)
- A Mula da Cooperativa / A Coisa / O Magala / O Homem do Trombone (Columbia)
- Porto Santo
- 31
- Sinal da Cruz
- Pomba Branca, Pomba Branca/Quando a Dor Bateu à Porta (Single, Decca/VC, 1974)
- As Bordadeira
- Casei com uma Velha
- Júlia Florista
- Maria Rapaz
- Maria tu tens a mania
- Mas sou fadista
- Mula da Cooperativa
- Nem ás paredes confesso
- Noite
- O Magala
- Pomba Branca
- Porto Santo
- Rosinha dos Limões
- Saudades da Ilha
- Sinal da Cruz
- Vielas de Alfama
Notes and References
- Richard Elliott -Fado and the Place of Longing: "Loss, Memory and the City " 2017 - 1351567314 Page 66 Maximiano de Sousa (commonly known as Max) in the middle of the twentieth century and revisited at the start of the twenty-first by Mariza on her album Fado Curvo (2003). The song hymns the eponymous alleyways of the ancient Alfama ...
