Sidney Miller was an impressive composer of some jewels (recorded by several important artists) who never aroused a bigger interest from the recording industry in spite of having been a very popular artist at historic festivals. His compositions have been recorded by Nara Le+úo, MPB-4, Quarteto em Cy, Caetano Veloso, Ala+¡de Costa, and Gal Costa.
A self-taught composer, his first samba (with Z+¬ Keti and Paulo Tiago), "Queixa," won fourth place at TV Excelsior's I FMPB (S+úo Paulo, SP, 1965), interpreted by Ciro Monteiro. In 1966, Nara Le+úo pioneered, recording unknown sambistas (who would be famous) like him and Paulinho da Viola, Chico Buarque, and Jards Macal+¬ on her Nara Pede Passagem. The first LP by Caetano Veloso and Gal Costa, Domingo, had his "Maria Joana."
In that year, Sidney joined a historic reunion at S+¬rgio Ricardo's home, where Gil and Caetano tried to convince him, Edu Lobo, Dori Caymmi, Chico Buarque, Francis Hime, Paulinho da Viola, Torquato Neto, and Capinam to join the Tropicalia movement. In 1967, his "A Estrada e o Violeiro" was awarded for Best Lyrics at TV Record's III FMPB, defended by Nara Le+úo and Miller. In the same year, he recorded his first LP, Sidney Miller (Elenco), which had "A Estrada e o Violeiro" (with Nara Le+úo), "Maria Joana," "Marr+¬-de-Cy," "Argumento," "O Circo," "Menina da Agulha," and "Pede Passagem," among others.
Miller also wrote songs for the play Arena conta Tiradentes (Augusto Boal/Gianfrancesco Guarnieri), which also had music by Caetano Veloso and Gilberto Gil. The album was recorded by Nara Le+úo for the Cia. Brasileira de Discos in 1967 had "Maria Joana," "O Circo," and "Passa Passa Gavi+úo." In 1968, he produced Jo+úo de Barros' show Yes, n+¦s Temos Braguinha, and Marlene's return show, Carnav+ília. That year, he also won first place at the Festival de Juiz de Fora MG, with "Sem Assunto" (recorded by two members of the future Quarteto em Cy, Cybele and Cylene). Also in 1968, he recorded his second LP for Elenco, Brasil, do Guarani ao Guaran+í. Those were the Tropicalia times and this work is heavily Tropicalia-influenced, circumstance that made him later criticize this work. In 1969, he wrote the soundtrack of Paulo Tiago's film [RoviLink="VW"]Senhores da Terra, took part in the show Alice no Pa+¡s do Divino Maravilhoso, produced Nara Le+úo's album Coisas Desse Mundo (Philips), and produced her show at the Sucata nightclub (Rio).
In 1971, he wrote the soundtrack for Haroldo Marinho Barbosa's movie [RoviLink="VW"]Vida de Artista. The next year, he wrote music for the play Por Mares Nunca Dantes Navegados by Orlando Miranda. In 1973, he wrote the soundtrack of [RoviLink="VW"]Ovelha Negra, a film by Haroldo Marinho Barbosa, and the music for the play A Torre em Concurso by Joaquim Manuel de Macedo. In 1974, he recorded the LP L+¡nguas de Fogo (Som Livre), with "Cicatrizes," "Um dia Qualquer," "L+¡nguas de Fogo," "Dos Anjos," "Al+¦," "Pala-Palavra," and others. The posthumous LP released by Funarte in the '80s (no date mentioned), Sidney Miller, brought "Maria Joana," "N+¦s os Foli+¦es," "O Circo," "Menina da Agulha" (interpreted by Z+¬ Luiz and Ala+¡de Costa), "Paisagem Sobre Valsa" (Ala+¡de Costa), "Pois +¬, Pr+í Qu+¬?" (Zez+¬ Gonzaga, Ala+¡de Costa, and Z+¬ Luiz), and "A Estrada e o Violeiro" (Sidney Miller and Nara Le+úo).
Paulinho da Viola included "N+¦s, os Foli+¦es" on his 1982 LP A Toda Hora Rola uma Hist+¦ria. MPB-4 recorded "Pois +¬, pra Qu+¬?" and "Meu Viol+úo." Together, Quarteto em Cy and MPB-4 also recorded "A Estrada e o Violeiro." Sidney Miller has a song and his name cobbled into the sidewalk of Vila Isabel, Rio, together with Noel Rosa. ~ Alvaro Neder
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