The life and work of Dominguinhos: The Master of the Brazilian Sanfona

José Domingos (Garanhuns, 12 February 1941), known as Dominguinhos, was a Brazilian instrumentalist, vocalist and composer.

His contribution to Brazilian music is undeniable, especially with regard to the accordion and its various styles.

1. Early years

Neném do Acordeon

From an early age, José Domingos was interested in music, influenced by his father who gave him an eight bass accordion.

At the age of six he learnt to play the instrument and began to perform at street markets and hotel doors in exchange for some money, together with two of his brothers, Moraes and Valdomiro, forming the trio “Os Três Pinguins”.

In the beginning, Dominguinhos played the triangle and the tambourine, then the accordion. He practised the instrument for hours and became an accomplished accordionist, known in Garanhuns as Neném do Acordeon.

In 1957, Neném do Acordeon was renamed by Gonzagão, his artistic godfather, and became known by the name that would accompany him for the rest of his life: Dominguinhos. That same year, he made his first professional appearance, accompanying the King of Baião. It was the beginning of a very successful career.

Meeting Luiz Gonzaga

1949 – At the age of 7, he met Luiz Gonzaga while playing in front of the hotel where he was staying in Garanhuns.

The King of Baião promised the boy an accordion if he ever went to Rio de Janeiro.

Dominguinhos is born

“My father immediately wanted to go to Gonzaga’s house… Two minutes later he picked up an 80 bass accordion and gave it to me. All we wanted in life was an accordion”.

2. Moves to Rio de Janeiro

1954 – Moves to Rio de Janeiro with his father and one of his brothers. Settles in the suburb of Nilópolis and learns other styles to play in the city’s nightclubs, especially chorinho.

3. Musical career

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Biografia de Dominguinhos06:10

Dominguinhos no íncio cantando01:43

Dominguinhos estilo musical02:04

Forró com Luis Gonzaga e Dominguinhos

Dominguinhos with Luiz Gonzaga

1957 – At the age of 16, he was sponsored by Gonzaga, who called him his “artistic heir”. Gonzagão also gave him the nickname that would make him famous in Brazil. That same year, he made his first professional recording, playing the accordion on the song “Moça de feira” on an album by Luiz Gonzaga.

4. Trio Nordestino and Anastácia

Forró Group Trio Nordestino

1958 – At the age of 17, he married Janete, his first wife, and together they had children Mauro and Madeleine. “They used to say that Gonzaga had the voice of a split stick. This black guy wearing a leather hat, espadrilles, a gibbon, playing the accordion, dancing the xaxado, all that was an affront”.

1958 – Together with Zito Borborema and Miudinho, he forms the forró group Trio Nordestino. In the following years, he became interested in other genres, such as samba, gafieira and bolero.

5. Recognition and collaborations

1965 – Dominguinhos was invited by Pedro Sertanejo to record for the Cantagalo label, a record aimed at the northeastern immigrants living in Rio de Janeiro.

Dominguinhos with Anastácia

1967 – Returning to xotes and baiões, he joined Gonzagão’s tour of the north-east, sharing the role of accordion player and driver (Dominguinhos, incidentally, was afraid of aeroplanes). It was on this tour that he met the Pernambuco singer Anastácia, his future wife and co-writer of more than 200 songs.

Dominguinhos with Gal Costa

1972 – At the invitation of the businessman Guilherme Araújo, he accompanies Gal Costa in the show “Índia”. The following year, Gil recorded “Eu só quero um xodó”, a hit that would later be re-recorded more than 250 times.

1975 – Takes part in the “Refazenda” tour of Gilberto Gil, who also records “Tenho sede”. Begins to work more frequently with the MPB universe (see photo with Nara Leão). In 1979 he composed “Quem me levará sou eu” with the poet Manduka, winner of the TV Tupi Festival.

1985 – Places two songs in the soap opera “Roque Santeiro”: “De volta pro meu aconchego” and “Isso aqui tá bom demais”, signed with Nando Cordel.

6. Criticisms and innovations

Invasion of the University Forró

1990 – For a whole decade, Dominguinhos released an album a year. During these ten years, he was critical of the university and electronic forró – calling the latter “disposable”.

1997 – He signs the songs for Anibal Massaini Neto’s film “O Cangaceiro”. He also sings the songs for Zé do Norte, which appeared in the original 1953 film.

1999 – Ten years after Luiz Gonzaga’s death, he records the album “Você vai ver o que é bom”, which includes an unpublished song by composer Zé Dantas (Gonzagão’s partner).

7. Legacy and recognition

Dominguinhos (1941-2013) was a Brazilian musician, singer, accordionist and composer. He formed musical partnerships with Gilberto Gil, Nando Cordel, Chico Buarque, Anastácia, among others.

His legacy extends beyond his recordings; he has influenced generations of musicians and composers who continue to incorporate his style and innovations into contemporary Brazilian music.

8. Personal life

Born in Garanhuns, Pernambuco, on 12 February 1941, he was the son of Mestre Chicão, an eight-bass player and tuner. He began his artistic career as a child, forming a trio with his two brothers. His instrument was the pandeiro and the trio performed at street markets, in pubs and in front of hotels.

9. Last years and death

On 17 December 2012, Dominguinhos was admitted to the Santa Joana Hospital in Recife with a respiratory infection and cardiac arrhythmia. On 15 January, at the request of his family, he was transferred to the Sírio Libanês Hospital in São Paulo, where he remained in a coma after two cardiac arrests.

Dominguinhos died in São Paulo on 23 July 2013. His funeral took place at the Morada da Paz cemetery in the Paulista municipality, in the Recife metropolitan region. At the request of Dominguinhos, who in an interview with the Geraldo Freire Rádio Jornal do Comércio expressed his wish to be buried in the city of his birth, his body was transferred to Garanhuns on 26 July 2013 and buried in the São Miguel cemetery.

The influence of the Sanfona on Brazilian music

The accordion is one of the most emblematic instruments in Brazilian music, especially in the traditions of the Northeast. Its influence is widespread and significant, manifesting itself in various genres and styles:

1. Forró: The accordion is the central instrument in forró, a genre that combines danceable rhythms and lyrics that often speak of rural life, love and northeastern culture. Artists such as Luiz Gonzaga and Dominguinhos helped popularise the accordion in this style.
2. Baião: This genre, created by Luiz Gonzaga, is characterised by the use of the accordion, which brings a unique and lively sound. Baião incorporates elements of African and indigenous rhythms, highlighting the cultural richness of Brazil.
3. Xote and Xaxado: These rhythms also use the accordion as one of the main instruments, contributing to the rhythmic diversity of northeastern music.
4. Choro: Although choro has a diverse instrumental line-up, the accordion stands out in some of its interpretations, bringing a new sound to the genre.
5. Influence on other genres: Over time, the accordion began to appear in a variety of styles, such as MPB, samba and even in some Brazilian, rock and pop songs, showing its versatility.
6. Cultural identity: The accordion is a symbol of northeastern and Brazilian culture, representing the resistance and tradition of a people. Its sound evokes festivals, celebrations and the daily life of communities.
7. Music education: The accordion has been used in music schools and social projects, helping to train new musicians and keep the tradition alive.

In short, the accordion is not just a musical instrument; it is a cultural icon that has shaped the identity of Brazilian music, bringing together different influences and styles over time.

Dominguinhos’ biography

Bahia.ws – Tourist Guide to Bahia, Salvador and the Northeast.

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