Blending a rich talent as samba composer with a passion for the Negro cause, Candeia had great success with his sambas, with which the prominent samba school Portela (co-founded by him) had several important victories. His compositions were also recorded by many great artists like Clementina de Jesus, Clara Nunes, Paulinho da Viola, and others. Because of his respect for the samba culture, he denounced the loss of traditions and left Portela in 1975, founding the Grêmio Recreativo de Arte Negra Escola de Samba Quilombo, which had clear statutes regarding Negro ideals. He recorded seven LPs as an interpreter, including the posthumously released Axé, one of the most important albums of the samba genre.Read More
Son of a typographer, sambista, and flutist who always promoted partido-alto and choro get-togethers and also was the creator of the Comissões de Frente (group of the representatives of the samba school directory who parade during Carnival), Candeia was in the center of the samba action since he was very young. It was natural that he soon became friends with Zé com Fome (Zé da Zilda), Luperce Miranda, Claudionor Cruz and other renowned musicians and sambistas. As a member of the samba school Vai Como Pode, he was one of the founders of the G.R.E.S. Portela, the Portela samba school. In 1953 he wrote the first samba-enredo for the new school, "Seis Datas Magnas," with Altair Prego. In that Carnival, for the first time ever, a samba school (Portela) had the maximum grade in every criterion. "Festas Juninas Em Fevereiro" (Candeia/Valdir 59) gave Portela the third place in 1955 and "Legados de D. João VI" (same authors) received the first place in 1957.