🎭 BIOGRAPHY

The Awakening and the Foundation of Raiar (1976 – 1981)

At the age of 14, in 1976, Gendozen discovered his musical gift. What began as an intimate calling soon transformed into a collective force. In 1980, demonstrating a natural leadership to unite talents, he founded the Grupo Raiar, his first musical experimentation laboratory.

The Academy and the Birth of a Jazz Heritage (1982 – 1984)

In 1982, he enrolled in the Bachelor of Composition and Piano course at the Federal University of Rio Grande do Sul (UFRGS). Academic rigidity and pedagogical divergences with professors who tried to repress his creative freedom led him to leave the institution three years later.

However, the effervescent environment of the time generated one of the greatest cultural milestones in the south of the country. Upon identifying and encouraging the talent of pianist Ivone Pacheco, Gendozen conceived and founded, together with her, the Take Five Clube de Jazz (Take Five Jazz Club). Installed in the basement of Ivone's house, the club spanned decades, becoming the oldest and most relevant jazz haven in Rio Grande do Sul. During this period, his concert schedule exploded in theaters, squares, and festivals, sharing the stage with icons of regional and national music, culminating in the creation of the Banda Voo do Tucano (Toucan Flight Band) in 1984.

The ECO Era and the Invasion of Parque da Redenção (1985 – 1990)

In 1985, Gendozen expanded his activities to the advertising market, opening his first audio production company: ECO Gravações e Produções Musicais. Two years later, in 1987, he gave life to Estúdio Focus — a technical reference in the state, where over 3,000 works were recorded. In parallel, he formed the Banda Megatom.

Uncomfortable with the distance between art and the people, he conceived in 1987 the "Projeto Redenção". The movement brought free, high-quality musical performances on Sundays to Parque da Redenção in Porto Alegre, transforming the public space into a democratic stage that gathered dozens of artists until 1994. The late 80s also marked his first physical authorial recordings, with the releases of the K7 tapes Gênio das Águas (Genius of the Waters) (with Banda Megatom) and O Sonho é Livre (The Dream is Free) (in partnership with Marcelo Figueiredo).

Suites, Albums, and the Universal Peace Anthem (1991 – 2004)

The 1990s consolidated his maturity as a composer and arranger. In 1991, he presented at Teatro Bruno Kiefer the monumental Suíte Festa na Floresta (Forest Party Suite), an authorial work in six movements that was recorded live. The following year, he released Passageiro (Passenger), his first official CD. In 1994, he expanded his business with the founding of the production company Zero dB Gravações e Produções Musicais.

The year 1999 was a creative whirlwind: he led the Movimento Musical Dá o Tom (which generated a collective CD), released the solo albums Meu Piano (My Piano) — which marked the beginning of his research with Criação Espontânea (Spontaneous Creation) — and Azul Transparente (New Age), in addition to debuting the band Amigos Elétricos on the traditional stage of Sgt. Peppers. In 2000, the CD Groenlândia arrived.

In 2003, Gendozen accomplished a technical and humanitarian feat: he created, arranged, and recorded the Hino Universal da Paz (Universal Peace Anthem) for the 3rd World Social Forum. The recording was an audio engineering odyssey for the time, using over 150 channels and uniting around 250 instrumentalists and voices from various choirs.

The Mystical Immersion in the Central Plateau

Between 2005 and 2008, Gendozen sought isolation and spiritual renewal in the mystical atmosphere of Alto Paraíso de Goiás. There, stripped of the pressures of the traditional market, he began to fuse the rawness of rudimentary instruments with electronic music textures. This sound alchemy led him to the stages of major alternative culture and avant-garde festivals across Brazil, such as Transcendence (GO), Universo Paralelo (BA), and the Festival Fora do Tempo (MA). It was the harbinger of the greatest turning point in his life.

The Birth of the Mini Teatro Móvel (MTM)

In 2010, Gendozen radicalized his existence. Understanding that true art does not need frames or intermediaries, he conceived and built the Mini Teatro Móvel I. It was an unprecedented proposal for architecture and art: a traveling entertainment house with a capacity for five spectators, which simultaneously served as his home, travel car, and recording studio. In 2016, the project evolved into the MTM-II, expanding the internal capacity to nine seats and taking to the roads aboard a perfectly adapted Iveco van.

The Nomadic Legacy and Recognition

With performances in the a la gorra format (spontaneous contribution), Gendozen brought theater and instrumental music to places invisible to the commercial circuit. Over 8,000 people have already sat in his seats. The journey included Brazilian states such as Minas Gerais, Mato Grosso do Sul, São Paulo, Rio de Janeiro, and Florianópolis, in addition to a deep five-year immersion living in Uruguay and a year in Argentina.

Even in transit, Gendozen maintained connections with traditional stages. In 2018, he held an acclaimed solo recital in the Musical Évora project, at the Centro Cultural Santa Casa (Santa Casa Cultural Center), in addition to several piano recitals at the Foyer do Teatro São Pedro (São Pedro Theater). In 2021, he consolidated his conceptual discography by making his works available on global streaming platforms, with special emphasis on the album Música Instantânea Volume 2. In 2022, he celebrated root music by participating in the Sarau de Confraternização do Coletivo Dandô (Dandô Collective Gathering) POA, at the Casa de Cultura Plauto Cruz.

Música Instantânea: When the Fingers Translate the Subconscious

Gendozen's musical signature rests on the concept of "Música Instantânea". Developed through decades of practice, the technique allows the musician to play in states of trance or semi-cognition. By annulling the rational filter of thought, the fingers establish a direct line with the subconscious and with the energy of the environment. It is not mere jazz improvisation, but an empathetic channeling where each note is born from the present moment, unrepeatable and pure.

Over a Thousand Signed Pieces and a Constant Search for Essence

In the commercial ecosystem, Gendozen was an overwhelming force. At the head of his production companies, he created, arranged, and directed over 1,000 advertising pieces. He lent his sound identity to brands and institutions of weight such as Caixa Econômica Federal, Banco SICREDI, CPERS, Unimed, Mesbla, Panambra, and the Government of the State of RS, in addition to signing the soundtrack for the inauguration of the Shopping Praia de Belas. His sensitivity for jingles was nationally crowned with the award for Best National Jingle at the VI Fiptur.

Integral Art: Literature, Photography, and Theater

Music is the central axis, but not the limit of his expression. As a writer, Gendozen is the author of four independent books. Notable are the futuristic novel Francesca, focused on psychological dilemmas and overcoming, and the anthology Poemas para desabar (Poems to Collapse), which compiles four decades of poetic writings, fully illustrated with his own photographs and drawings. His multiple talents also extend to acting and the film production of his own road videos.

Academic Background and Mentors

Gendozen's freedom was not born of chance, but of a deep mastery of technique. His baggage was shaped by some of the greatest names in Brazilian classical music:

🔹 Piano: Miguel Proença, Norma Bojunga, Beatriz Roman, and Hubertus Hoffmann.

🔹 Composition: Roberto Miranda, Armando Albuquerque, and Bruno Kiefer.

🔹 Flute: Zacarias Valiatti.

🔹 Extensions: Specializations in Choral Conducting and Composition in Teresópolis (RJ) and Blumenau (SC).

Major Partnerships of MPB and Gaúcho Music

With a discography that surpasses 20 authorial albums and 300 registered songs, Gendozen transitioned between genres and generations, acting alongside giants:

🔹 Musical Direction and Tours: He acted as pianist, keyboardist, and musical director on the tour of singer Adriana Calcanhotto in São Paulo.

🔹 Sound Design: He operated and signed the sound in a presentation by Gilberto Gil.

🔹 Arrangements, Recordings, and Stage: He was a partner and collaborator with Renato Borghetti, Gelson Oliveira, Bebeto Alves, Zé Caradípia, Coral da OSPA, Demônios da Garoa, Frank Solari, Paulo Moura, Plauto Cruz, Leci Brandão, Rui Biriva, Elton Saldanha, Maria do Relento, Ismália, Mônica Tomasi, Da Guedes, Luis Carlos Borges, Luis Vagner, Nelson Coelho de Castro, Victor Hugo, Annie Perec, Grupo Canto Livre, and Ângela Jobim.