“Os Tincoãs have always enchanted me since I was a little girl when I heard my mother sing the group’s songs,” mentioned Margareth Menezes, Brazil’s minister of tradition, who can be a musician, in a cellphone interview. “They represent the African roots of Brazilian music.”

Despite important reward, appearances at festivals and the popularity of artists like João Gilberto — who recorded a model of the group’s “Cordeiro de Nanã” alongside Maria Bethânia, Caetano Veloso and Gilberto Gil — Os Tincoãs didn’t take off. In 1983, the group (with a new member, Badu, changing Heraldo) traveled to Angola, accompanying the sambista Martinho da Vila. The tour was purported to final a week, however Aleluia and Dadinho determined to remain within the African nation after the exhibits.

“We found another Bahia in Angola,” Aleluia defined. Dissatisfied with the duo’s resolution, Badu returned to Brazil, precipitating the top of the group.

During the virtually 20 years that Aleluia lived in Angola, he labored as a researcher and artwork instructor. Dadinho, who had opened a bakery in Luanda, the capital, died in 2000 of a stroke. With their three fundamental albums out of circulation, Os Tincoãs appeared doomed to be forgotten.

But within the 2000s, document diggers and D.J.s started to compete for the few obtainable vinyl copies of the band’s albums in Rio, São Paulo and Salvador document shops. Little by little, its music started to echo within the work of artists from new generations, such because the Afrobeat group Bixiga 70 and the rappers Criolo and Emicida, who sought to convey extra Brazilian components to their work.

“Os Tincoãs revolutionized Brazilian music by harmonizing Afro-religious singing,” Emicida, 37, mentioned in an e mail interview. “They represent an insurgent Brazil that, despite being a victim of the worst colonial ills, never gave up on producing beauty. The group’s work is an inexhaustible source of inspiration for me, even more so now when the country is experiencing recognition of Black culture.”