Carlos Gonçalves was born in Beja, at the Portuguese Alentejo. At thirteen years old he is passionated by the Portuguese guitar and starts his learning mainly stimulated by the perfection and the interpretations of Jose Nunes
In 1957, when he moves to Lisbon, Carlos Gonçalves begins his artistic life thanks to his technical skills which immediately allowed him to play for the great Fado artists of that time, being contracted into "Adega de Anita", from where he moves to ‘’Os lobos do mar’’at Carriche street, more later, accompanying to the great figures of Fado, deserving special mention among others: Alfredo Marceneiro, Filipe Pinto, Maria Teresa de Noronha. Lucília do Carmo, Argentina Santos, Fernando Maurício, Fernando Farinha, Fernanda Maria, Beatriz da Conceição....
In 1968, Carlos Gonçalves starts his collaboration with Amalia Rodrigues, taking part in the group directed by Jose Fontes Rocha, to whom soon replaced forming then a group with Sebastiao Pinto Varela (Portuguese guitar), Jorge Fernando (viola) and Joel Pina (bass viola) group of whose Lelo Nogeira became a member more later.
Go ahead the prolific years of musical composition dedicated to Amália, most of the times composing the music for the poetry written by the own Amália Rodrigues with a special mention of the albums “Lágrima” and “Gostava de ser quem era” where this collaboration was documented forever.
Are thirty one years of collaboration in recordings and live spectacles in the best rooms and televisions around the world, until the death of Amália Rodrigues in October of 1999.
Nowadays, Carlos Gonçalves is a very good interpreter as much as soloist like in accompaniment of Fado singers. Also collaborating with international artists in Portuguese music recordings, maintaining and extending his work of composer which includes an unpublished theme dedicated to the memory of Amália, based in a poetry of Tiago Torres da Silva called “MAR DE AMÁLIA” full of beauty like must be a tribute to the great Portuguese singer.
The technique and the artistic sensitivity of Carlos Gonçalves are demonstrated in the “guitarradas”, specific pieces of the Portuguese guitar pertaining to the world of Fado. Thus, the Portuguese guitar vibrate with happiness in the hands of Carlos Gonçalves, or emit a lament full of sadness just like him knows how to transmit.
His improvisations are a demonstration of the needed connection between the interpreter and the instrument to express the emotion of the human soul, just like a great player can get of the Portuguese guitar.
Finally, after a lot of years of his friends and fans requests, Carlos Gonçalves decides to record an album in a studio, with his own and other´s compositions.
Carlos Gonçalves then starts a new stage of his extensive and brilliant career, now divided in two different ways:
One like soloist of the Portuguese guitar, playing in recitals, guitar festivals, classical music festivals... and the second one like musical director and interpreter in his own group of Fado, focused to festival sessions and concerts of traditional Portuguese music.