What good is there in collecting something and not share it with others with the same interest as yours?

The objective of this blog is to share songs not commercially available anymore, for music is the language of the soul and it must not be forgotten.


Sunday, December 26, 2010

CARLOS NOBRE

Carlos Nobre (1961)


Carlos Nobre (1961)
As an extension from my last post, I would like to thank you for the moral support by visiting this blog and all the comments and help you gave me.  I wish you all that 2011 will be propitious for new plans and making dreams come true.  Happy New Year!

01. Contradizendo (Raul Sampaio/Benil Santos) • 2:50
02. Perdão Por Meu Amor (Raul Sampaio/Carlos Nobre) • 3:03
03. Três Por Quatro (Carlos Marques/Carlos Nobre) • 2:23
04. Sexto Mandamento (René Bittencourt/Raul Sampaio) • 3:10
05. Canção Da Espera (José Messias) • 2:23
06. Guarapari (Pedro Caetano) • 2:54
07. Parceria Com A Saudade (Valdo Hora/Paulo Gracindo) • 3:16
08. Amor Em Serenata (Raul Sampaio/Ivo Santos) • 3:09\
09. Ela Vai Embora (Raul Sampaio/Benil Santos) • 3:03
10. O Pranto Da Chuva (René Bittencourt/Raul Sampaio) • 2:44
11. Desejo Te Falar (Almiro Cunha/Antonio Fernandes) • 2:40
12. Torturante Ironia (Orestes Barbosa/Sílvio Caldas) • 2:28

Sunday, December 19, 2010

ALTAMIRO CARRILHO

Natal (1958)


Altamiro Aquino Carrilho (21/12/1924 - Santo Antonio de Pádua, RJ) was the son of Lyra de Aquino Carrilho and Otacílio Gonçalves Carrilho, a dedicated dentist and had, among his eight brothers, the flutist Álvaro Carrilho.
One of the most important choro flutists ever, Altamiro Carrilho put together a solid virtuosity and an ease for improvisation that in his 58 years as a professional artist (completed in 2001, having recorded over 110 albums) brought him the praise of both classical and popular renowned musicians, along with a consolidated popularity. His trademark was the insertion of excerpts of classical pieces into choro, and vice versa, as he did in the cadenza of the Concerto #2 in D Major KV 314 ahead of the Orquestra Sinfônica de Porto Alegre (1976). As an accompanist, he worked with Orlando Silva, Vicente Celestino, Elizeth Cardoso, Moreira da Silva, Francisco Alves, Sílvio Caldas, Caetano Veloso, and Chico Buarque, among many others. His maxixe "Rio Antigo" sold 960,000 copies in just six months back in 1956, bringing him national fame. Altamiro Carrilho also presented the highly successful TV show Em Tempo de Música, and toured through many countries, having being praised as one of the world's best soloists by conductor Boris Trisno. As a classical music soloist, he played lead on several orchestra pieces like Mozart's Concert in G at the Teatro Municipal do Rio de Janeiro (1972). His album Clássicos em Choro was awarded with the Villa-Lobos trophy as Best Instrumental Album, and his Clássicos em Choro No. 2 won the gold record. In 1993, he was awarded with the Prêmio Sharp as the Best Arranger of Instrumental Music for his work on the album Altamiro Carrilho -- 50 Anos de Choro, and, in 1997, he won it again for the Best Instrumental Album, Flauta Maravilhosa.
Having four generations of musicians and conductors in his genealogical tree, becoming a flutist at age five was somewhat natural for Carrilho. Since he was nine, he had started working because of his father's illness, but he continued to study music at night. At 11, he joined the Banda Lira de Arion playing the snare drum. When he was 16, he moved to Niterói (Rio de Janeiro) and became a regular at the radio shows presented by Dante Santoro and Benedito Lacerda. During that period, he won first place in Ary Barroso's novice show. His improvisational skills soon brought him invitations to join the groups led by César Moreno, Canhoto, and Rogério Guimarães. He recorded for the first time in 1943, on a Moreira da Silva album. His first record as a solo artist was recorded six years later, with his choro "Flauteando Na Chacrinha". His own regional (small group) was formed in 1950 to work at the Rádio Guanabara. In May 1951, he joined the Regional do Canhoto, replacing Benedito Lacerda. Working at the Rádio Mayrink Veiga, the group accompanied the biggest stars of that period, like Orlando Silva, Vicente Celestino, Moreira da Silva, Francisco Alves, and Sílvio Caldas. In 1955, he formed the Bandinha de Altamiro Carrilho, and, in the next year, he achieved national success with his maxixe "Rio Antigo". Through the TV Tupi show Em Tempo de Música, he and his Bandinha attracted large audience levels for two years. In 1957, he was replaced by Carlos Poyares at the Regional do Canhoto. From 1963 to 1969, he did several international tours through countries like Spain, Portugal, France, England (where he recorded programs for the BBC and NBC), Germany, Lebanon, Egypt, and the former U.S.S.R. (for a three-month season in which he was praised by the conductor Boris Trisno as one of the world's greatest soloists). Carrilho continues to perform and record, and was decorated in 1998 by the President Fernando Henrique Cardoso for his services to the country.
Álvaro Neder (All Music Guide)

Natal
Well, my friends, this is the last post before Christmas, and so, I hope you enjoy this album by Altamiro Carrilho that played for many years during my childhood at Christmas time.
And I would like to wish you all the very best of this Holiday, with Santa Claus bringing you all that you ever wanted to have.
Merry Christmas.

01. Jingle Bells (Tradicional/Arr. Altamiro Carrilho) • 2:26
02. Natal Das Crianças (Black Out) • 2:50
03. Natal Branco (White Christmas) (Irving Berlin) • 2:20
04. Boas Festas (José Assis Valente) • 2:34
05. O Tannenbaum (Ernst Anschutz) •2:17
06. O Velhinho (Otávio Babo Filho) • 2:30
07. Noite Silenciosa (Silent Night) (Franz Gruber) • 2:57
08. 24 De Dezembro (Tradicional) • 2:25

Sunday, December 12, 2010

MILTINHO

Miltinho (1961)


Miltinho (Milton Santos de Almeida 31/01/1928, Rio de Janeiro - RJ) had a huge success in the '50s, making hits on more than 100 recorded albums with songs like "Recado" and "Devaneio",  "Murmúrio" (Djalma Ferreira/Luís Antônio), "Eu E O Rio", "Mulher De Trinta", "Ri" (Luís Antônio), "Zé Marmita" (Luís Antônio/Brasinha), "Só Vou De Mulher", "Meu Nome É Ninguém" (Haroldo Barbosa/Luís Reis), "Poema Do Olhar" (Jair Amorim/Evaldo Gouveia), "Mulata Assanhada" (Ataulfo Alves), among others.  He began as an amateur singer in the '40s in the Cancioneiros do Luar vocal group.  His professional debut as a singer was in the Rádio Tupi. In 1946, he joined the Namorados da Lua.  The following year, the group accompanied the singer Isaura Garcia on the hit "De Conversa Em Conversa" (Lúcio Alves/Haroldo Barbosa), which was re-recorded two decades later by João Gilberto.  In 1948, he joined the Anjos do Inferno, which toured the U.S. backing Carmen Miranda.  He worked for two years in Mexico performing on radio shows and in nightclubs.  In 1952, he became a member of the Quatro Ases e Um Curinga, of the Orquestra Tabajara, and of the Milionários do Ritmo.  His first solo LP came in 1960, Um Novo Astro (Sideral).  After 1966, his duet albums for Odeon with Elza Soares (four) and Dóris Monteiro (four) were also top-sellers.  In 1997, he recorded another duet album (Miltinho Sempre Sucessos, Globo/Columbia), performing with João Nogueira, Luís Melodia, João Bosco, Chico Buarque, Elza Soares, and other artists.  Commemorating his 54-year career, he recorded Miltinho Convida, which includes duets with Chico Buarque, Fafá de Belém, Nana Caymmi, Doris Monteiro, Elza Soares, Martinho da Vila, MPB-4, João Bosco, Emílio Santiago, João Nogueira, and Tito Madi.

Miltinho (1961)

01. Murmúrio (Djalma Ferreira/Luiz Antonio) • 2:50\
02. Eu Quero Um Samba (Haroldo Barbosa/Janet de Almeira) • 2:48
03. Se Foi Passado (William Duba/A. Louro/L. Rodrigues) • 1:49
04. A Dor De Uma Saudade (Luiz Bonfá/Aor Ribeiro) • 2:28
05. Samba Em Tu (Hianto de Almeida/Macedo Neto) • 2:34
06. Sincopado Triste (Hianto de Almeida/Macedo Neto) • 2:00
07. Volta (Djalma Ferreira/Luiz Bandeira) • 2:48
08. Se Você Disser Que Sim (Luiz Bandeira) • 2:35
09. Vou Te Contar (Hianto de Almeida/Otávio Teixeira) • 2:29
10. O Amor E A Rosa (Pernambudo/Antonio Maria) • 3:16
11. Rosa Morena (Dorival Caymmi) • 3:04
12. Teleco-Teco Nº 2 (Nelson Martins dos Santos "Nelsinho"/Oldemar Magalhães) • 2:20

Sunday, December 5, 2010

TESOURO DE SUCESSOS

Tesouro de Sucessos (1962)


Tesouro de Sucessos

01. Quem Eu Quero Não Me Quer - Albertinho Fortuna
    (Ivo Santos/Raul Sampaio) • 2:48
02. Lembrança - Carlos José
    (Chucho Navarro/Martinez/Vers.: Serafim Costa Almeida) • 3:07
03. Decisão Cruel - Zezé Gonzaga
    (Diogo Mulero Palmeira) • 2:15
04. Rancho Das Flores - Waldir Azevedo
    (Johann Sebastian Bach/Adapt: Vinícius de Moraes) • 2:58
05. Las Secretarias - Ruy Rey
    (Pepe Luiz) • 3:01
06. Dueto De Saudade - José Orlando
    (Francisco di Pietro) • 3:01
07. Poema - Elis Regina
    (Fernando Dias) • 3:13
08. Castiguei - Poly e seu Conjunto
    (Venâncio/Jorge Costa) • 2:08
09. Barras De Ouro - Ramoncito Gomes
    (Ramoncito Gomes/George Ab) • 2:44
10. Cinderella - Demétrius
    (Paul Anka) • 2:07
11. Quem Será - Haroldo José
    (Lelé Vieira/Osmar Zan) • 3:08
12. Segredo - Francisco Petrônio
    (Daniel Magalhães/Cid Magalhães) • 2:44

Sunday, November 28, 2010

IVON CURI

Ontem E Hoje (1987)


Ivon José Curi (05/Jun/1928 - 24/Jun/1995) was born in Caxambú, MG and had as brothers, the DJ’s Alberto and Jorge Curi. Around 1944 he started singing sambas-canções and French songs in parties and in shows, and soon on the local radio station. It was in Rio de Janeiro that he had his first opportunity through Caribé da Rocha, who hired him as a crooner for the Zacharias Orchestra at the Copacabana Palace Hotel, where he met many of the great stars of those days. By then, he had a strong influence from the French singer Jean Sablon, who created the hit "J’Attendrais". In 1947 Ivon Curi got his first contract with Rádio Nacional to appear as a guest on the shows hosted by Emilinha Borba, Marlene, Dalva de Oliveira and Ângela Maria, and soon after he went to Rádio Tupi. In 1949 he recorded together with Carmélia Alves, the baião "Me Leva" (Hervé Cordovil/Rochinha) for Continental. In 1950 he was casted on the film "Aviso Aos Navegantes" and on the next year, on the film "Aí Vem O Barão", and later, in 1952, on "Barnabé, Tu És Meu".
His first solo record was for Continental, with the songs "La Vie En Rose" (Édith Piaf) and "Nature Boy" (Eden Abhez), and then "C’est Ci Bon" (Charles Trenet) and "Obrigado" (by him), and since then, several others. By 1953, he changed his style and started mimicking and performing comedy songs and developed a repertory with songs typically from the Northeast of the country. He started traveling through Brazil and then Europe (1956/1957), and in Portugal, he adopted for the first time the "one-man-show" style and was considered the best Brazilian performer till then. With the advent of Jovem Guarda, Ivon Curi faded for a while from the media, but in 1971 he reappeared with the show "Ivon Curi De Todos Os Tempos" at Teatro Casa Grande when he did a retrospective of his artistic life.
His last recording was the song "Forró do Beliscão" (Ary Monteiro/João do Vale/Leôncio) that was included on the tribute album to the composer João do Vale.

Ontem E Hoje

01. Bicho Home (Cecéu) • 3:07
02. Esse Samba É Do Carvalho (Paulinho Soares) • 3:27
03. Forró Sem Nome (Cecéu) • 2:30
04. Onde Bate, Fica (Paulinho Soares) • 2:24
05. Vem, Papai (Cecéu) • 2:18
06. O Xote Das Meninas (Luiz Gonzaga/Zé Dantas) • 2:34
07. João Bôbo (Ivon Curi) • 3:35
08. Comida E Pensão (Miguel Miranda/F. A. Balbi) • 2:36
09. Farinhada (Zé Dantas) • 2:25
10. Procurando Tu (Antonio Barros/J. Luna) • 2:11
11. O Retrato De Maria (Ivon Curi/Mário M. Guimarães) • 5:01

Sunday, November 21, 2010

ANÍSIO SILVA

Retôrno (1967)


Retôrno

01. Perdão Em Serenata (Orlando Silveira/Dalton Vogeler) • 2:44
02. Noite De Insônia (Anísio Pessanha/Paulo Gesta) • 2:21
03. Veja Lá Meu Bem (José Orlando) • 3:28
04. Hás De Vir Com A Saudade (Firmo Costa Júnior/Zé Trindade) • 2:13
05. Você Passou (Niquinho/Othon Russo) • 2:56
06. Saudade (Anísio Silva/Gilson Santomauro) • 2:21
07. Onde Estás Agora (Raul Sampaio/Benil Santos) • 2:15
08. Retôrno (Agenor Madureira/Monito Silva) • 2:04
09. Agora Vou Chorar (Francisco Xavier/Tito Mendes) • 2:35
10. Amar (Antonio Fernandes/Milton Gomes) • 2:21
11. Resignação (Alventino Cavalcanti/Ayres Viana/Nilo Dias da Cunha) • 2:53
12. Eu Tenho Medo (Dodô) • 2:08

Sunday, November 14, 2010

TRIO SURDINA & PIERRE KOLMANN

Boleros Em Hi-Fi (1958) or Alternative


The Trio Surdina (Aníbal Augusto Sardinha "Garoto" 28/06/1915-03/05/1955 on acoustic guitar, Romeu Seibel "Chiquinho do Acordeon" 07/11/1928-13/02/1993 on accordion and Rafael Lemos Júnior "Fafá Lemos" 19/02/1921 on violin) was assembled in 1952, at the program "Música Em Surdina", hosted by Paulo Tapajós. In 1953 the group recorded the álbum "Trio Surdina Interpreta Ary Barroso". On the same year, they released the album "Trio Surdina" which included compositions by the trio.
In 1955 the group released by Musidisc six singles in 78 r.p.m. with songs by Dorival Caymmi, Noel Rosa and Ary Barroso, that later were reissued on a LP called "Trio Surdina Interpreta Dorival Caymmi, Ary Barroso and Noel Rosa". They recorded several albums during this period of great productivity, and were considered one of the precursors of Bossa Nova and the Sambalanço. It had a very short life, caused by the premature death of Garoto. In 2003 the trio was reassembled by Henrique Cazes on the acoustic guitar, Marcos Nimrichter on the accordion and Nicolas Krassic on the violin, as an homage, and they performed with the singer Claudette Soares in a show at the Centro Cultural do Banco do Brasil, in Rio de Janeiro.

Pierre Kolmann, born João Adelino Leal Brito, also known as Britinho and Franca Vila as well, was born in Pelotas, RS, on 05/05/1917; by the age of 10 he played violin and at 18, he started studying piano.
He started his carrer in 1939 at the Tabu night club, in São Paulo. In 1942 he moved to Rio de Janeiro to play with the Fon-Fon Orchestra. In 1944 he assembled his own group. In 1951 he recorded for Todamérica the choros "Foi Sem Querer" and "Machucadinho" composed by him. In 1953 he composed in partnership with Mesquita, the baião "Pitu" and the choro "Estrela", recorded by Mesquita and his Group. In the same year he recorded with Fats Elpídio the choro "Sururu Na Lapa", composed by the duo. In 1952, Mesquita recorded his baião "Rosinha", also composed in partnership with Fats Elpídio, On the next year, Gentil Guedes and his Orchestra recorded his choro "Vê Se Te Agrada" on the Sinter label.
From 1956 on João Leal Brito recorded several songs for Continental and Sinter. With his orchestra, he accompanied artists such as Neusa Maria, Carlos Augusto, Marilena Cairo, Trigêmeos Vocalistas, Vanja Orico and Gilda Valença. By this time, he recorded the album "Sucessos De Dorival Caymmi". He also made albums for Columbia and Odeon.
Lots of his compositions were recorded by various artists, like Jorge Goulart, Pery Ribeiro, Wilson Simonal, and Dalva de Andrade. Among the albums he recorded, are "Convite Ao Samba", "Dançando Com Britinho", "Dançando Em Hi-Fi" and "Músicas De Filmes De Todo Mundo".


Boleros Em Hi-Fi
You know, normally I would leave this album for another time of the year, but that friend of mine, who strongly believes in Santa Claus, I think, will be very happy to have this one on his collection.  I hope you enjoy that too.

01. Frenesi (Alberto Dominguez) • 3:10
02. Esperame En El Cielo (Francisco Lopez Vidal "Paquito") • 2:55
03. Soñando Contigo (Anísio Silva/Fausto Guimarães) • 2:52
04. Besame Mucho (Consuelo Velazques) • 4:18
05. Hasta Cuando (Leal Brito) • 2:46
06. Que Murmuren (Ruben Fuentes/Rafael Cárdenas) • 3:43
07. Mi Oración (My Prayer) (Georges Boulanger/Jimmy Kennedy/N. Noriega/Ben Molar) • 3:26
08. Amor Mio (Alvaro Carrilho) • 2:50
09. Angustia (Orlando Brito) • 3:07
10. Dos Almas (Don Fabian) • 3:00
11. Canción de Amor Cubano (H. Stothart/James McHugh/Dorothy Fields) • 2:51
12. Desesperadamente (Gabriel Ruiz/H. López Méndez) • 3:02

Sunday, November 7, 2010

ELIZETH CARDOSO, ZIMBO TRIO, JACOB DO BANDOLIM & CONJUNTO ÉPOCA DE OURO

Elizeth Cardoso, Zimbo Trio - Jacob do Bandolim Vol. I (1968)


Elizete Moreira Cardoso (16/07/1920 - 07/05/1990), the singer whose album Chega de Saudade launched the bossa nova, was also the first popular singer to interpret Villa-Lobos at the Municipal Theaters of São Paulo and Rio de Janeiro, and was considered by Almirante the best interpreter of Noel Rosa. Adored by Edith Piaf ("C'est merveilleuse! C'est merveilleuse!"), paid homage by Cartola (who wrote especially for her his famous samba-canção "Acontece"), and a most cherished artist by the Brazilian audiences, she was also known as "the Divina" (an alias given to her by Haroldo Costa and popularized by Vinicius de Moraes in his liner notes to Chega de Saudade).
Her ample tessitura, capable of exploring faithfully both low and high registers, and her highly personal interpretation, full of a melancholy that witnessed the essence of an artist who experienced deep sadness in her life (along with all the rewards that success can bring), conveyed an unforgettable poetic density. In her almost 70 years of artistic activities, she performed a wide palette of genres, but her preference was for the samba.
Born to a musical family, her father was a seresteiro (serenader) and her mother an amateur singer. At five, Elizeth debuted as a singer, performing at the rancho Kananga do Japão (a historical Carnival rancho founded in 1911). Having to work since very young, she had several small jobs until she was discovered by Jacob do Bandolim at the party for her 16th birthday, where he was brought to by her cousin Pedro, a popular figure among the musicians of the time. Enthusiastic about the young singer, Jacob do Bandolim took her to Rádio Guanabara, where she opened, on August 18, 1936, at the Programa Suburbano, with such artists as Noel Rosa, Vicente Celestino, Aracy de Almeida, and Marília Batista. Approved as a member of the cast, she started to perform there regularly at Tuesdays. Elizeth Cardoso worked at several other radio stations, but she supplemented her earnings with performances in circuses, clubs, and cinemas. With Grande Otelo, she kept a duo for over ten years whose pièce de résistance was "Boneca de Piche" (Ary Barroso/Luís Iglésias). Always in financial difficulties, Elizeth got a job as a taxi-girl at the Dancing Avenida, where she also became a crooner in 1941. In 1945, she was hired by Júlio Simões to work in his dancing ballroom Casa Verde in São Paulo, where her fan club was expanded and came to include Adoniran Barbosa, the producers Vicente Leporace and Egas Moniz, and Blota Júnior, the A&R director of Rádio Cruzeiro do Sul. Elizeth worked there for one year and returned to her job at the Dancing Avenida, in Rio, as the crooner of the Orquestra de Dedé. Soon, she started to work at other dance ballrooms, like the Brasil, the Samba Danças, the Eldorado, and the Belas Artes. She was also, in that period, the crooner for the Orquestra de Guilherme Pereira.
In 1948, Elizeth met Evaldo Rui, who would be instrumental in her artistic career (having also been her lover). Rui counseled her in terms of her performance and took her to Rádio Mauá, where she worked with her discoverer, Jacob do Bandolim. But, soon, she was hired by Rádio Guanabara, which reopened big time and decided to compete with the major radios, Nacional, Tupi, and Mayrink Veiga.
In 1950, Ataulfo Alves got Elizeth an invitation to record for the first time, at Star. The first record though, with the sambas "Braços Vazios" (Acir Alves/Edgard G. Alves) and "Mensageiro da Saudade" (Ataulfo Alves), was withdrawn from circulation by the company due to alleged technical problems. But she was spotted at the Dancing Avenida by the composer Erasmo Silva, who was working for the Todamérica recording company, which would be opened in a few days. On July 25, 1950, she recorded through the new company "Complexo" (Wilson Batista), on the A-side, and "Canção de Amor" (Chocolate/Elano de Paula). Surprisingly, the radios preferred to play "Canção de Amor". The result was immediate, with Elizeth being hired by Almirante to work at Rádio Tupi, the second most popular station in Rio. Also in 1951, she was hired by Rádio Mayrink Veiga and by the Vogue club, recording in that year one of her biggest hits, "Barracão" (Luís Antônio/Oldemar Magalhães). In 1953, Elizeth had a signal of her rising prestige through an invitation to perform at the Golden Room of the Copacabana Palace, where just international artists were allowed (the only other Brazilians to perform there being Sílvio Caldas and Dorival Caymmi). But she preferred to perform at the Casablanca club, because the place was frequented by journalists. She opened there with the show Feitiço da Vila (dedicated to the songs by Noel Rosa and his partners) on June 8, 1953, and her strategy was successful, with enthusiastic reviews by renowned critics like Lúcio Rangel, Elsie Lessa, Vinícius de Moraes, Fernando Lobo, and others.
The show Feitiço da Vila was opened in São Paulo with the same success of the Carioca season. And in September 1954, Elizeth opened a show with Sílvio Caldas at the Oasis nightclub in São Paulo. According to the newspapers of the city, it was the most successful spectacle until then in the history of São Paulo.
In 1956, Elizeth signed with the Copacabana recording company (in spite of the attempts of Odeon and Sinter), through which she would release most of her hits for the following 20 years. Already a famous artist, Elizeth Cardoso hosted several exclusive shows on different radios, including Audições Elizeth Cardoso (Rádio Mundial) and Canta Elizeth (Mayrink Veiga).
Two years later, Elizeth was invited by Vinicius de Moraes to be the singer of an album of songs written by himself and Tom Jobim. Canção do Amor Demais became the first album of bossa nova, launching the new genre.  With the permission of Copacabana, Elizeth started to rehearse with Jobim and de Moraes. As the rehearsals were held at Jobim's home in Ipanema, they were later immortalized by de Moraes in "Carta ao Tom" ("Letter to Tom"): "Rua Nascimento e Silva, 107/Você ensinando pra Elizeth/As canções de Canção do Amor Demais" ("107 Nascimento e Silva Street/And you were teaching Elizete/The songs of Canção do Amor Demais").
Immediately after the release, the most commented-upon track of the album was "Chega de Saudade", the first recording in which appears the revolutionary syncopation of João Gilberto's guitar (who also appeared on "Outra Vez").
In 1959, Cardoso recorded for the film Orfeu do Carnaval (Marcel Camus), also an important piece of the initial period of bossa nova (it derived from De Moraes' play Orfeu da Conceição), the songs "Manhã de Carnaval" (Luís Bonfá/Antônio Maria) and "Samba de Orfeu". The soundtrack, a top seller in several countries including the U.S. and France, unduly credits the actress Marpessa Dawn as the singer.
After performances in Buenos Aires (Argentina) and Portugal, Cardoso launched one of her top-selling albums, Meiga Elizete, in which she was accompanied by the groups of Moacir Silva and Walter Wanderley. On October 12, 1964, invited by the conductor Diogo Pacheco, Elizeth interpreted Villa-Lobos' "Bachianas Número 5" at the Municipal Theater of São Paulo. When she finished the piece, the 1,800 people present at the event stood up and applauded for 15 minutes, asking for an encore. She stared at the audience and simply cried; perhaps thinking about her long career full of obstacles, financial hardships, and prejudices against her dark skin. But in the end she did the awaited encore.
In 1965, thrilled by the show Rosa de Ouro, idealized by Hermínio Bello de Carvalho, which launched Clementina de Jesus and brought again to the stage Araci Cortes, accompanied by Paulinho da Viola, Elton Medeiros, Jair do Cavaquinho, Anescar do Salgueiro, and Nelson Sargento, Cardoso communicated her intention to record all the songs of the show. Rehearsing each song with the instrumentalists, in June 1965 she recorded in just four days one of the masterpieces of the Brazilian popular music, Elizeth Sobe o Morro. It represented the debut of Nelson Cavaquinho on record, both as a guitarist and singer. It was also the first time that Paulinho da Viola had one of his songs recorded.
In February 1968, Elizeth Cardoso participated in the historic show at the João Caetano theater, produced by Hermínio Bello de Carvalho for the Image and Sound Museum, with the Zimbo Trio, Jacob do Bandolim, and his group Época de Ouro. The show was recorded live and released on two LPs.
Consumed by the cancer that would kill her, Cardoso still wanted to realize one of her old dreams, which was to record an album dedicated to the compositions by Ary Barroso. In spite of the interest of Hermínio Bello de Carvalho, there was no budget. Ary Amoroso was only produced through the sponsoring of a furniture factory. One cannot imagine that she was suffering pains during the recording sessions, as her voice was, as always, impeccable. The very Ary Barroso would probably repeat his own words describing her interpretation if he was alive, the reason why Bello de Carvalho remembered them in the liner notes: "Artista de raça. Voz suavíssima e convincente. Interpretação magnífica". ("A race artist. A sweetest and convincing voice. Magnificent interpretation".)
 
Elizeth Cardoso, Zimbo Trio, Jacob do Bandolim e Conjunto Época de Ouro Volume I (1968)
 
01. Abertura/Elizetheana - Zimbo Trio • 4:58
02. Cidade Vazia - Elizeth Cardoso e Zimbo Trio
    (Baden Powell/Luís Fernando Freire) • 4:40
03. Derradeira Primavera - Elizeth Cardoso e Zimbo Trio
    (Vinícius de Moraes/Tom Jobim) • 3:45
04. É Luxo Só - Elizeth Cardoso e Zimbo Trio
    (Ary Barroso/Luiz Peixoto) • 4:29
05. Estrada Branca - Elizeth Cardoso e Zimbo Trio
    (Tom Jobim/Vinícius de Moraes) • 4:06
06. Tem Dó - Elizeth Cardoso e Zimbo Trio
    (Baden Powell/Vinícius de Moraes) • 2:46
07. Mulata Assanhada - Elizeth Cardoso, Jacob do Bandolim e Conjunto Época de Ouro
    (Ataulfo Alves) • 4:04
08. Jamais - Elizeth Cardoso, Jacob do Bandolim e Conjunto Época de Ouro
    (Jacob do Bandolim/Luís Bittencourt) • 2:21
09. Feitio de Oração - Elizeth Cardoso, Jacob do Bandolim e Conjunto Época de Ouro
    (Noel Rosa/Vadico) • 5:08
10. Barracão - Elizeth Cardoso, Jacob do Bandolim e Conjunto Época de Ouro
    (Luís Antonio/Oldemar Magalhães) • 7:10
11. Murmurando - Jacob do Bandolim e Conjunto Época de Ouro
    (Octaviano Romero "Fon-Fon"/Mário Rossi) • 4:19

ELIZETH CARDOSO, ZIMBO TRIO, JACOB DO BANDOLIM & CONJUNTO ÉPOCA DE OURO

Elizeth Cardoso, Zimbo Trio - Jacob do Bandolim Vol. II (1968)


The Zimbo Trio is a reference group in Brazilian music. In its 36 years of existence, always with the same formation, the group has recorded more than 40 albums throughout the world, receiving several national prizes as Best Instrumental Group (Cidade de São Sebastião do Rio de Janeiro, Troféu Imprensa, Chico Viola, Medalha de Ouro dos Diários Associados, Roquette Pinto, Euterpe, among others) and international ones as well. The group's international presentations include the Smithsonian Museum and Tawn Hall, in New York, and U.C.L.A. in Los Angeles, having also toured through Portugal, France, Italy, Germany, Denmark, and Japan.
The Zimbo Trio was formed in 1964 by classically trained pianist Amilton Godói, bassist/composer/orchestrator Luís Chaves, and drummer Rubinho (Rubens Barsotti). They performed for the first time under the name of Zimbo Trio at Oásis nightclub in São Paulo, accompanying the famous actress and novice singer Norma Benguel in a show directed by Aluísio de Oliveira. Soon, the group was awarded the Pinheiro de Ouro prize as Best Instrumental Group at the I Festival do Paraná da MPB. A little later, they recorded their first LP, Zimbo Trio, Vol. 1. In 1965, the trio traveled to Lima, Peru, and Buenos Aires, Argentina. At the festival of Mar del Plata, Argentina, they received the Cancioneiro das Américas award. In 1966, the trio toured Portugal and Luanda, Angola, appearing at the Cannes International Cinema Festival, Cannes, France. The Zimbo Trio received awards for best soundtrack for the movies Noite Vazia (1965, Walter Hugo Khoury) and A Margem, (1967, Ozualdo Candeias). When the show O Fino da Bossa was thought up at the TV Record, São Paulo, the Zimbo Trio was invited to be the instrumental backup for the show's hosts, singers Elis Regina and Jair Rodrigues. The show marked the end of an era of dissemination of sophisticated jazz-based arrangements intertwined with Brazilian style artistry in popular music, which would soon be substituted by teenish iê-iê-iê as O Fino da Bossa was expelled from the outing's schedule. The Zimbo Trio also participated in Bossaudade, another important show in the same vein, but less widely known, hosted by Elizeth Cardoso. With her, the great Brazilian mandolinist Jacob do Bandolim and his group Época de Ouro, the Zimbo Trio performed a historic event on the night of February 19, 1968, at the João Caetano theater, Rio. The furiously rainy night hadn't impeded 1,500 people of overcrowding the theater. The show was recorded by the Imagery and Sound Museum of Rio de Janeiro and was released on three LPs. Invited by Brazil's diplomatic service, the Zimbo Trio toured Central and South America on a cultural mission. In 1969, the American Countries Organization invited the Zimbo Trio to represent Brazil at the International Festival of Cosquín in Cordoba, Argentina. The group extended the mission, also playing in Washington, New York, and Los Angeles.
In 1972, the Zimbo Trio toured Portugal and Spain with Elizeth Cardoso. Accompanying the Brazilian singer Sílvia Maria on Adilson's composition "Heróica," the Zimbo Trio was awarded first prize at the Festival de Onda Nueva, Caracas, Venezuela. In 1973, the Zimbo Trio expanded their activities to the educational area, opening the CLAM music courses, soon famous and concurred in Brazil, and Zimbo Edições Musicais (a publishing house dedicated to producing didactic material for musical learning). The modern erudite composer Ciro Pereira wrote the dedicated Pequeno Concerto para o Zimbo Trio, performed by the group in 1974 in Buenos Aires, Argentina, accompanied by the Symphonic Orchestra of Buenos Aires and conducted by Simón Blech. In 1985, they performed at the Free Jazz Festival in São Paulo. In that same year, the group was featured on the show Café Concerto on TV Cultura, São Paulo. They toured Japan in 1987 and were featured on the Jazz Brasil show, also for TV Cultura, São Paulo.

Elizeth Cardoso, Zimbo Trio, Jacob do Bandolim e Conjunto Época de Ouro Volume II (1968)

01. Noites Cariocas - Jacob do Bandolim e Conjunto Época de Ouro
    (Jacob do Bandolim) • 3:51
02. Feitiço Da Vila - Elizeth Cardoso, Jacob do Bandolim & Conjunto Época de Ouro
    (Noel Rosa/Vadico) • 3:24
03. Meiga Presença - Elizeth Cardoso & Jacob do Bandolim
    (Paulo Valdez/Otávio de Moraes) • 3:45
04. Chão De Estrelas - Elizeth Cardoso, Jacob do Bandolim & Conjunto Época de Ouro
    (Orestes Barbosa/Sílvio Caldas) • 6:38
05. Chega De Saudade - Jacob do Bandolim & Zimbo Trio
    (Tom Jobim/Vinícius de Moraes) • 2:20
06. Mundo Melhor - Elizeth Cardoso & Zimbo Trio
    (Pixinguinha/Vinícius de Moraes) • 3:35
07. Serenata Do Adeus - Elizeth Cardoso
    (Vinícius de Moraes) • 347
08. Tempo Feliz - Elizeth Cardoso, Zimbo Trio, Jacob do Bandolim & Época de Ouro
    (Baden Powell/Vinícius de Moraes) • 3:35
09. Carolina - Elizeth Cardoso, Zimbo Trio & Jacob do Bandolim
    (Chico Buarque de Hollanda) • 6:45
10. Até Amanhã - Elizeth Cardoso, Zimbo Trio & Jacob do Bandolim
    (Noel Rosa) • 2:50
11. Está Chegando A Hora - Jacob do Bandolim e Público do Teatro João Caetano
    (Henricão/Rubens Campos) • 1:24

ELIZETH CARDOSO, ZIMBO TRIO, JACOB DO BANDOLIM & CONJUNTO ÉPOCA DE OURO

Elizeth Cardoso, Zimbo Trio, Jacob do Bandolim e Conjunto Época de Ouro Vol. III (1977)


After spending the '50s recording accompanied by an orchestra and the Regional do Canhoto, Jacob do Bandolim entered the '60s looking for an accompaniment formula more suited to his personal taste. The Época de Ouro were his solution.
A regional (small radio ensemble, typical of the choro and samba genres) organized by Jacob do Bandolim in 1961 in Rio de Janeiro (under several different names), the group was composed of Dino Sete Cordas on seven-string violão (acoustic guitar), César Faria (the father of Paulinho da Viola, who accompanied Jacob do Bandolim since 1939) and Carlinhos (Carlos Fernando de Carvalho Leite, born in 1924, Rio de Janeiro) on violões, Jonas (Jonas Pereira da Silva, born in 1934, Rio de Janeiro/died in 1997, Niterói) on cavaquinho, Gilberto d'Ávila (born in 1915, Rio de Janeiro) on pandeiro, and Jorginho (Jorge José da Silva, born in 1930, Rio de Janeiro) on rhythm. During the early 1961 and 1962 recordings, they were known as Jacob e Seus Chorões, including the special participation of bassist Luiz Marinho and percussionists like Barão and Pedro dos Santos. They recorded several albums for the RCA Victor label, beginning with Chorinhos e Chorões. In 1968, they participated in the historic show at the Teatro João Caetano, together with Jacob do Bandolim, Elizeth Cardoso, and the Zimbo Trio, which was recorded live and released by the Image and Sound Museum of Rio de Janeiro in two LPs. The LP Época de Ouro: Jacob do Bandolim also had the participation of an orchestra, was recorded in 1969, the year of Jacob do Bandolim's demise, it was the last album by the Época de Ouro during that period. The group dissolved, only to be reassembled in 1973 by César Faria, with Damásio (Damásio Batista de Sousa Filho, born in 1932, Rio de Janeiro/died in 1993) replacing Carlinhos and Déo Rian substituting Jacob do Bandolim. The group reopened by accompanying Paulinho da Viola that year, recording the LP Conjunto Época de Ouro the next year for Continental, followed by Clube do Choro: Conjunto Época de Ouro for the same recording company in 1976. In that decade, the group was very active, performing live in theaters and on TV shows. In 1992, they recorded Violões. Jonas left the group in 1985, and in 1997 the formation consisted of César Farias, Dino Sete Cordas, Toni (violão), Jorginho (pandeiro), Jorge (cavaquinho), and Ronaldo do Bandolim (mandolin).

Elizeth Cardoso, Zimbo Trio, Jacob do Bandolim e Conjunto Época de Ouro Vol. III (1977)
In 2003 the label Biscoito Fino released a boxed set called "A Faxineira Das Canções" that included the whole show with the songs in their original order of performance.  In 2004 the japanese label Omagatoki also released a double CD which contained the whole sequence of the show.

01. Canção De Amor - Elizeth Cardoso e Zimbo Trio
    (Chocolate/Elano de Paula) • 3:34
02. Nossos Momentos - Elizeth Cardoso e Zimbo Trio
    (Haroldo Barbosa/Luís Reis) • 4:10
03. Canção Do Amor Demais - Elizeth Cardoso
    (Tom Jobim/Vinícius de Moraes) • 3:10
04. Ginga Muxique - Elizeth Cardoso e Zimbo Trio
    (Maurício Tapajós/Hermínio Bello de Carvalho) • 2:52
    Da ópera popular "João-Amor e Maria".
05. Chega De Saudade - Jacob do Bandolim e Zimbo Trio
    (Tom Jobim/Vinícius de Moraes) • 8:23
06. Carinhoso - Elizeth Cardoso, Jacob do Bandolim e Conjunto Época de Ouro
    (Pixinguinha/João de Barro) • 2:45
 07. Lamento - Elizeth Cardoso, Jacob do Bandolim e Conjunto Época de Ouro
    (Pixinguinha/Vinícius de Moraes) • 3:57
08. Inocência - Elizeth Cardoso, Jacob do Bandolim e Conjunto Época de Ouro
    (Jacob do Bandolim/Luís Bittencourt) • 2:35
09. Foi Numa Festa - Elizeth Cardoso, Jacob do Bandolim e Conjunto Época de Ouro
   (Jacob do Bandolim) • 1:42
10. Jamais - Elizeth Cardoso, Jacob do Bandolim e Conjunto Época de Ouro
    (Jacob do Bandolim/Luís Bittencourt) • 3:08
11. Seleção "Rosa De Ouro" - Elizeth Cardoso, Jacob do Bandolim e Conjunto Época de Ouro • 6:16
    Vou Partir (Nelson Cavaquinho/Jair Costa)
    Água Do Rio (Só Resta Saudade) (Noel Rosa de Oliveira/Anescar Pereira Filho)
    Malvadeza Durão (Zé Keti)
    Rosa De Ouro (Hermínio Bello de Carvalho/Elton Medeiros/Paulinho da Viola)

Sunday, October 31, 2010

NARA LEÃO

Garota de Ipanema (1986)


Nara Lofego Leão (10-01-1942 - 07-06-1989) the Musa da Bossa Nova (Bossa Nova's Muse, as she is affectionately known) was a prominent figure from bossa nova. She didn't restrict herself as a bossa nova singer though, and was one of the first artists to engage in the movement later known as "canção de protesto" (protest song), an artistic movement which denounced military dictatorship in Brazil. She launched the careers of such composers/interpreters as Chico Buarque, Zé Keti, Martinho da Vila, Edu Lobo, Paulinho da Viola and Fagner. An international performer in spite of her short, uneducated voice, she left an expressive discography even having death caught her by surprise in a precocious age.
At one, she left Vitória, moving to Rio together with her family. In 1954, she took her first acoustic guitar classes with Solon Ayala and Patrício Teixeira, soon with Roberto Menescal and Carlos Lyra. As an amateur, she participated in the first university presentations, where bossa nova was constituting itself as an organized movement, together with names such as João Gilberto, Luiz Eça, Ronaldo Bôscoli (with whom she would live a love affair, being later his fiancée), Carlos Lyra and others. At that time, she was a reporter for Rio's newspaper Última Hora. The ample apartment of her complacent parents', at Rio's south side, Copacabana, Posto 4, became a meeting point for musicians, which led many to erroneously establish it as bossa nova cradle (in fact the cradle was, to some extent, the Cantina do César, but, more appropriately, the Plaza nightclub around 1952). In 1963 she debuted as a professional, working in the musical comedy Pobre Menina Rica, by Vinícius de Moraes and Carlos Lyra. They also worked in the play, acted in the Carioca nightclub Au Bon Gourmet. She also debuted in that year in the recording studios, singing "Naná" (Moacir Santos), which was included in the movie Ganga Zumba, rei dos palmares' (Cacá Diegues) soundtrack. She also recorded two tracks at Carlos Lyra's Lp Depois do carnaval (Philips): the marcha-rancho "Marcha Da Quarta-Feira De Cinzas" (Carlos Lyra/Vinícius de Moraes), and the samba-jazz "Promessas De Você" (Carlos Lyra/Nelson Lins e Barros). Also in 1963 she toured Brazil, Japan and France with Sérgio Mendes. When they toured northeast, Nara was introduced by Roberto Santana to the so-called "Vila Velha gang", the baianos Caetano Veloso, Gilberto Gil, Gal Costa and Maria Bethânia. Her first Lp (Nara), recorded by Elenco, launched the sambista do morro (sambista of the hill) Zé Keti in the middle class circle, with great success, with his song "Diz Que Fui Por Aí" (with H. Rocha). She also reintroduced in the same circle the older sambista do morro Cartola ("O Sol Nascerá", together with Elton Medeiros). Along with these two songs, which became all-time hits, other two songs recorded in that album had the same success: "Consolação" (Baden Powell/Vinícius de Moraes) and "O Morro" (Carlos Lyra/Gianfrancesco Guarnieri). In that album she evidenced her (yet a bit naïve) social concerns, choosing a non-bossa repertoire. That concerns would be even more evident in the following phase of her career, where the coup which took power in Brazil and installed the military dictatorship urged her to engage herself actively in denouncing it. Her second album, Opinião de Nara (Nara's opinion, Philips, 1964), brought "Opinião" (Zé Keti). In December, 1964, she made a great success in the show Opinião (Gianfrancesco Guarnieri/Augusto Boal), at the Teatro Opinião (Rio). The show brought her, a middle-class young girl, Zé Keti, representing the morro people, and João do Vale, from the poor region of northeast. The show was such a long-time success that robbed the mid-class audiences which were making profitable the important samba redoubt Zicartola, owned by Cartola himself; it closed its doors soon afterwards. It also killed the bossa nova in Brazil. Nara delivered passionate speeches against bossa nova in that time, called by her an "alienating" movement. At the same time, the instrumental backing of the show Opinião was pure bossa, as can be heard in the Cd reissued in 1994, informing that the rupture, at that time, was more ideological than musical. In 1965 she presented Chico Buarque, with his songs "Pedro Pedreiro" (strong social thematic) and "Olê, Olá". Also in that year she participated in the Teatro Opinião show Liberdade, liberdade (Freedom, freedom), by Flávio Rangel/Millôr Fernandes, and appeared in Elis Regina/Jair Rodrigues's regular TV show O FinoDa Bossa, which eventually also had Chico Buarque, Gilberto Gil, Caetano Veloso, Edu Lobo, Tom Jobim, Vinícius de Moraes and Ivan Lins. In 1966 she recorded her album Manhã De Liberdade (Philips). Defending Chico Buarque's "A Banda", together with him, in TV Record's II FMPB (1966, São Paulo), she got the first place (together with "Disparada", by Geraldo Vandré and Théo de Barros). Nara recorded "A banda", together with the first song composed by the duo Gilberto Gil/Capinam, "Ladainha". Next year she interpreted, together with its author, "A Estrada E O Violeiro" (Sidney Miller), in the III FMPB. The song was awarded as the best lyrics. Between 1966 and 1967 she and Chico Buarque had a regular weekly TV show (Pra Ver A Banda Passar, TV Record). In 1966 she was almost framed in the National Security Law by the War department due to a direct critic against the military, in an interview to the Carioca newspaper Diário de Notícias ("our military forces are of no avail"). In 1967 recorded the Lp Canto livre de Nara. In 1968 she joined the Tropicalista movement, joining Caetano Veloso, Gilberto Gil, Rogério Duprat, Tom Zé, Capinam, Os Mutantes, Torquato Neto and Gal Costa in the Lp Tropicália ou Panis et cirsensis. At the same year, recorded her Lp Nara Leão, in which she interpreted Ernesto Nazareth's "Odeon", which had Vinícius de Moraes's lyrics written especially for her. The Lp, released at the Carioca nightclub Le Bilboquet, brought two of Caetano's compositions, ("Mamãe Coragem" and "Deus Vos Salve Essa Casa Santa", both with Torquato Neto), and the arrangements by Rogério Duprat helped to establish the connection with the Tropicália. She had decided to stay out of television for a whole year, for not agreeing with the short vision for Art by the producers. In the next year she moved to France, recording another Lp. In 1971 recorded in Paris the album Dez Anos Depois (Polydor) and came back to Brazil. In the next year, appeared in the film Quando O Carnaval Chegar (by Cacá Diegues, her husband), together with Chico Buarque and Maria Bethânia. In the following years she began her Psychology college studies, leaving music aside. In that period she made only sporadic appearances in shows and albums from other artists such as Fagner. In the late 70's she released her Lp Meus Amigos São Um Barato (Philips, 1977), with appearances by Tom Jobim, Carlos Lyra, Edu Lobo, Chico Buarque, Caetano Veloso, Gilberto Gil, Roberto Menescal and others. As she learned she had a brain tumor, she returned with full impetus to her career, recording another 11 Lp's until 1988. In 1997 she was theme of the first play by the renowned movie maker Júlio Brassane, Vida-Névoa-Nada.

Garota de Ipanema

01. O Barquinho (Roberto Menescal/Ronaldo Bôscoli) • 3:04
02. Garota De Ipanema (Tom Jobim/Vinícius de Moraes) • 3:55
03. Berimbau (Baden Powell/Vinícius de Moraes) • 3:34
04. Desafinado (Tom Jobim/Newton Mendonça) • 3:14
05. Wave (Tom Jobim) • 3:18
06. Corcovado (Tom Jobim) • 2:48
07. Águas De Março (Tom Jobim) • 3:09
08. A Felicidade (Tom Jobim/Vinícius de Moraes) • 3:55
09. Manhã De Carnaval (Luís Bonfá/Antonio Maria) • 4:00
10. Chega De Saudade (Tom Jobim/Vinícius de Moraes) • 3:45
11. Meditação (Tom Jobim/Newton Mendonça) • 2:58
12. Samba De Uma Nota Só (Tom Jobim/Newton Mendonça) • 2:34
13. Água De Beber (Tom Jobim/Vinícius de Moraes) • 4:00
14. Você E Eu (Carlos Lyra/Vinícius de Moraes) • 1:48
15. Samba Do Avião (Tom Jobim/Vinícius de Moraes) • 2:25
16. O Que Será (Chico Buarque de Hollanda) • 3:47

Sunday, October 24, 2010

CAMPEÕES DE VENDAS

Campeões de Vendas (1988)


Campeões de Vendas

01. Esmeralda - Carlos José - (1960)
    (Filadelfo Nunes/Fernando Barreto) • 2:35
02. Tu Sabes - Martha Mendonça - (1961)
    (Joaquim Taborda) • 2:50
03. As Folhas Verdes Do Verão (Green Leaves Of Summer) - Francisco Carlos - (1963)
    (Dimitri Tiomkin/Paul Francis Webster/Vers.: Paulo Rogério) • 2:53
04. Impossível Acreditar Que Perdi Você - Joelma - (1971)
    (Márcio Greyk/Cobel) • 3:47
05. Tanta Chuva Em Meu Caminho - Sérgio Murilo - (1969)
    (Nenéo) • 2:50
06. Amor Eterno - Morgana - (1975)
    (Alfredo Borba/Edson Borges) • 3:12
07. Poema - Renato Guimarães - (1963)
    (Fernando Dias) • 2:32
08. Faz-me Rir (Dame Risa) - Edith Veiga - (1961)
    (Francisco Yoni/Edmundo Arias/Vers.: Teixeira Filho) • 2:55
09. Falhaste Coração (Fallaste Corazón) - Lindomar Castilho - (1966)
    (Cuco Sanchez/Vers.: Luiz Carlos Gouvea) • 3:10
10. Sentado À Beira Do Caminho - Giane - (1970)
    (Roberto Carlos/Erasmo Carlos) • 4:53
11. Somente Tu - José Orlando - (1959)
    (Luiz de Castro) • 3:00
12. Perdão Para Dois - Leila Silva - (1960)
    (Diogo Mulero "Palmeira"/Diogo Corletto) • 3:07

Sunday, October 17, 2010

MIGUEL ÂNGELO

Prova de Amor (1964)


Miguel Ângelo, from the Duo Ouro e Prata.

Prova de Amor
This is the first album solo he released.

01. Prova de Amor (Raul Sampaio/Benil Santos) • 2:46
02. Solidão (Miguel Ângelo/Nonô Basílio) • 2:37
03. Recusa (Herivelto Martins) • 3:08
04. Praga de Amor (Protesto) (Raul Sampaio/Benil Santos) • 3:03
05. Amor Da Minha Vida (Raul Sampaio/Benil Santos) •2:16
06. Minha Esperança (José Orlando/Miguel Orlando/Guido Guimarães) • 2:32
07. Quatro Paredes - Miguel Ângelo, Enzo de Almeida Passos & Maria Aparecida Alves
    (Miguel Ângelo/Ubaldo Calvo) • 2:57
08. Com Lágrimas Nos Olhos (Domingos Paulo/Elias Machado) • 2:38
09. Declaração (Osvaldo Varoli/Romeu Tonelo) • 2:59
10. Tristeza De Noite Fria (Zuleika Amaral) • 3:00
11. Ciganinha (Orlando Monelo) • 2:04
12. Tudo É Você (Miguel Ângelo/Enzo de Almeida Passos) • 2:26

Sunday, October 10, 2010

BOB FLEMING

Mr. Sax (Série A) (196?)


Bob Fleming, or Moacyr Silva (Moacir Pinto da Silva), born in Conselheiro Lafaiete, Minas Gerais on May, 10th, 1918.
With his father being the conductor of the Municipal Band, at the age of ten he used to play Piccolo at a local club, learning soon after to play the tenor saxophone. When he was 17, the family moved to Rio de Janeiro, where he did his military service and played at the Army Band. By this time he started being invited to play in parties. After doing his time in the Army, he started playing at the Gafieira Elite under the conduction of Maestro Fon-Fon until 1947. Then he went to the Zacarias Orchestra and performed at the Copacabana Palace Hotel and also at the Rádio Mayrink Veiga, under the Maestro Peruzzi direction.
In 1953 he assembled his own group with Dom Um (drums), Célio (acoustic bass), and Sasha (piano), performing at the night club Vogue for Dolores Duran, and at the Au Bon Gourmet, playing for Francieth. Still in 1953, he recorded his first 78 r.p.m. for Copacabana, with the song "Crepúsculo" (Júlio Barbosa), releasing later on record a choro composed by him that was already a hit on the radio, "Sugestivo".
He started playing for Elizete Cardoso and Marisa, and soon he became a producer for Copacabana. As he was always being invited to play in parties, he released four volumes of the LP "Dançando Com Você". He then assumed the pseudonym Bob Fleming and suddenly his records skyrocketed and during the 1960’s he released the series "Sax Sensacional".
He went on, working for Copacabana, producing and playing up to the time of his retirement.

Mr. Sax (Série A)
According to the text above, which was extracted from the "Enciclopédia da Música Brasileira", published by Publifolha, this record was made during the 1960's, but it's quite clear that the album, or the reissue remastering was made in two distinct situations.  Though the whole album is stereo (and stereo recordings in Brazil started being available only from 1970 on), the first six songs seem to have been recorded live or with a limited equipment, while the remaining six songs, seem to have been recorded on a full multitrack studio.

01. Fascination (F. D. Marchetti) • 2:43
02. Indian Summer (Victor Herbert/Al Dubin) • 2:32
03. Can't I (Leroy/Lovett) • 2:24
04. Sonny Boy (Al Jolson/G. B. de Sylva/Lew Brown) • 2:04
05. There Goes My Heart (B. Davis/A. Silver) • 2:31
06. Tammy (Jay Livingston/Ray Evans) • 2:38
07. All The Way (Sammy Cahn/James Van Heusen) • 2:59
08. Deep Purple (Mitchel Parish/Peter de Rose) • 2:15
09. Laura (Gene Raskin/Johnny Mercer) • 2:12
10. It's Wonderful (George Gershwin/Ira Gershwin) • 2:02
11. Bat Masterson (B. Corwin/H. Wray) • 2:29
12. All The Things You Are (Jerome Kern/Oscar Hammerstein, II) • 2:09

Sunday, October 3, 2010

SILVANA




Silvana (1972)
Almost no information about Silvana is available on the internet or anywhere else I've looked.  If you have some news about this great singer or about this compilation and want to share it with us, please, be welcomed.
PS: Oldrocker left a message indicating a site with some little more information about Silvana, which I strogly recommed that you visit: http://porondecanta.multiply.com/photos/album/169

01. Pombinha Branca (Vola Colomba) (Carlos Concina/Bruno Cherubini/Vers.: Genival Mello) • 3:10
02. Violetas Imperiais (Francis Lopes/Meirelle Brocey/Vers.: Ariovaldo Pires) • 2:40
03. Balalaika (At The Balalaika)
   (B. Wright/C. Forrest/G. Posford/E. Maschwitz/Vers.: Oswaldo Santiago) • 3:07
04. Em Mim Soa Uma Canção (Vibra Em Mim Uma Canção)
   (Frederic Chopin/Adapt.: Silvino Neto) • 2:48
05. Sonho De Amor (Réve D'Amour) (Franz Liszt/Adapt.: Ary Kerner) • 2:59
06. Alma Llanera (Pedro Elias Gutierrez/Vers.: Edman Ayres de Abreu) • 3:09
07. Em Aranjuez Com Teu Amor (Concierto De Aranjuez)
   (Joaquín Rodrigo Vide/Adapt.: David Mourão Ferreira) • 5:29
08. Novilheiro (Novillero) (Maria Tereza Lara/Vers.: Fernando Barreto) • 2:22
09. Amor - Silvana E Rinaldo Calheiros
    (Antenógenes Silva/Ernâni Campos) • 3:27
10. O Dia Em Que Me Queiras (El Dia En Que Me Quieras)
    (Carlos Gardel/Alfredo Le Pera/Vers.: Haroldo Barbosa) • 3: 26
11. Lua Verde (Vicente Gomes/Oswaldo Santiago) • 2:36
12. Lencinho Querido (El Pañuelito) - Silvana E Marco Aurélio
    (J. de Felizberto/Cora G. Peñaloza/Vers.: Maugeri Neto) • 2:40

Sunday, September 26, 2010

JACOB DO BANDOLIM

Jacob Revive Músicas De Ernesto Nazareth (1955)


Jacob Pick Bittencourt (14/02/1918 - 13/08/1969), or Jacob do Bandolim is one of the first names in the history of the choro genre.  A serious and dedicated musician, he instilled a high degree of professionalism in the traditionally relaxed music - even if he was never a professional himself (he made a living as a notary).  He struggled to preserve Brazilian roots, and fought to impose his artistic sincerity on the music industry. He left important compositions that were incorporated in the repertory of chorões.
The son of a middle-class family, Jacob do Bandolim followed formal studies until his completion of the accounting course of study.  In 1930, when he was 12, he became strongly motivated by the music of a blind violinist who was his neighbor.  Asking his mother to give him a violin, he left the bow of the instrument aside, picking the strings with hairpins.  After many broken strings, his mother gave him a mandolin at the suggestion of another neighbor.
His first performance as an amateur was three years later, at the Grêmio dos Estudantes Israelitas.  In December of that year, he performed for the first time on Rádio Guanabara.  In those times, he was already a brilliant mandolinist, and also a good violonista (acoustic guitarist) and cavaquinho player.  In the next year, he won his first important contest at Rádio Guanabara, invited by Benedito Lacerda.  Accompanied by Carlos Lentine, Luís Bittencourt, Canhoto, and Russo do Pandeiro, his group was named Jacob e Sua Gente by the show director, and was awarded the maximum grade given by the professional jury in a contest disputed by other 27 participants.  Jacob e Sua Gente became a regular on Rádio Guanabara, alternating with the Regional de Benedito Lacerda and the Gente do Morro group in the accompaniment of professional singers and musicians like Noel Rosa, Herivelto Martins, Dunga, Joel e Gaúcho, Elizeth Cardoso, Ataulfo Alves, Lamartine Babo, Araci de Almeida, and Carlos Galhardo.  But Jacob do Bandolim never became a professional musician because he knew he would have lost his musical personality - which was a very purist one.  Instead, he held several jobs as a salesman or hawker, becoming a notary in 1940 and keeping that job until his death.  In 1935, he joined the Conjunto da Rádio Ipanema, one of the three important groups of his life, initially directed by Mário Silva and later directed by himself.  The group featured César Faria (after 1939) and Claudionor Cruz (violões, or acoustic guitars), Léo Cardoso (afoxê), and Candinho (drums).  In 1943, by insistence of his future father-in-law, he abandoned his radio work, returning at the explicit desire of his wife, Adylia, in 1945 at Rádio Mauá.  His first album was recorded in October 1947 with Continental (a company for whom he worked until 1949), having the hit "Remeleixo." In July 1949, Jacob do Bandolim moved to RCA Victor, recording eight albums until October 1950.  From March 1951 on, for the next ten years, he was accompanied by the Regional do Canhoto.  In July 1961, the recording of Chorinhos e Chorões marked the opening of the group Época de Ouro, the third important group of his life, and one of the most prominent of all time in the genre.  The group used other names until the LP Vibrações, which was released in October 1967 and is considered one of the best of all time. Jacob do Bandolim's imposed weekly rehearsals on Fridays and sometimes on Saturdays were rigorous.  During those rehearsals the musicians sweated profusely, because the slightest mistake was accompanied by terrible admonishing in Jacob's resounding voice.  In 1968, with Elizeth Cardoso (whom he introduced to the artistic scene), the Época de Ouro, and the Zimbo Trio, Jacob do Bandolim gave a concert at the Teatro João Caetano that was released on two albums by the Image and Sound Museum of Rio de Janeiro, and is considered one of the best shows of all time in Brazilian popular music.  The American mandolinist Dexter Johnson organized a compilation of Jacob do Bandolim's solo work on two CDs with 43 tracks, Mandolin master of Brazil.

Jacob Revive Músicas De Ernesto Nazareth
Unless I'm terribly wrong, this is the first LP (10") recorded by Jacob do Bandolim.

01. Atlântico (Ernesto Nazareth) • 2:54
02. Nenê (Ernesto Nazareth) • 2:52
03. Saudade (Ernesto Nazareth) • 2:43
04. Confidências (Ernesto Nazareth) • 3:02
05. Tenebroso (Ernesto Nazareth) • 3:00
06. Odeon (Ernesto Nazareth) • 2:38
07. Faceira (Ernesto Nazareth) • 3:01
08. Turbilhão De Beijos (Ernesto Nazareth) • 2:45

Sunday, September 19, 2010

CID GRAY

Soirée Dançante (1959)


Soirée Dançante
I was planning to post this album later in the year, but I have a friend that lives in Belgrade who has a very strong belief in Santa Claus.  That is so that he keeps his wish lists to remind Santa that he's a good boy and behaves well and is patiently waiting for his albums.
As I have this album ready, I think it would be a pity to shatter such faith, so this post goes earlier than it was planned to as a Christmas gift.  Lately he's been posting quite a few of Brazilian Instrumental music in he's own blog that's worth being checked on some Parallel Reality.
PS.: I couldn't find any information on Cid Gray's biography. If any of you know anything and feel like sharing it with us, please be welcomed.

01. Chega De Saudade (Tom Jobim/Vinícius de Moraes) • 2:30
02. Tudo Ou Nada (Fernando César) • 3:00
03. Roselle (Noel Sherman) • 2:25
04. Tú Me Acostumbraste (Frank Dominguez) • 2:56
05. Solidão (Dolores Duran) • 2:23
06. Come Prima (M. Panzeri/Pangeri Di Paola/Sancho Taccani) • 2:13
07. Vai, Mas Vai Mesmo (Ataulfo Alves) • 3:21
08. Twilight Time (Al Nevins/Jason Nevins) • 2:56
09. Ave Maria Lola (Sérgio G. Siaba) • 2:10
10. Till (Carl Sigman/Danvers) • 2:28
11. Piccolissima Serenata (G. Ferrio/A. Amurri) • 2:35
12. Aperta-me Em Teus Braços (Anísio Silva/Almeida Rego) • 3:31

Sunday, September 12, 2010

CARMEN SILVA

Carmen Silva (1971)


Carmen Silva (born in Veríssimo, MG, on 22/03/1945) was an orphan and at the age of seven she started working on the plantation fields to help her father to raise her four younger brothers. When she was ten, she went to Uberaba, also in the Estate of Minas Gerais, and got a job as a domestic helper and then started appearing on local radio shows and winning all the contests. Then she went to São Paulo, and there, she sang on competitions on the local TV stations, such as "A Hora Do Pato", "Buzina Do Sílvio Santos", "Calouros Buri" e "Calouros Lorenzetti" and was classified on a contest promoted by TV Record in 1963, when she recorded her first single, but it wasn’t very well received and she was forced to find a job as a cook on a restaurant in the city. Five years later, she was hired by RCA Victor to record a single with the songs "Onde Estão Aqueles Dias" (Gene Raskin/Vers.: Miguel Vaccaro Neto) and "O Convento" (Jair Gonçalves/Oswaldo Aude). Her next single, in 1969, brought her some success with the songs "As Promessas De Amor" (Bardot/Casa/Vers.: Cirus) and "Adeus Solidão" (Curtis/Vers.: N. Miranda), a song that gave her several prizes in that year, like Chico Viola, Roquete Pinto and Disco de Ouro, offered by RCA Victor. In 1971 she recorded her first LP, in 1973 her second album, "Pérola Negra". The third album was released in 1974, "Cantem Comigo". She went into the 1980’s recording several albums and until today she goes on performing on shows all over Brazil.

Carmen Silva

01. Goodbye, Adiós, Adieu, Arrivederci... - Carmen Silva e Sílvio Santos
    (Cézar/Antonio Queiroz) • 4:27
02. Tenho Saudade (Tengo Saudade) (Do Barro/Alcalán/Vers.: Sebastião Ferreira da Silva) • 2:48
03. As Estradas Do Mundo (Geraldo Nunes) • 2:14
04. Domingo De Solidão (Sunday Mornin' Comin' Down)
   (Kris Kristofferson/Vers.: Elzo Augusto) • 3:20
05. Quando Você Me Deixou (On Laissé Tous Un Jour)
   (M. Fugain/Auffrai/Buggy/Vers.: Sebastião Ferreira da Silva) • 2:29
06. Um Novo Dia Nascerá (Und Wenn Ein Neuer Tag Erwacht)
   (Ch. Bruhn/Günter Loose/Vers.: George Freedman) • 3:20
07. O Emigrante (M. Albertina/J. Guimarães) • 3:44
08. Perdão Amor (Jair Gonçalves) • 2:58
09. Não Vou Mais Amar Ninguém (Dom/Ravel) • 3:40
10. Vivo De Esperança (Anastácia/Dominguinhos) • 2:01
11. Diga... Diga... Diga... (Well, I Did) (Reed/Stephens/Vers.: George Freedman) • 3:57
12. O Fim [(At) The End (Of A Rainbow)] (Erondes Jacobson/Vers.: Mauro Sérgio) • 2:29

Sunday, September 5, 2010

DALVA DE OLIVEIRA

Dalva (1987)


Dalva
A compilation released in 1987.

01. Ave Maria No Morro (Herivelto Martins) • 2: 50 - (1961)
02. Que Será (Marino Pinto/Mário Rossi) • 3:29 - (1950)
03. A Grande Verdade (Luís Bittencourt/Marlene) • 2:51 - (1951)
04. Tudo Acabado (J. Piedade/Oswaldo de Oliveira Martins) • 3:15 - (1961)
05. Mentira De Amor (Lourival Faissal/Gustavo de Carvalho) • 2:57 - (1950)
06. Palhaço (Oswaldo de Oliveira Martins/Nelson Cavaquinho/Washington) • 3:06 - (1951)
07. Neste Mesmo Lugar (Armando Cavalcante/Klécius Caldas) • 2:57 - (1971)
08. Bandeira Branca (Max Nunes/Laércio Alves) • 2:52 - (1970)
09. Segredo (Herivelto Martins/Marino Pinto) • 3:18 - (1961)
10. Fim De Comédia (Ataulfo Alves) • 3:13 - (1955)
11. Errei Sim (Ataulfo Alves) • 3:22 - (1950)
12. Ave Maria - Dalva de Oliveira e Pery Ribeiro
    (Vicente Paiva/Jayme Redondo) • 2:59 - (1961)
13. A Bahia Te Espera (Herivelto Martins/Chianca de Garcia) • 2:50 - (1965)
14. Bom Dia (Herivelto Martins/Aldo Cabral) • 3:01 - (1968)

Sunday, August 29, 2010

AS 14 MAIORAIS EM BOLEROS

As 14 Maiorais Em Boleros (1964) or Alternative


As 14 Maiorais Em Boleros

01. Acorrentados (Encadenados) - Agnaldo Rayol
    (Carlos Arturo Briz/Vers.: João Miranda/Genival Mello) • 2:52
02. Sabe Deus (Sabrá Dios) - Guaranis
    (Alvaro Carrillo/Vers.: Nely N. Pinto) • 2:42
03. Duas Cruzes (Dos Cruces) - Onilda Figueiredo
    (Carmelo Larrea/Vers.: Joluz) • 3:07
04. Confissão (Confesión) - Clóvis Candal
    (Joaquín Oliver/Vers.: Genival Mello) • 3:01
05. Vingança (Venganza) - Silvana
    (Alfredo Parra/Vers.: Francisco Bezerril) • 2:54
06. Fita Meus Olhos - Creusa Cunha
    (Peterpan) • 3:05
07. Tu, Tão Somente Tu (Tu, Solamente Tu) - David de Castro
    (P. Frustaci/Michele Galdieri/Vers.: Oswaldo Santiago) • 2:58
08. Pombinha Branca (Vola Colomba) - Silvana
    (Carlos Concina/Bruno Cherubini/Vers.: Genival Mello) • 3:14
09. De Joelhos (De Rodillas) - Agnaldo Rayol
    (Benito de Jesus/Vers.: Jota Moraes) • 3:32
10. Tudo De Mim - Rouxinóis
    (Jair Amorim/Evaldo Gouveia) • 2:11
11. Deixa Lá - Morgana
    (Nóbrega e Souza/Jerônimo Bragança) • 4:08
12. Um Pouco De Amor - Rinaldo Calheiros
    (Armando Quezada/Lília de Almeida) • 3:13
13. Sinceramente - Fernando Barreto
    (Jorge Mota Vieira/Rosalino Senos) • 2:46
14. Ainda Espero Por Ti - Jairo Aguiar E Collid Filho
    (Joluz/Vadinho) • 2:35

Sunday, August 22, 2010

BIRIBA BOYS

Biriba Alegra O Brasil (1960)


Sérgio Weiss, the leader of the group, once being interviewed, told the story of the Biriba Boys:
"Between the years of 1950’s and 1960’s, every club had a monthly ball that usually started around 11:00 PM and went through the night, ending not before 4:00 AM on the next day.
During the other weekends, there were balls animated by the bands on what we called "Domingueiras" that started around 5:00 PM up to 8:00 PM, sometimes going as far as 11:00 PM".
"Then, those balls were very important, for there were no TV’s and bars, like today, so the youth waited for them anxiously, and dressed carefully".
"The event was fundamental because that’s where they met and scheduled dates. It was during the dancing that you could find out if your partner was interesting or not".
The group started in the ballroom of the Tênis Clube de São José dos Campos and Sérgio told how it was:
"There was an old piano which I usually played, and eventually would arrive another musician with a tambourine, another with a guitar, and so on. One day, the management of the club told us that we were supposed to play on the main ball. That was craziness. It was 1949".
"Then, I went to the radio station to announce the ball. That time in São José dos Campos, there was only the ZYE-5, and then the DJ asked me the name of the band. The first thing that came into my mind was "Biriba". And he asked: "Biriba what?", to which I answered Boys, Biriba Boys".
"And what does that mean?", "he asked. Then I told him that Biriba was the name of Botafogo’s pet from Rio de Janeiro, and also was the name of an entity of the Brazilian folklore responsible for the 'theft' of objects that mysteriously disappeared. When we couldn’t find something, we would say that the Biriba had taken it".
The Biriba Boys soon became a reference for all the clubs in that region and if a ball wasn’t animated by them, it was a certainty of failure.
With such an irreverent name, the Biriba Boys could only be oriented to innovation. Colorful shirts with tropical motifs, not conventional instruments like the other bands and a refined international repertory based on hits and film hits. They became a symbol of a time that won’t be back and certainly many of those who have been there miss them.

Biriba Alegra O Brasil
 
01. Prece Ao Sol (Jorge de Castro/Wilson Baptista) • 2:29
02. In The Mood (Andy Razaff/Joe Garland) • 2:53
03. Wake The Town And Tell The People (Jerry Livingston/Sammy Gallop) • 2:40
04. Quem É (Osmar Navarro/Oldemar Magalhães) • 3:27
05. Ô-Ba-La-Lá (João Gilberto) • 3:26
06. Seleção De Cha Cha Cha • 3:59
    Ya Ya Cha Cha Cha (Billy May)
    Undecided (Charles Shavers/Sid Robin)
    Ahora Seremos Felices (Rafael Hernandez)
    Chachazinho (Sylvio Mazzuca)
07. Menina Moça (Luís Antonio) • 2:29
08. Não Tive Tempo (Haroldo Barbosa/Nanaí) • 2:57
09. Leva-me Contigo (Dolores Duran) • 3:18
10. Não Sei Dizer (Sérgio Weiss) • 3:19
11. Marcianita (J. Imperatore/Galvarino Villota Alderete) • 3:17
12. Nugats De Cugat (Xavier Cugat/H. Angullo) • 2:33

Sunday, August 15, 2010

ADELAIDE CHIOZZO & ALENCAR TERRA

Pedalando (Shellac Single) (1950)


Adelaide Chiozzo was born in São Paulo on May, 13, 1931, in the Brás neighborhood; which had a strong predominance of Italian immigrants. She was the daughter of Leonor Cavallini and Geraldo Chiozzo, a master carpenter. One day he did a job for a music store that paid him with an accordion, which he had no idea how to play. It was his younger daughter, Adelaide who, without anybody knowing, learned how to play the instrument and still in childhood played her first song: the Brazilian waltz "Saudades De Matão" without the help of any teacher.
At the age of 11, Adelaide showed on a competition at the Rádio Bandeirantes, in São Paulo, hosted by Vicente Leporace, soloing the Brazilian waltzes "Branca" and "Saudades De Matão", and after all the steps of that competition, she won the first prize and an invitation to play at the program Serra da Mantiqueira, every day at 8:00 o'clock in the morning, under the direction of the Mota Brothers. Her father, a very strict man, imposed that her older brother, Afonso, also accompanied her in the accordion and the duo was known as the Chiozzo Brothers.
In 1946 the family moved to Niteroi, RJ, and started a furniture business. The composer Irani de Oliveira took Adelaide to the program Papel Carbono, hosted by Renato Murce, and once again she won the first prize and a contract with Rádio Nacional, as an accordionist. She became one of the musicians of the Regional Dante Santoro, one of the best in Brazil, and even as young as she was, she was a match for all of those experienced musicians.
One and a half year after, one singer didn't show for a program, and in the emergency, Adelaide substituted her and after that she started interpreting songs as a singer as well.
Irani de Oliveira also took her for an audition at Atlântida Filmes and she was hired. With her brother Afonso, she played for Bob Nelson, the Brazilian Cowboy, in two films: "Esse Mundo É Um Pandeiro" (1947) and "E O Mundo Se Diverte" (1948), but only in 1949 she had a part for herself, where she played the song "Tempo De Criança", her debut single in 78 r.p.m. for Star in 1950. Now, as a radio singer at Rádio Nacional, where she stayed for 25 years, she didn't have to play for Bob Nelson anymore.
In the film "Carnaval No Fogo" (1950) she had the opportunity to play a part, and also sing the polka "Pedalando" a big hit and one of her most requested songs until today.
In 1951 she married the guitar player Carlos Mattos who started to play with her and thanks to the incredible popularity of Rádio Nacional, Adelaide estimates that now, she had showed in more than 800 cities in Brazil, many of which, more than once.
Paulo Gracindo suggested to Revista do Rádio to launch a competition to choose the "Brazilian Girlfriend" and Adelaide won. She holds the title until today, for there was no other competition of the kind since then.
Adelaide, always the same adorable person, lives today with Carlos Mattos in the neighborhood of Tijuca, Rio de Janeiro, and recently they celebrated their 50 years of marriage.

Alencar Terra (???? - 20/05/1963) was a multi-instrumentist and for many years had his own academy of music in Rio de Janeiro.
In 1944 recorded for Odeon "Melodias Russas" and "Melodias Infantis". He composed and accompanied, among others, Adelaide Chiozzo, with whom he recorded "Saudades De Guarapari" and "Recordações De Anápolis", both composed by him, "Venho De Minas", with J. Portella, "A Saudade Que Não Me Deixa", by Jorge Tavares and Nestor de Holanda, "Pedalando", by Anselmo Duarte and Bené Nunes, and Tempo De Criança", by João de Souza and Ely Turquine, all in 1950.
When he passed away, in 1963, he left an invaluable collection of compositions on the regional repertory.

Pedalando
These records were part of my toys and survived my childhood.  Unfortunately, the amount of noise you find on such records, especially the 78 r.p.m.'s is too big.  I used all my knowledge to clean them up, but some frequencies might have been altered and some noise was left to avoid a larger distortion of the music.  If any of you wish to try the cleaning for yourselves, please let me know and I'll make the original rip available.

01. Pedalando (Anselmo Duarte/Bené Nunes) • 2:44
02. Tempo de Criança (João de Souza/Ely Turquine) • 2:50