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, November 28, 2010


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


Retôrno (1967)


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


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 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 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 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)