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, September 26, 2010


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


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 (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 (1987)

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)