JAIR RODRIGUES

Antologia Da Seresta (1979)

One of the most popular and commercially successful samba interpreters in the '60s and '70s, Jair Rodrigues had his first radio experience in 1958 on a novice show in his hometown. Moving to São Paulo, he won a contest in another novice show on Rádio Cultura. Becoming a crooner in several nightclubs, he recorded for the first time in 1962 ("Marechal da Vitória"). His first LP came in 1963, O Samba Como Ele É. In 1964, he had his first hit with "Deixa Isso Pra Lá", which helped solidify his "malandro" (street smart) style. Rodrigues replaced Baden Powell in 1965 on a show with Elis Regina at the Teatro Paramount (the first place where the bossa nova was presented in São Paulo), which opened the way for the live recording with her of three anthological LPs (the Dois Na Bossa series). The commercial success of the recordings brought them an invitation to host the historical TV Record show O Fino da Bossa, in 1965. Rodrigues won the TV Record's II FMPB (Festival of Brazilian Popular Music) in the next year with "Disparada" (Geraldo Vandré/Teo de Barros), one of the most important songs of his repertory; the first place in that festival was shared with Chico Buarque's "A Banda". That same year, he recorded one of his biggest hits, "Tristeza" (Niltinho/Haroldo Lobo). In 1967, he performed in Portugal, Argentina, Angola, Uruguay, and Brazil, always with Elis Regina and the Zimbo Trio. He had other hits with "Triste Madrugada" (Jorge Costa), "Casa de Bamba" (Martinho da Vila), "Tengo-Tengo" (Zuzuca), and "Vai, Meu Samba." Rodrigues performed in several international festivals, like the MIDEM (in Cannes, France), Montreux, and San Remo. He continues to perform and had recorded 28 albums through 2000

Alvaro Neder

(All Music Guide)

Antologia Da Seresta

01. Boa Noite, Amor (José Maria de Abreu/Francisco Mattoso) • 2:13
02. Pot-Pourri • 3:39
    Três Lágrimas (Ary Barroso)
    Chuá, Chuá (Pedro Sá Pereira/Ary Pavão)
    Malandrinha (Freire Júnior)
03. Lábios Que Beijei (Leonel Azevedo/J. Cascata) • 2:26
04. Última Inspiração (Peterpan) • 2:40
05. A Voz Do Violão (Francisco Alves/Horácio Campos) • 3:27
06. Gente Humilde (Garoto/Chico Buarque de Hollanda/Vinícius de Morais) • 2:49
07. Eu Sonhei Que Tu Estavas Tão Linda (Francisco Mattoso/Lamartine Babo) • 3:19
08. Pot-Pourri • 2:39
    A Última Estrofe (Cândido das Neves "Índio")
    Maria Bethânia (Capiba)
    Minha Casa (Joubert de Carvalho)
09. Chão De Estrelas (Orestes Barbosa/Sílvio Caldas) • 3:33
10. Patativa (Vicente Celestino) • 3:01
11. Número Um (Mário Lago/Benedito Lacerda) • 2:15
12. Ave Maria (Erothides de Campos) • 2:23

JAIR RODRIGUES

Antologia da Seresta Vol. 2 (1981)

Antologia da Seresta Vol. 2

01. Lágrimas (Cândido das Neves "Índio) • 3:37

02. Revendo O Passado (Freire Júnior) • 3:34

03. Prá São João Decidir (Lupicínio Rodrigues) • 3:30

04. Sertaneja (René Bittencourt) • 4:16

05. O Ébrio (Vicente Celestino) • 3:12

06. Boneca (Aldo Cabral/Benedito Lacerda) • 3:05

07. Sinhá Maria (René Bittencourt) • 3:24

08. Céu Moreno (Uriel Lourival) • 2:10

09. Velho Realejo (Custódio Mesquita/Sadi Cabral) • 3:04

10. Senhor Da Floresta (René Bittencourt) • 3:20

11. Rapaziada Do Brás (Alberto Marino) • 2:37

LUPERCE MIRANDA

História De Um Bandolim (1977)

Luperce Miranda, and later, Jacob do Bandolim, were responsible for the presence of the mandolin in the Brazilian popular music scene. Before them, the mandolin was used sporadically and always as accompaniment. The crescent soloist activity of these renowned musicians imposed the instrument in a broader circle. Luperce Miranda played and recorded with the who's who of Brazilian popular music. Among his recordings, both as a soloist and accompanist, he left around 900 registers. He wrote around 500 compositions in several genres, such as choro, valse, and frevo. He was the first to be awarded by the Image and Sound Museum of Rio with the title Bacharel da Música Popular Brasileira (1970). At the same time, he was a noted professor, having founded the Academia de Música Luperce Miranda. A superb musician of irreproachable technique, he forged his style in the Neapolitan school, leaving to do Bandolim the honor of the development of a Brazilian school of the instrument.
He began to play the mandolin at eight, writing his first composition, a frevo, at 15. In the following year, he organized the Jazz Leão do Norte, a nine-piece orchestra in which he played the piano. In spite of what he declared (and what was widely rumored), he never took part in the Turunas da Mauricéia group. The group did record his tunes in their first contract with Odeon (1927), though they did all with Augusto Calheiros (the Patativa do Norte): the canção "Belezas do Sertão," the samba "O Pequeno Tururu," and the embolada "Pinião," which was the hit of the Carnaval of 1928. In 1927 he formed the group Voz do Sertão, who included a violonista (acoustic guitar player), Meira, who would later become nationally famous. He moved to Rio at age 24, in 1928, invited by João Pernambuco and Pixinguinha and bringing the Voz do Sertão. They recorded several of his songs soon after their arrival in Parlophon. In 1929, he formed the Regional Luperce Miranda, who were hired by Rádio Clube do Brasil. Together with Almirante, he recorded with the Bando de Tangarás. Almirante recorded his "Vaca Maiada", written with Manuel Lino. He accompanied the greatest stars of his time, like Carmen Miranda (he wrote the introduction to "No Tabuleiro da Baiana"), Francisco Alves, Mário Reis, Noel Rosa (in the first recording of "Com que Roupa?"), and others. In 1931, he performed in Argentina, including radio performances (Radio El Mundo) with Carmen Miranda, Francisco Alves, Mário Reis, Tute, Célia Zenatti, and Nestor Figueiredo. In 1936, he moved to Rádio Mayrink Veiga, and in 1945 to Rádio Nacional, both in Rio. In 1946 he moved to the Northeast, returning to Rádio Nacional in 1955 and staying until his retirement in 1973. In 1950, he toured the Federal Republic of Germany. In 1994, the label specializing in historical research, Marcus Pereira, released the CD História de um Bandolim, and in the following year, the contemporary virtuoso Pedro Amorim released another CD dedicated to him through Saci, Pedro Amorim Toca Luperce Miranda.

Alvaro Neder

(All Music Guide)

História De Um Bandolim

01. História De Um Bandolim (Luperce Miranda) • 2:30
02. Bonita (Luperce Miranda) • 3:23
03. Norival Aos Sessenta ( (Luperce Miranda) • 1:52
04. Naquele Tempo (Pixinguinha/Benedito Lacerda) • 2:25
05. Bambino (Ernesto Nazareth) • 2:13
06. Prelúdio Em Ré Maior (Luperce Miranda) • 3:16
07. Picadinho À Baiana (Luperce Miranda) • 1:54
08. Risonha  (Luperce Miranda) • 2:41
09. Mar De Espanha (Buonfiglio de Oliveira) • 3:10
10. Glória (Pixinguinha) • 4:28
11. Subindo Ao Céu (Aristides Borges) • 2:53
12. Bernardino (Luperce Miranda) • 2:00

JAMELÃO

Jamelão (1974)

Brazilian music giant Jamelão looms large in the evolution and continued relevance of samba. The foremost interpreter of dor-de-cotovelo, a romantic, profoundly melodramatic style exploring the anguish of the human experience, he also composed standards including "Deixa Amanhecer", "Um Dia Hás de Pagar", and "Ela Me Convidou", and for five decades remained a fixture of Rio de Janeiro's annual Carnival Parade. Born José Bispo Clementino dos Santos in Rio's São Cristóvão district on May 12, 1913, he shined shoes as a child, later toiling as a newspaper delivery boy and textile factory worker -- only during the early '30s did he pursue a career as a singer, adopting the cavaquinho (a small, four-stringed guitar central to samba tradition) and performing in the dancehalls of north Rio. With his booming, richly expressive voice he quickly emerged as a crowd favorite, earning his famous alias from a nightclub announcer who, unsure of the singer's name, introduced him as "Jamelão" (i.e. a sweet-tasting fruit with a dark skin). The name stuck, and in 1947 Jamelão rose to national prominence when he claimed first prize in a Rio amateur competition. Two years later, he was appointed the primary singer of the city's premier samba school, Mangueira, and in 1952 he toured France as the official crooner in front of Brazil's Tabajara orchestra. That same year, Jamelão made his first appearance on Mangueira's Carnival Parade float, an honor he reprised each year for more than half-a-century, with his signature white suit, panama hat, and walking stick, he would become one of the most recognizable exponents of the festival experience.
Jamelão's recording career spanned nearly two-dozen LPs and close to 70 years, during which time he scored a series of samba classics including "Mora No Assunto", "Matriz ou Filial", "Exaltação à Mangueira", "Seu Deputado", and "Fechei a Porta". Critics frequently cite his recordings with Severino Araújo's Orquestra Tabajara as the apex of his studio career as well as a pivotal turning point in the maturation of the modern samba sound. A perennial favorite of composers including Cartola, Zé Keti, Billy Blanco, and Ary Barroso, Jamelão nevertheless remains most closely aligned with southern writer Lupicinio Rodrigues, recording definitive renditions of sambas-canção like "Ela Disse-me Assim", "Torre de Babel", "Esses Moços", and "Quem Há de Dizer". Throughout his life, Jamelão gravitated to songs of lost love, betrayal and desperation, dubbing his operatic approach "romantic samba". Offstage, he was a famously combative man, notorious for walking out of press interviews and openly scornful of record executives, blaming them for discriminating against black musicians. A stroke forced Jamelão to relinquish his Estação Primera de Mangueira duties in 2005, and during the final years of his life he also suffered from diabetes and hypertension. Jamelão died June 14, 2008 at the age of 95 -- following his death, Rio's governor Sergio Cabral declared three days of mourning, and his funeral took place at the city's famed Sambódromo da Marquês de Sapucaí, where samba schools including Mangueira compete each year during Carnival.

Jason Ankeny

(All Music Guide)

Jamelão (1974)

01. Conquetel De Sofrimento (Lupicínio Rodrigues) • 4:27

02. Complicou-se (Lúcio Cardim/Antonio Moreno) • 3:51

03. Um Sagrado Juramento (Ferreira dos Santos) • 3:19

04. Uma Graça De Deus (José Bispo) • 3:54

05. Molambo (Jayme Florence "Meira"/Augusto Mesquita) • 3:39

06. A Vida É Isto (José Bispo) • 3:37

07. Se É Verdade (Lupicínio Rodrigues) • 4:21

08. Imantação (Lúcio Cardim/Antonio Moreno) • 5:25

09. Sou Verde-Rosa (José Bispo) • 3:30

10. Foi Bom (José Bispo/Moysés Sant'Anna) • 3:28

11. Castigo (Dolores Duran) • 3:34

12. Perdão, Perdão Amor (José Bispo/Almanyr Greco) • 3:09

ETERNOS SUCESSOS VOL. 2

Eternos Sucessos Vol. 2 (1975 - Aprox.) or Alternative

Eternos Sucessos Vol. 2

01. Recuerdos de Ypacarai - Gregorio Barrios (1955)
    (Zulema de Mirkins/Demetrio Ortíz) • 2:57
02. Lencinho Querido (El Pañuelito) - Dalva de Oliveira (1957)
    (Juan de Dios Filiberto/Gabino Coria Peñaloza/Vers.: Mauger Neto) • 3:16
03. Molambo - Roberto Luna (1955)
    (Jayme Florence "Meyra"/Augusto Mesquita) • 2:48
04. Chão De Estrelas - Sílvio Caldas (1937)
    (Sílvio Caldas/Orestes Barbosa) • 2:54
05. Meu Benzinho (My Little One) - Conjunto Farroupilha (1956)
    (Howe/Gussin/Vers.: Cauby de Brito) • 2:40
06. É Tão Sublime O Amor (Love Is A Many-Splendored Thing) - Osny Silva (1956)
    (Paul Francis Webster/Sammy Fain/Vers.: Alberto Almeida • 3:03
07. Maracangalha - Dorival Caymmi (1956)
    (Dorival Caymmi) • 2:52
08. Vai Que Depois Eu Vou - Zilda do Zé (1955)
    (Adolpho Macedo/Zé da Zilda/Zilda do Zé/Airton Borges) • 2:56
09. Saudosa Maloca - Demônios da Garoa (1955)
    (Adoniran Barbosa) • 2:52
10. Quem Sabe, Sabe - Joel de Almeida (1955)
    (Jota Sandoval/Carvalhinho) • 2:45
11. A Boneca Chorou - Bolinha, Cidoca & Sueli (1957)
    (Bolinha/Luizinho) • 3:08
12. Saca-Rolha - Zé da Zilda & Zilda do Zé (1953)
    (Zé da Zilda/Zilda do Zé/Waldir Machado) • 2:48