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)

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

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

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

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

SILVANA

Silvana (1972)

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

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