Pick of The Year 2006!

This time of the year it's become a custom habit among critics, music magazines and newspapers to point out urgent issues and releases in the different fields of music from the year almost ended. Of course, the music industry, record producers and retailers are on top of their toes to find out and take advantage of the judgements by the various critics and magazine reviews/polls - the market is always open to new investment and release by popular artists. The same old story over again. However, like in other fields of art, it's not always the most popular or best selling item that may be considered having a lasting quality.
In the general war between marketing and quality kept going on by the various trend setters of the market it seems that only survival of the fittest ruels the market and what is considered a sound investment. In this battlefield of commercial interests it's a heroic deed to fight for quality and the release of urgent historical recordings that would not have been issued by major companies considering economic success before anything else.
Thanks to small companies like the German Chanterelle (https://www.chanterelle.com) that devote their affairs to the release of high quality issues in the field of classical guitar music, sheet as well as recordings, 2006 brought us the release of a cd featuring the historical guitar recordings by Garoto (Chanterelle, CHR 006), made 1950-55 by Ronoel Simões in a private recording studio to give Garoto the opportunity to perform and record his own compositions as a soloist in a relaxed atmosphere. These recordings are a true historical document, showing off the artistry of Garoto and the development of the guitar choro into new field, further anticipating the bossa nova and the conception of modern harmony. If you are concerned with the Brazilian guitar tradition, these recording are an absolutly must-have item and the most urgent release of 2006!
I wrote a small review of the mentioned cd at the Guitar Choro pages, click here
I found a video performance by Paulo Bellinati playing two compositions by Garoto in a solo recital

I wish the visitors of this blog a Happy and Prosperous New Year!

Francisco Soares de Souza

Francisco Soares de Souza (1905-1986) was born in the Brazilian northeastern state of Ceará. An excellent self-taught guitarist and composer, Soares music follows the outstanding guitar tradition in Brazilian music. With almost fifty compositions written especially for acoustic guitar, Soares' choros are particularly enchanting.
In the latest radio program by Fábio Zanon on Rádio Cultura de São Paulo you may listen to a presentation of some of the compositions by Francisco Soares de Souza, click here to find a track list on Fábio Zanon's blog and to download the program 'O Violão Brasileiro - Os Criadores: Violão no nordeste' featuring music by Francisco Soares de Souza as well as Canhoto da Paraíba.

Classical guitarist Maria do Céu dedicated a cd to some of the works by Francisco Soares de Souza,'Choros do Ceará'(iss. 2000).

Maria do Céu worked with Brazilian renowned guitarist Turíbio Santos in Rio de Janeiro. Since beginning her professional career in 1984, she has played with a variety of groups, including the Orchestra of Acoustic Guitars of Rio de Janeiro and the Quinteto Clássico. She has performed throughout Brazil as well as abroad. Together with Rodrigo Sebastian (bass) and Di Lutgardes (percussion), she dedicated the mentioned cd to the choros of Francisco Soares de Souza.

For more info on the 'Choros do Ceará'-cd, pay a visit to the web of Maria do Céu (- in Portuguese only) here

Listen to sound clips from the cd, download a complete track in mp3 by clicking here


A Merry Christmas/Feliz Natal to the visitors of this blog!


Marcus Llerena - Levanta Poeira (Kickin' Up Dust)

Recently I had the shown cd by Marcus Llerena, a classical trained and very skilled Brasilian guitarist. The cd is the first release in the US by Marcus Llerena - previously there have been four cd-issues in Brazil featuring this great artist. The 'Levanta Poeira' cd was partly recorded 1999 in Brazil - Marcus Llerena tells about the circumstances in the inserted sleeve-info:

"The creation of this CD was very special to me from the moment I started recording, alone in the small hours, in the church of São Sebastião in Visconde de Mauá, receiving the visits of some owls or an unknown bird and even that of a drunkard who knocked on the door at 3 am one night. I let him in, but he was so noisy that I was obliged to ask him to leave. In the track "Levanta Poeira" the drunkard can be encountered sitting in the first pew, until he rouses himself to leave."

When listening to the cd, no signs of owls or a noisy drunkard can be detected - on the contrary this is a most sober recital of marvellous solo guitar and even repeated listening has not revealed the performer snappin' an owl! The repertoire performed includes Marcus Lerena's arrangements of compositions by Pixinguinha, zequinha de Abreu, André Corréa, Chiquinha Gonzaga, Jacob do Bandolim, K-Ximbinho, Radamés Gnattali, Garoto, Nicanor Teixeira, Neco, Armando Neves and Julio Borges.

The performance is a feast for all lovers of the Brasilian guitar tradition, a peak moment of recorded guitar wizardry displaying the rich and varied tradition of the violão - the title of the cd, meaning 'kicking up dust', is also the title of a composition by Abreau and the first track of the cd. Indeed, Marcus Llerena kicks up dust right from the start - I highly recommend this cd. If you are in need for a last-minute wish for X-mas, then this is your choice, even better buy it for yourself - you will be rewarded with a delightfull hour of good company with a most skilled performer - a rare bird!

Tracklist inserted below:

1.Levanta Poeira (Zequinha de Abreu) 2.André de Sapato Novo (André Victor Corrêa)3.Carioca II (Nicanor Teixeira)4.Chôroc (Daudeth de Azevedo [Neco]) 5.Corta Jaca (Chiquinha Gonzaga) 6.Carioquinha (Aníbal Augusto Sardinha)7.Vôo da Môsca (Jacob Bittencourt [J. do Bandolim]) 8.Chôro II (Armando Neves)9.Carioca I (Nicanor Teixeira) 10.Sonoroso (Sebastião de Barros [K. Ximbinho])11.Valsa (Julio Borges) 12.Oscarina (Alfredo Viana Filho [Pixinguinha]) 13.Inferna (Aníbal Augusto Sardinha) 14.Carinhoso (Alfredo Viana Filho [Pixinguinha])15.Sempre (Sebastião de Barros [K. Ximbinho]) 16.Saudade (Radamés Gnattali) 17.Numa Seresta (Luiz Americano) 18.Improviso (Aníbal Augusto Sardinha) 19.From 10 Estudos para Violaõ (Radamés Gnattali)


Fábio Zanon - O Violão Brasileiro

If you are interested in the Brazilian guitar tradition and do not know where to start, I'll recomend a visit at the blogspot of classical guitarist Fábio Zanon, to be reached clicking here
Fábio Zanon is a highly esteemed classical trained guitarist of the contemporary Brazilian music scene. Recently Mr. Zanon has produced and hosted a series of radio programs at Rádio Cultura de São Paulo devoted to the Brazilian guitar tradition, 'O Violão Brasileiro - Nossos Pioneiros, Criadores e Intérpretes'. These programs of one hour each are now free to download from Fábio Zanon's blog in mp3, up till now the list has reached more than 40 produced programs. The spoken info is in Portuguese, of course, but each program has 3/4 of the time devoted to samples of music by the portrayed artist/composer, so these programs are definitely essential, even if you are unfamiliar with the Portuguese language. From the list I can mention features on João Pernambuco, Américo Jacomino 'Canhoto', Dilermando Reis, Laurindo Almeida, Turíbio Santos, Maurício Carrilho a.o. - all well researched portraits of the mentioned and moreover containing recorded music that may be hard to find elsewhere. Tracklist for each program to be found at Fábio Zanon's blog.
Learn more about Fábio Zanon from his web (-in Portuguese only), to be reached clicking here
A career profile in English on Fábio Zanon is available here
I found a video on YouTube featuring Fábio Zanon in a solo performance


Gafieira Jazz - Paulo Moura & Cliff Korman

This time just a short notice to inform briefly about a new cd by Paulo Moura & Cliff Korman, "Gafiera Jazz" (Rob Digital, RD 100). This cd is a compilation of tracks from a couple of previously released cds covering the partnership and cooperation between Paulo Moura and Cliff Korman, "Mood Ingenuo" (1999) and "Gafieira Dance Brasil" (2001). If you are unfamiliar with the Brazilian Gafieira (Ballroom) tradition and the music beeing played today, then the mentioned cds are a proper choice of source. Futhermore, the term Gafieira Jazz reflects the vision of Cliff Korman and Paulo Moura to connect Brazilian music with Jazz in a way that respects the originality of both traditions. You may learn more about Cliff Korman's vision about the interaction between these two cultures from his web, to be reached clicking here
You may have an opportunity to listen to the music recorded at the "Gafieira Jazz", if you pay a visit to Paulo Moura's official web.
All tracks from "Mood Ingenuo" and "Gafieira Dance Brasil" are available at full length, click on the Discography menu and follow the links.

Choro of João Pernambuco


Just for your entertainment.

Keep swinging

Hans Koert

You can contact me at keepswinging.blogspot.com

Canhoto da Paraíba

One of the first cds with choro I bought was the shown item by Canhoto da Paraíba, O VIOLÃO BRASILEIRO TOCADO PELO AVESSO (EMI/BRASIL Choro, grandes solistas 5936322). I still remember the circumstances, it was during the week of July 2005 when I together with my two friends, Hans Koert and Theo van de Graaff, joined the IAJRC Convention in Copenhagen to present a joint venture regarding the El Redescubrimiento de Oscar Alemán project. Taking a break from the convention we had some opportunities to go recordhunting in the city and I still remember the thrill of actually finding two items by Canhoto da Paraíba at a small record shop specializing in World Music. One of the Canhoto cds was the shown, the other one was the 1993 release of 'Pisando em brasa', which I have commented in my article on Guitar Choro .

Francisco Soares de Araújo (b. 1928), better known as Canhoto da Paraíba, is definitely one of the true masters of the guitar choro tradition in Brazil. Coming from a family of musicians, Canhoto da Paraíba learned to play the violão (acoustic guitar) when he was very young. As he is left-handed (canhoto) and there was only one instrument to be shared by he and his brothers, he learned to play in an inverted position, stunning observers with his prodigious soloing technique in such an unfavorable setup. Throughout his career, he not only participated in hundreds of recordings and radio performances, accompanying the stars of MPB, but he also was a recognized master on his own, both as an instrumentalist and composer. His most successful choros, "Com Mais de Mil" and "Visitando o Recife," are of the genre's highest level, being some of the most representative of the choro Pernambucano style. Both mentioned compositions are among the tracks of the shown EMI compilation.



Alvaro Neder has a career profile of Canhoto da Paraíba in AMG:

"In 1953, he signed with Rádio Tabajara in João Pessoa PB, staying there for five years. There, he organized his first regional. In 1958, he returned to Recife PE, and was hired by Rádio Jornal do Comércio, being featured in the show Quando os Violões se Encontram, in which Miro José (who introduced the seven-string violão in Pernambuco), Tozinho, Wilson Sandes, Ernani Reis, Romualdo, Ceça, Zé do Carmo, and others also used to perform. In that period, he performed regularly with masters of choro, like mandolinist Rossini Ferreira, accordionist Sivuca, and mandolinist Luperce Miranda. In October 1959, together with João Dias, Dona Ceça, Zé do Carmo, and Rossini Ferreira, da Paraíba went to Rio de Janeiro being praised by such icons as Pixinguinha, Radamés Gnattali, Jacob do Bandolim, and Paulinho da Viola, who paid homage to him with the choro "Abraçando o Chico Soares" (1971) and with the production of the LP Canhoto da Paraíba: Com Mais de Mil (Marcus Pereira, 1977). In 1993, he recorded the CD Pisando em Brasa (Caju Music)."


For the readers familiar with the Portuguese language I'll point you to a video on YouTube celebrating Pernambuco and Canhoto da Paraíba, to be reached clicking here or on headline.


Paulinho Nogueira

Paulinho Nogueira (1929-2003) was a virtuosic musician who adapted a Brazilian feel to sophisticated acoustic guitar (violão) playing. He is distinctive for not having been influenced by jazz, as most popular Brazilian virtuosos have been. He recorded 27 solo albums and toured throughout the world, playing his violão for 50 years.
An extensive biography of Paulinho Nogueira to be reached here

The shown cd, 'Antologia do violão'(Mercury,582698-2) released 1996, is a highly recommended reissue of a LP recording from 1976 showing off the virtuosic skills of Paulinho Nogueira, tracklist inserted below:

1. Choro Triste / Duas Contas / Gente Humilde (Chico Buarque, Vinicius de Moraes) 2. Bachianinho Nº 1 / Simplesmente o Bem Verdadeiro (Paulinho Nogueira) 3. Cotidiano Nº 2 / Lua Cheia / Na Boca da Noite (Chico Buarque, Vinicius de Moraes, Toquinho, Paulo Vanzolini) 4. Outro Adeus / Manhã de Carnaval (Luiz Bonfá, Antônio Maria) 5. Abismo de Rosas (João Do Sul, Canhoto) 6. Por do Sol de Copacabana (Laurindo Almeida) 7. Berimbau / Samba em Preludio ( Vinicius de Moraes, Baden Powell) 8. Porto das Flores (Rosinha de Valenca) 9. Se Ela Perguntar / Dois Destinos (Dilermando Reis, Jair Amorim) 10. Ontem ao Luar / Luar Do Sertão (Catulo Da Paixão Cearense, Pedro de Alcântara)

A complete audio-file of track 10 available clicking here

I found a couple of filmed video-performances by Nogueira. Enjoy Paulinho Nogueira at home playing:

Bachianinho Nº 1

Aria na quarta corda


The Brazilian Violão of Nicanor Teixeira

Nicanor Teixeira (b.1928) is regarded as one of the top composers of the Brazilian violão (guitar) ever. Nicanor Teixeira has written pieces in diverse genres mixing classical music and Brazilian folklore of choros, lundus, cateretês, sambas, batuques, valsas, ponteios, baiões, and modinhas.

In 2000, mandolinist/arranger Afonso Machado and Bartholomeu Wiese (violão), members of the Galo Preto, produced the tribute CD for Rob Digital "Nicanor Teixeira por 28 Grandes Intérpretes" (RD037) with Teixeira's songs interpreted by noted musicians like Turíbio Santos, Egberto Gismonti, Guinga, Jodacil Damasceno, Léo Soares, Cláudio Tupinambá, Afonso Machado, Galo Preto, Bartholomeu Wiese, Marcos Llerena, Nicolas de Souza Barros, Maria Haro, Luiz Otávio Braga, Graça Alan, and others.

I highly recommend this cd of magnificent renditions of compositions by Teixeira, tracklist inserted below:

1.Carioca 1 - Turíbio Santos e Galo Preto 2.Olhos Que Choram - Nicanor Teixeira 3.Canção Terna - Guinga 4.Auto-Retrato - Marcos Farina e Luíz Otávio Braga 5.Romaria de Bom Jesus da Lapa Nicanor Teixeira, Maria Haro, Bartholomeu Wiese e Nelson Caiado 6.Concertante 3 - Bartholomeu Wiese 7. Prelúdio 1 - Jodacil Damaceno 8. Prelúdio 2 - Jodacil Damaceno 9. Estudo 3 - Jodacil Damaceno 10.João Benta no Forró Marcus Llerena, Chuang Yu Ting, Vera Andrade e Felipe Freire 11.Procissão Maria Haro, Bartholomeu Wiese, Marcus Ferrer e Luciana Requião 12.Mariquinha Duas Covas Afonso Machado, Bartholomeu Wiese e André Boxexa 13.Elegia - Léo Soares 14.Te Enxerga, Muié - Maria Haro e Rodolfo Cardoso 15.Estudo 2 - Cláudio Tupinambá 16.Estudo Brilhante - Nicholas de Souza Barros 17.Cantiga - Graça Alan, Vera Andrade e Nelson Caiado 18.Cateretê Das Farinhas - João Rabello de Faria 19.Velha Lembrança - Alexandre Gismonti e Egberto Gismonti

Alvaro Neder has a career profile of Nicanor Teixeira in AMG:

"Already an amateur player, Teixeira came to Rio de Janeiro in 1948, where he took classes with Dilermando Reis. In 1952, Teixeira performed at Ary Barroso's show, winning first prize. At that time, he was a member of the Orquestra de Violões de Dilermando Reis (Dilermando Reis Guitar Orchestra). His debut as a concerto player was in 1958 at ABI (Brazilian Press Association), when he was already a busy professor at the Brazilian conservatory and other music schools. Through Hermínio Bello de Carvalho, Teixeira came to back up Clementina de Jesus, Ismael Silva, Zé Kéti, Aracy de Almeida, and other singers. In 1961, an illness in the index-finger of his right hand forced him to abandon the profession of musician. In that period, he and other violão players designed the curriculum of the instrument for the Brazilian Conservatory of Music. Through intense effort, Teixeira overcame the problem in his hand and continued to perform sporadically, recording in 1977 the independent O Violão Brasileiro de Nicanor Teixeira; it was distributed as a gift by a company and was never commercialized. After 1985, he wrote several pieces for the Quarteto Carioca de Violões (formed by Maria Haro and Nicolas de Souza Barros), such as "Mariquinhas Duas Covas," considered a classic of today's violão ensembles. In 2000, he was paid tribute at the Sesc RioArte when several of his compositions were interpreted by Turíbio Santos, Jodacil Damasceno, Afonso Machado, and Galo Preto, among others".

One of the contributing musicians on the above mentioned cd is Maria Haro. Enjoy a live-performance by Maria Haro playing one of Teixeira's compositions, click here or on headline


Brazilian Traveller

One of my first live-encounters with the Brazilian guitar tradition was in the mid-1980ies at a concert featuring the Danish guitarist, Tom Roy Nielsen, who played in a trio setting at some small venue. I was delighted to hear the trio's renditions of a repertoire of both jazz standards and Brazilian samba, choro and bossa much in the same way as similar contributions by Charlie Byrd's Trio and Laurindo Almeida's L.A. Four. I was especially excited to experience that Tom mastered the same playing technique as Charlie Byrd and Laurindo Almeida, very unusual in Denmark at that time. After the concert I had a small talk with Tom and learned that he was a classical trained guitarist devoting his interest and skills to the Brazilian guitar tradition, actually he was about to travel to Brazil doing futher studies and taking lessons from native teachers.
A couple of years ago I had a cd featuring Tom Roy Nielsen, "Brazilian Traveller" (Olufsen Records, DOCD 5386, iss. 2000). The cd has both solo performance by Tom displaying excellent guitar wizardry in compositions by i.e. Dorival Caymmi, Sebastião Tapajós, Paulo Bellinatti, Marco Pereira, Antonio Carlos Jobim, Baden Powell, Garoto a.o., and on four tracks he is accompanied by bass guitar and drums as the Balancado Latin Trio. Listening to these recordings by Tom Roy Nielsen is a sheer delight and makes you wish for more, but unfortunately there is no more - and will be no more. Recently I learned that Tom passed away in July 2000, a great loss to the guitar society in Denmark and elsewhere.
Tom Roy Nielsen, Denmark, b. 1955, d. 2000
Educated at the Royal Danish Academy of Music by Per-Olof Johnson and Lars Trier. Studied for a long period in Brazil with Sebastião Tapajós, Marco Pereira and Ulisses Rocha. Furthermore studied in Paris with Roland Dyens. Toured as a soloist in Japan, Mexico and Spain. Was a member of several permanent chamber music ensembles, including a trio with guitar, bass and percussion and a duo with the flutist Kim Menzer.Tom Roy Nielsen was a member of Corona Guitar Kvartet since its foundation in 1995 until his death in July 2000.
The mentioned cd by Tom Roy Nielsen may not be easy to trace, it's no longer available in the catalogue of Olufsen records, but it may be found secound-hand and is definitely worth searching, if you are interested in the Brazilian guitar tradition as reflected and performed by a skilled master of the instrument.Tracklist inserted below:
1-Lagoa do abaeté (Dorival Caymmi), 2-Pau-de-arara (Luiz Gonzaga), 3-O choro de Juliana (Marco Pereira), 4-Encuentro marcado (Sebastião Tapajós), 5-Carimbó (Sebastião Tapajós), 6-Sons de carrilhões (João Pernambuco), 7-Contatos (Paulo Bellinatti), 8-A felicidada-saudade da Bahia (Antonio Carlos Jobim); 9-Choro triste (Garoto), 10-Jorge do fusa (Garoto), 11-Teia de renda (Milton Nascimento), 12-Linha de passe (João Bosco), 13-Marcha escocesa (Baden Powell), 14-Samambaia (César Carmago Mariano), 15-Odeon (Ernesto Nazareth), 16-Brejeiro (Ernesto Nazareth)


Choro Brasil Scandinavia

The Choro Brasil Scandinavia is a group of skilled young musicians, natives from Brasil, Denmark and Sweden. This group made a tour through Scandinavia summer 2005 and Theo and I were so lucky to be invited by Joergen to join a concert by this group at the Mandala in Copenhagen (Denmark)

The group has five members. In the image below you'll find from the left to the right Martin Heap with his 7 string guitar. Such a guitar is named a Violao de 7 Cordas. The bandolim player is Marcilio Lopes and in the middle is Jayme Vignoli, who played the cavaquinho, a kind of small Brasilian guitar. The last two players are Oscar Bolao, the pandeiro player and Mats Andersson, the guitar player.
The music was new for me and it opened for me a new world - a world I didn't knew to exist. I heard this musicans during their concert at Mandala, but also at a jam session later that week in a packed small venue in the center of Copenhagen.

As the members of these groups are living in two different parts of the world I don't think they play together in a regular way, but they make tours now and then. On their website, no longer online, they had posted some great shots, made in Rio de Janeiro in which they played two tunes. Unfortunally the website vanished like the two films. I was happy to find both movies in the great internet list Youtube to share with you. Enjoy the two films:

Noites Cariocas

Um a Zero

The two film were shot in Rio de Janeiro, February 2004. Enjoy it.

This contribution was also posted at our Keep swingingweb log

Keep swinging

Hans Koert

Rhythm Of Brazil - The Pandeiro

The pandeiro is used in a number of Brazilian music forms, such as Samba, Choro, and Capoeira music. The pandeiro is a type of hand frame drum. (see picture)
There are two important distinctions between a pandeiro and the common tambourine. The tension of the head on the pandeiro can be tuned, allowing the player a choice of high and low notes. Also, the metal jingles (called 'platinelas' in Portuguese) are crisper, drier and less sustained on pandeiros than on the tambourine. This provides clarity when swift, complex rhythms are played.
It is held in one hand, and struck on the head by the other hand to produce the sound. Typical pandeiro patterns are played by alternating the thumb, fingertips, heel, and palm of the hand.
A pandeiro can also be shaken to make sound, or one can run a finger along the head to create a "rasp" noise.
---Above info supplied from Wikipedia---
To view and listen to different examples of the way a pandeiro may be used in Brasilian music, click here and follow the links.
Click on headline or here to view a performance by guitar and pandeiro

Zé da Velha & Silverio Pontes

Two of the musicians, who a.o. contributed to the success of the sound-track of Mika Kaurismäki's 'Brasileirinho', are trombonist Zé da Velha and trumpeter Silverio Pontes. The two have teamed and performed together since 1991 when they started a co-work to spread their highly enjoable and danceable renditions of choro and related genres as true masters of the Gafieira tradition in Brazil. Zé da Velha, a member of the old guard, having played with Pixinguinha and other great musicians, provides that trombone sound full of choro swing, drawing the maximum effect from the minimum of notes. Silvério Pontes, 20 years younger, adds a jazz feel to the mix, with his agile melodic inventions.
In 1995 they recorded the album 'Só Gafieira', nominated for the Sharp prize. Their other albums also have been meeting with a lot of praise amongst the aficionados of the genre.
A representative example of their efforts to keep choro and the Gafieira tradition alive and strong is the shown cd from 2001. Tracklist inserted below:
1. Bole-Bole 2. O Bom Filho a Casa Torna 3. Vê Se Gostas 4. Despedida da Mangueira 5. Paciente 6. Revendo O Passado 7. Doce Melodia 8. Tudo Dança 9. Sonhando 10. Pra Machucar Meu Coração 11. Se Você Jurar 12. Vou Deitar E Rolar 13. Rosa
Sound-clips available by clicking here
One of the compositions performed on the cd is 'O Bom Filho a Casa Torna' by Bonfiglio de Oliveira, this tune was also used for the trailer of the 'Brasileirinho' film. We have had a request from one of our readers, if the music has been published as sheet and is available for purchase. Can someone supply info regarding this, please contact us or leave a comment using this blog-facility.

Rafael Rabello - Lamentos do Morro

Rafael Rabello (1962-1995) is deservedly considered a virtuoso of the six and seven string guitar. His recorded legacy highligts the development of the guitar choro in Brazil, although Rabello also devoted his talents to other genres of Brazilian music as well. To me he continues the guitar choro tradition from Garoto, and some of his best recordings are his solo renditions of pieces by Garoto.
In 2005 the Acari label released a cd reissue of some recordings by Rabello made in 1988 and first issued in the LP format by the Visom label. Among the recorded tunes are four compositions by Garoto: 'Lamentos do Morro', 'Jorge na Fusa', 'Nosso Choro' and 'Desvairada', all excellent examples of Rabello's virtuosity and personal reading of Garoto's works. The remaining repertoire contains compositions by Pixinguinha/Lacerda ('Ainda me Recordo'), Jacob do Bandolim ('O Vôo da Mosca'), Ernesto Nazareth ('Escovado') and João Pernambuco ('Graúna'), and there is a version of 'Comovida' composed by Guinga, further a co-work by Rabello and Toquinho, 'Pedra do Leme', which features great interplay by Rabello and Chiquinho do Acordeon - also shown off in a duo version of Gnattali's 'Retratos'. On 'Ainda me Recordo' Rabello is accompanied by Dino 7 Cordes, the famous master of the 7-string guitar, the remaining titles have Rabello accompanied by Dininho on string bass.
You may listen to a soundclip of 'Lamentos do Morro' by clicking here
You may also have the opportunity to view a live solo-performance of Rafael Rabello playing 'Lamentos do Morro', click on the link in the headline of this entry or here

Anjos do Inferno

Doing research on possible sources for the Brasilian repertoire of Oscar Alemán I came across the vocal ensemble named ANJOS DO INFERNO, a highly popular group in Brazil during the 1930'ies and 1940'ies. Below I add the info on the career of the ANJOS DO INFERNO supplied by Alvaro Neder in AMS.

"The most famous vocal and instrumental group of the Golden Era of Brazilian song, the Anjos do Inferno were insuperable in their 20-year international career, in terms of rhythm, humor, and bossa. The group was founded in 1934 by singer Oto Alves Borges with the following members: Oto Borges (crooner), Antônio Barbosa (pandeiro), Moacir Bittencourt (violão), Felipe Brasil (violão), José Barbosa (violão tenor), and Milton Campos ("nasal trumpet," the first musician to dedicate himself to that in Brazil). The group opened at Rádio Cajuti and Cruzeiro do Sul, recording for the first time for Columbia ("Morena Complicada" by Kid Pepe, and "Amei Demais" by Kid Pepe and Siqueira Filho), but having no major impact. Returning from a U.S. tour in 1936, singer Leo Vilar assumed the group's direction while Oto Borges dedicated himself exclusively to his activities at the Banco do Brasil. Soon the group was hired for the Cassino Icaraí, where they achieved success. The next recording, still in 1936, was Kid Pepe's "Maria Foi à Fonte." In the same year the Anjos became part of the cast of the Rádio Mayrink Veiga, where they continued until 1938. In that year, Leo Vilar fired the brothers Antônio and José Barbosa, replacing them with Alberto Paes (pandeiro) and Aluísio Ferreira (violão tenor), and substituting Milton Campos for Harry Vasco de Almeida in the "nasal trumpet" position. With that formation the group opened at Rádio Tupi, where they would remain until 1946, performed at the Cassino da Urca, and recorded for Columbia the first album of that phase, with Almanir Grego's march "Tim Tim por Tim Tim" and Alberto Paes/Domício Augusto's samba "Dura Lex sed Lex." But the first hit came with the samba-canção "Bahia, oi, Bahia" (Vicente Paiva/Augusto Mequita). With the success they became Columbia's exclusive artists, and after that they piled hit over hit, including the rumba "Barraco Abandonado" (Afonso Scola/Hermínio Viana), the samba-jongo "Me Ensina a sambar" (Antônio Almeida), the samba "Baiana Boa" (Milton Bittencourt), the samba "Quem Dirá?" (Pandiá Pires/Roberto Martins), the samba "Helena! Helena!" (Antônio Almeida/Secundino Silva), the march "Cowboy do Amor" (Wilson Batista/Roberto Martins), the march "Todo Mundo Dança" (Valdemar Silva/Raul Marques), the samba "Me Deixa Viver" (Bide/Marçal), the march "Quebra Tudo" (João de Barro/Alberto Ribeiro), and the march "Três Marias" (Cristóvão de Alencar/Frazão). They had several other hits, including the second and last Assis Valente samba recorded by the group, "Já que Está Deixa Ficar," and their biggest one, the Dorival Caymmi samba "Você já Foi à Bahia?."
In 1942 the group went through changes, with Hélio Verri replacing Alberto Paes at the pandeiro, Roberto "Paciência" Medeiros taking Moacir Bittencourt's place, and Walther Pinheiro substituting Felipe Brasil. Renato Batista (Marília Batista's brother) replaced Walther Pinheiro for a short while, and when the latter returned to the group it became a septet for some months. Pinheiro is present in the recording of the Dorival Caymmi sambas "Vatapá" and "Rosa Morena." In the next year the group switched to Columbia, where they
recorded the hits "Acontece que eu sou Baiano" and "Vestido de Bolero." In 1944 they were hired by RCA Victor, where they remained until 1952. There they recorded, among many albums, the samba "Que Gostinho Bom" (Marino Pinto/Mário Rossi), the samba "Bolinha de Papel" (Geraldo Pereira), the samba "Diz que Sim, Diz que Não" (Mário Lago), and the march "Cordão dos Puxa-sacos" (Frazão/Roberto Martins). In 1944 they performed in the film Abacaxi Azul. In 1946 they toured through Argentina and Mexico, with José Soares (the Russinho) replacing Hélio Verri. In February 1947 they opened in the biggest Latin American nightclub of those times, El Pateo, in Mexico City. They had been hired for six weeks, but stayed for four years. From Mexico, in 1948, several members emigrated to the U.S. joining the Bando da Lua: Harry Vasco de Almeida, Aluísio Ferreira, Walther Pinheiro, and Russinho. Vilar called other musicians from Brazil to replace them, former members of the Os Namorados: Nanai (violão), Miltinho (at the pandeiro then, he would become famous later as a singer), and Chicão (former Quitandinha Serenaders, violão tenor and tantã). In the new formation, the group toured U.S., performed in Los Angeles together with Carmen Miranda, and kept for two years a radio program about aspects of Brazil. In Mexico, the Anjos do Inferno participated in 11 films, eight of them featuring Ninón Sevilla, a big star then.
In 1951 they returned to Brazil after a tour through Chile and Argentina, hired for the anniversary of Recife's Rádio Jornal do Comércio. The group also came back to Rádio Tupi, spent a season at the Monte Carlo nightclub, and, in São Paulo, performed at Rádio Excelsior and the Oasis nightclub. In 1953 the Anjos had a season at Rio's Rádio Nacional. But the successful tours were troubled by an increase in the price of plane tickets, and, finally, Leo Vilar was forced to dissolve the group. In 1959, especially for Max Nunes, J. Maia, and José Mauro's play De Cabral a JK, Vilar organized a group under the denomination Anjos do Inferno, with he himself as crooner and percussionist, as well as Gaúcho (violão), Paulo César (tantã), and Miguel Ângelo (pandeiro). They also worked as actors in the play, which had a six-month season. This formation recorded some minor albums through Copacabana. In 1967, Walter Pinheiro, Aluísio Ferreira, Roberto Medeiros, Harry Vasco de Almeida, and Russinho got together to play on Mondays at the Arena Clube de Arte in Rio, where they told stories and remembered the old times."
Soundclips from the shown cd by ANJOS DO INFERNO available here
You may also have an opportunity to watch a video clip from one of the films featuring ANJOS DO INFERNO, "Perdida" from 1949, click here for a performance by singer Ninon Sevilla and Os Anjos do Inferno.

Oscar Alemán - Brasilian Repertoire

The Argentine guitarist, Oscar Alemán (1909 - 1980), made his debut as a professional musician in Rio de Janeiro 1925 together with the Brasilian Gastón (- or in Portuguese: Gastão) Bueno Lobo, they teamed as a duo named Les Loups. They toured a great part of Brazil and at one point they were engaged by the Argentine comedian Pablo Palitos, who brought Les Loups to Buenos Aires, where the duo soon found work at theatres, radio and as recording artists for the prestigious Victor label. Les Loups were billed as Dúo de guitarras Hawaianas, wearing white suit and flower gown at performances, and the Hawaiian issue - a fashion of the time all over America and other parts of the world, including Europe - also was to be heard in the performances by the duo. Both Alemán and Lobo played guitars, but Lobo would treat the instrument in the Hawaiian mode, playing slide with a steel bar, while Alemán would accompany him in a conventional way of playing, adding elaborate counterpoint statements and rhythm to the sessions. The repertoire of the duo, however, was not typical Hawaiian - Les Loups excelled in tangos, waltzes and fox popular at the time. The duo had success with the Argentine public, and as mentioned Les Loups
recorded for the Victor label in Buenos Aires - they cut 16 sides as a duo from 1927-1929 and joined violinist Elvino Vardaro in 1929 on a couple of sessions, billed as the Trio Victor.
For more info on Les Loups discography, click here
In 1929 Les Loups went to Europe on tour with Harry Flemming's revue company, hired as a part of the show. The tour started in Portugal and Spain and brought Les Loups through several European countries the next couple of years, where they continued performing as a Hawaiian duo. Early 1931, however, the duo quit Flemming's company in Spain, and soon after Les Loups would part, too. Lobo went back to Brazil and continued his career at radio and as a recording artist until his passing away in 1939. Alemán stayed in Europe throughout the 1930'ies and made his success with Josephine Baker and frequently took part in the jazz scene of Paris, this way learning to improvise and harmonize as a jazz guitar player. He participated as a sideman in several recording sessions in Paris and also had the opportunity to make a couple of solo recordings 1938 in Copenhagen.
For more info on Alemán's European jazz recordings, click here
When Hitler's German troups occupied France in 1940, Alemán decided and managed to return to Argentina, settled in Buenos Aires and soon launched a career as a bandleader of his own group. He formated his first quintet late 1940 and started recording for the Odeon label in November 1941, cut 10 sides within this setting 1941 - 1942. In 1943 the quintet was re-organized with new members, a piano player was added - the quintet thus becoming a sextet, although the group was still labeled as Oscar Alemán y su quinteto de Swing. With this group Alemán continued recording for Odeon and cut 36 sides between 1943 and 1947. In 1949 Alemán disbanded his quintet, but in 1951 he started a new group consisting of three violins, rhythm, clarinet and the leader's guitar. With this group, which Alemán kept without many changes of personnel until disbanding in 1959, he recorded around 50 sides between 1951 - 1957, always for the Odeon label.
When browsing through Alemán's output from Odeon 1941-1957 it's easily seen that 2/3 of the repertoire includes popular swing tunes of the time, mostly American but also a few originals by Alemán. However, the remaining 1/3 of the repertoire is devoted to music by Brasilian composers or genres connected with the Brasilian music tradition: samba, choro, baião, batuque i.e.. - In 2002 EMI of Argentina released a cd compilation of Alemán's Brasilian repertoire (EMI 541686), which I recommend as a resonable example of his mastering of different Brasilian music styles. Tracklist and additional info inserted below, for further info use the online search facility featured in the Alemán web discography, click here
1) VANIDOSA (Herivelta Martins - Arthur Moraes) - Samba (25 Jan. 1947) 2) MELANCOLIA (Vicente Catton) - Samba (10 Sep. 1945) 3) CASITA PEQUEÑITA (Traditional) - Samba (6 June 1952) 4) AY MORENA (Alfas - Alburquerque) - Samba (7 April 1953) 5) PE DE MANACA (Herve Cordovil - Mariza Pinto Coelho) - Baiao (11 July 1951) 6) PAJARO ENJAULADO (Herve Cordovil - Mario Vieira) - Baión (16 May 1952) 7) PA-PA-PA (Oscar Alemán) - Baión (17 Sep. 1952) 8) MI AMIGO (José Romero (Guarana) - Oscar Alemán) - Samba (12 Nov. 1954) 9) YO SOY DE RIO (Yacaré - Pagua) - Samba (11 April 1955) 10)CONCEICAO (Jair Amorin - Dunga) - Samba (17 June 1957) 11)DELICADO (Waldir Azevedo) - Baión (31 Oct. 1951) 12)O VESTIDO DE BOLERO (Dorival Caymmi) - Baión (4 Dec. 1945) 13)YO VI UN LEON (Maia) - Samba (27 June 1944) 14)NEGRA DE CABELLO DURO (Rubens Soares - David Nasser) - Batuque (7 Sep. 1943) 15)TICO TICO NO FUBA (Abreu) - Choro (7 Sep. 1943) 16)APANHEI TE CAVAQUINHO (Ernesto Nazareth) - Chorinho (24 July 1945) 17)SAUDADES (Alfredo De Siano) - Batucada (29 Sep. 1952) 18)CABEZA HINCHADA (Hervé Cordovil) - Baiao (16 May 1951) 19)DEDOS DUROS (Alemán) - Choro (17 June 1957) 20)ACONTECE QUE EU SOY BAHIANO (Dorival Caymmi) - Samba (14 Sep. 1956)

All titles recorded in Buenos Aires for the Odeon label


Joao Pernambuco

Joao Texeira de Guimaräes, known as Joao Pernambuco is one of those unknown composers who are famous in Brazilian music.

He was born in 1883 an died 1947.

He was not only a great composer; he also played guitar in the choro style. He had a great guitar technique, which inspired a lot of other guitar players. He teached his style of playing to his students.

People who have seen him playing remember the way he used to play the instrument: He often played the guitar only with his left hand, which is to say, he made the sounds only on the neck of the guitar. He did this with the greatest naturalness.

He played whatever piece looking towards the sky, towards a wall, not paying attention to the neck of the guitar. He had a fingering and quality that untiul today I have not seen. ( source: Choro - Tamara Elena Livingston-Isenhour-Thomas George Caracas Garcia (2005))

Thanks to Jørgen I could listen to some great 80 years old recordings of Joao Pernambuco on guitar which fascinated me ( Mimoso - Lagrimas and Magoada.)

Thanks Jo.

Jørgen posted a blog about this great Brazilian composer. Find it by clicking on the title bar.

This blog is also posted at the Keep swinging blog


Just a short notice this time to say thank you to the visitors of our Choro blog for your support and encouraging comments regarding the 50th entry. Both Hans and I will continue to post messages on choro and choro related music as long as we are able to contribute with info of interest to our readers.
Let me also use the opportunity to express our deepest sympathy with the families, relatives and friends in Brazil, who have had a loss following the disaterous aircrash of a Boeing 737 on Friday the 29th of September. Our thoughts and compassion are with you.

Paulo Moura & Os Batutas: Pixinguinha

Today I received and have already enjoyed listening to my copy of Paulo Moura's award-winning cd-issue, 'Pixinguinha', a live-recording of a concert at The Carlos Gomes Theatre in August 1996, released 1998. As the title suggests, the music on the cd is devoted to compositions by Pixinguinha, and what a thrill it is to listen to these up-dated versions of classic choro. Reedplayer Paulo Moura unites with an ensemble of very skilled musicians, re-creating the spirit of Pixinguinha's famous group, Os Oito Batutas: Jorge Simas (violão de 7 cordas), Marcio (cavaquinho), Jorginho (pandeiro), Zé da Velha (trombone), Joel da Nascimento (bandolim) and Jovi & Marcal (percussion).
It's a pleasure to celebrate the 50th entry at this blog recommending this great live-recording by Paulo Moura & Os Batutas. Tracklist inserted below.
1. Ainda Me Recordo 2. Segura Ele 3. Proezas De Solon 4. Cochichando 5. Ingenuo 6. Lamentos 7. Carinhoso 8. Misura E Manda 9. Batuque Na Cozinha 10. Oito Batutas 11. Pelo Telefone 12. Rosa 13. Naquele Tempo 14. Vou Vivendo 15. Um A Zero 16. Urubu Malandro

I also recommend a visit at Paulo Moura's official web. At his website you are having the opportunity to listen to lengthy audio tracks from his large output, moreover various video clips are available, too.


Saludos Amigos!

My son, Tue, is turning 11 years of age during the week-end. Like other kids of his age he is quite keen on Disney cartoons. As a responsible father I like to point him to some of the masterpieces from 'the golden age' by the Disney staff . I have found an example related to Brazil and Brazilian music tradition, enjoy the classic 'Saludos Amigos!' by clicking the link.
Congratulations, Tue !


In Mika Kaurismäki's documentary, Brasilrinho, on choro in Rio we are introduced to the practice of gafieira in a couple of scenes. Gafieira is another word for the Brazilian tradition of ballroom performance by orchestra and dancers.
A gafieira band traditionally features a rhythm section consisting of percussion (pandeiro and other hand-played percussion), drums (bateria), bass, along with any variety of horns (saxophone, trombone, clarinet, flute, trumpet), keyboards, guitar, and the unique and lively sound of the cavaquinho. It can range in size from as few as 6 to a full big-band formation.
The gafieira repertoire consists of a variety of rhythms, including samba de gafieira, tango brasileiro, maxixe, habanera, lundu, polca, xotis, and batuque, but also choro.
One of the scenes in Kaurismäki's'Brasileirinho' takes us to a ballroom where reedplayer Paulo Moura leads a small ensemble playing danceable choro and red hot Brazilian swing while the dancefloor is crowded with dancing pairs having a good time. This is an example of the gafiera tradition kept well alive.
Paulo Moura has been a part of this gafieira tradition for several years besides taking part in numerous musical projects and various orchestras inside and outside Brazil.Together with US pianist Cliff Korman he has led a band keeping the gafieira tradition alive and has toured both Brazil and the USA. I found a website devoted to their co-work concerning the gafiera, have a look here to learn more.
Listen to an audio-clip of 'Delicado' perfomed by Moura-Korman's gafiera band by clicking here

Moro No Brasil

Mika Kaurismäki produced the film Brasileirinho about choro in Rio. Now he has released a new film about Brasilian music. Learn more about this film by clicking the picture or follow this link
Otto Jägersberg writes about MORO NO BRASIL, quoted from the mentioned website:
"(...) A Finn, speaking Portuguese and English in his own style, travels throughout Brazil looking for musicians, people who play folk-music. And what music it is! It is so beautiful it hurts. (...) The Finn, director Mika Kaurismäki, finds the most bizarre and the most beautiful examples. Whether they are representative or even correct from a musical/ethnological point of view - we don’t know. We like the film anyway. Is it a musical film or a documentary or a film about a strange Finn? We don’t know either. And that is what is special about this film: it refuses to be classified (...) Mika Kaurismäki has created a film about popular music in Brazil, about Samba and related rhythms. All those who have ears to hear should definitely go and see it!"
The film is available on DVD, I have ordered a copy and will make a more extensive comment, when I have seen it.
Video of trailer for the film available here

Trio Madeira Brasil - First Issue (1998)

My latest posting here concerned a cd release of a live-performance by The Trio Madeira Brasil featuring three top-class guest stars of the São Paulo music scene. The cd was released in 2004 and is still available (see previous message at this blog for more info).
However,Trio Madeira Brasil has teamed since 1997 and during this week I have had the opportunity to listen to their first issued cd from 1998, which was nominated for the 1998 Sharp prize for Best Group and Best Album. This cd contains excellent performance of compositions by Jacob do Bandolim, Ernesto Nazareth and Pixinguinha, further the cd features works by Egberto Gismonti, Edu Lobo and Chico Buarque, To complete the repertoire of the trio a couple of compositions from the classical field also are included, 'Danza de La Vida Breve' by Manuel de Falla and 'Valsa Venezuelana no 3' by Antonio Lauro. Moreover the cd also has a reading of Scott Joplin's 'The Easy Winners' with inserted sound of shooting like the 1972 recording by Marvin Hamlish used in the soundtrack of the famous movie, "The Sting". A complete tracklist inserted below:
Trio Madeira Brasil
(Kuarup :: 1998)(TMB-98)
1 .Santa Morena (Jacob do Bandolim) 2. Agüenta Seu Fulgêncio (Lourenço Lamartine/Jacob do Bandolim) 3. Guerreiro (Ernesto Nazareth) 4. Danza de La Vida Breve (Manuel de Falla) 5. Celestial (Ernesto Nazareth) 6. Loro (Egberto Gismonti) 7. Corrupião (Edu Lobo) 8. As Vitrines (Chico Buarque) 9. Labirinto (Ernesto Nazareth) 10.The Easy Winners (Scott Jopplin) 11.Valsa Venezuelana n† 3 (Antonio Lauro) 12.Batuque (Ernesto Nazareth) 13.Paulista (João dos Santos) 14.Um a Zero (Pixinguinha/Benedito Lacerda)
Trio Madeira Brasil: Ronaldo do Bandolim - mandolin; Zé Paulo Becker - 6 string guitar, "viola caipira" (6); Marcello Gonçalves - 7 string guitar
Special Guests: Zero - percussion (6,7); Zé Renato - voice (6)
I highly recommend this cd by three very talented top-class musicians devoting their skills to great music that both contains classic choro and other delightful pieces. Learn more about the Trio Madeira Brasil from their website
At the website you'll also find video and audio clips from the trio's recordings. Enjoy the Trio Madeira Brasil in a rendition of 'Santa Morena' from the cd mentioned above. Click here to download the mp3 file

Trio Madeira Brasil

In Mika Kaurismäki's documentary on contemporary choro in Rio de Janeiro, 'Brasileirinho', the Trio Madeira Brasil had a leading role in the musical preparations, performance and final success of the filmed concert by the trio extended with the cream of cariocian choro musicians and guest performers. The Trio Madeira Brasil is Ronaldo do Bandolim (bandolim), Zé Paulo Becker (violão de 6 cordas) and Marcello Goncalves (violão de 7 cordas), all very talented and higly skilled musicians excelling in choro and choro related repertoire.
The trio was formed in 1997 and has performed all over Brazil and outside the country with great success, the members also taking part in other bands and musical projects in between performances by the trio. The trio launched their first album in 1998, which had two nominations for the 1998 Sharp prize for Best Group and the Best Album.
Their secound album is a live-recording of a concert from January 2004, when the trio made a performance at the Teatro Municipal de São Sebastião in São Paulo with guest starring by three top-class musicians of the São Paulo music scene: Laércio de Freitas (piano), Proveta (soprano sax, clarinet) and Toninho Ferragutti (accordion). The band is completed by a rhythm section of Evaldo Guedes (bass), Sérgio Machado (drums) and Beto Cazes (percussion). The recording of the concert is issued by Lua Discos (MCD 283) and is still available. The performed music includes compositions by João do Santos, Jacob do Bandolim, Radamés Gnatalli as well as by members of the group - all very well executed and creating deserved applause by the attending audience.
I highly recommend this live-recording as a great musical experience and yet another sample of the strength and high level of contemporary choro in Brazil.
Soundclips from the recorded concert and a short review available here

Maestro Gaó & Orquestra Colbaz

In Sao Paulo in 1929, Maestro Gaó (Odimar Amaral Gurgel) established a distinctive choro sound through his Orquestra Colbaz, who was organized to work for the Columbia recording company. The group included flute, bandolim, violin, violão, alto sax and accordion. Their bandolimist was José do Patrocinio Oliveira, known as Zé Carioca. The orchestra also included the violin of Ernestro Trepiccioni, and the timbre of the instrument provided an original sound which singularized the Cobaz among the choro groups. Orchestra Colbaz recorded frequently in the 1930's, including the first recording of Zequinha de Abreu's famous choro "Tico-Tico no Fubá" for Columbia Records in 1931.
Alvaro Neder writes about Maestro Gaó in AMG:
"He began his musical studies at five with his father, the bandmaster Acilino, learning violin, trombone, flute, and piano. At nine he was already a professional pianist, playing in the local cinema, and at 11 he was the leader of the orchestra of the same cinema. In 1923, he moved to São Paulo, SP, enrolling in the Musical Conservatory and also becoming the pianist of Casa Di Franco, where he received the nickname Gaó. In 1925, he was hired by Rádio Educadora Paulista, playing in several formations from solo to orchestral, and in popular and erudite contexts. In 1929, he became the artistic director at Columbia, where he formed the Orquestra Colbaz, who, in 1931, did the first recording of Zequinha de Abreu's "Tico-tico No Fubá." In 1930, he was hired by Rádio Cruzeiro do Sul as a director and producer of shows that became famous, like Hora dos Calouros (presented later by Ary Barroso) and the Programa da Saudade. With lyrics by Vicente Lima, he published one valse for each month of the year through Vitale. In 1931, he wrote, arranged, produced, and recorded the music for Wallace Downey's film Coisas nossas. In the same year, he was appointed best pianist of São Paulo in a contest promoted by the newspaper A Gazeta de São Paulo. In 1932, he recorded his choro "Teimoso." Four years later, he moved to Rio de Janeiro, becoming the artistic director of Rádio Ipanema and also working at the prestigious Rádio Nacional as director of their jazz orchestra. In 1937, he performed for three months in Buenos Aires, Argentina, also playing in Uruguay. Returning to Brazil, he continued his work for radios Cruzeiro do Sul and Cosmos, also organizing the Orquestra Columbia, who animated balls and dances at élite clubs and recorded several albums. In 1938, he returned to Rio to work at Rádio Nacional, taking charge, in the next year, of the musical direction of the Cassino da Urca, where he worked until 1945. In that year, he moved to the U.S.A. where he stayed until 1951, working as a pianist and bandleader for the U.S. government, entertaining war veterans. He also recorded several 78 rpm albums for Coda. Returning to Brazil, he worked from 1951 to 1957 for Rádio Nacional (São Paulo). In 1957, he again went to the U.S.A., where he remained until his definitive return to Brazil in 1967. "

Audio samples of Orchestra Colbaz available at the IMS online search facility


Answers To Discographical Info Request

The previous posting at this blog dealt with some discographical questions concerning two recordings by the Orchestra Columbia of Brazil from 1930. I was anxious to know, if the Hawaiian guitar on both titles possibly was played by Gastão Bueno Lobo, as the music resembles his compositions from this period. However, I had my doubts in advance regarding Lobo's participation, as he ought to be in Europe at the time of the recordings according to other sources on Lobo's career.
More about Lobo in my published article at http://www.keepswinging.opweb.nl/lobo1.htm
The two titles by the Orquestra Columbia in question are:
Angela mia (Columbia, 5.257,A)
Felicitaciones (Columbia, 5.257,B)
Click on titles to listen to the audio, downloaded from the IMS online search facility
Thanks to the help of Daniella Thompson the following details can be added. Daniella wrote:
"The composers of "Angela Mia" are Erno Rapée and Lew Pollack."Angela Mia (My Angel)" was a 1928 American pop hit. The recording with Paul Whiteman and his Orchestra was #1 on the pop charts that year, and that of Vincent Lopez and his Orchestra was #2. Francisco Alves recorded "Angela Mia" with Simão Nacional Orquestra (really Simon Bountman and Orchestra Odeon) probably late that year, since his recording was released in January 1929."

According to Daniella it can be confirmed that the recording was made in Brazil 1930 near the middle of that year judging from the catalog number. - Regarding the question about Bueno Lobo's supposed participation in the two recording Daniella has the following answer:

"I have every reason to believe that the Hawaiian guitar on those Columbia cuts was played by Zezinho (José Patrocínio de Oliveira), now better known as Zé Carioca. Between 1929 and 1931, Zezinho participated in approximately 120 recordings at Columbia. He was João Pernambuco's second guitar on the composer's legendary recordings. Zezinho was a highly respected multi-instrumentalist, being a master of the banjo, cavaquinho, bandolim, guitar, tenor guitar, and Hawaiian guitar. - In 1939, Zezinho was playing in Romeu SIlva's orchestra at the Brazilian pavilion of the New York World's Fair. There he met his old friend Garoto, who was working for Carmen Miranda as a member of Bando da Lua. The following year Zezinho joined Bando da Lua, settled in LA, and provided Disney with the inspiration for Zé Carioca. He was the parrot's voiceover in Disney's south-of-the border films and appeared in person in the "Os Quindins de Iaiá" segment in the film 'The Three Caballeros,' dancing with Aurora Miranda. He also recorded several albums in the US under the artistic name Zé Carioca. But Zé wasn't a carioca at all. In the Disney films you can clearly hear his paulistano accent. "

Daniella Thompson has an extensive article on Zé Carioca on her web .

You may enjoy the Disney cartoon featuring the parrot Zé Carioca, "Blame It On The Samba", by clicking here


Discographical Info Request

While browsing the IMS online search facilities for audio samples of the Brazilian recordings by Gastão Bueno Lobo I came across the following 78 rpm recordings by Orquestra Columbia from 1930:
- Título da Música: angela mia Intérprete: orquestra columbia Compositor: - Acompanhamento: - Gênero: valsa Gravação: 1930 Lançamento: 1930 Gravadora: columbia Disco/Álbum: 5257 Lado/Faixa: lado A
-Título da Música: felicitaciones Intérprete: orquestra columbia Compositor: - Acompanhamento: - Gênero: valsa Gravação: 1930 Lançamento: 1930 Gravadora: columbia Disco/Álbum: 5257 Lado/Faixa: lado B
My curiosity was caught, as both sides of the the record have a Hawaiian guitar in a leading role playing the theme accompanied by strings and sharing lead with an instrument that resemples slide or clay whistle. The music sounds rather Italian (- in the Neapolitan school) and has the same romantic touch as more of Bueno Lobo's own compositions. However, I have not been able to trace this recording in the Funarte database of Brazilian recordings, further I have found no info on the Orqestra Columbia from the time of the recording date. I should be happy, if some of the readers may be able to help with further info and answers to the following:
- Does Gastão Bueno Lobo participate on these two sides, playing the Hawaiian guitar (-and double on banjo at the A-side)?
- Who are the composer and arranger of the two recordings?
- Could it be confirmed, that the recordings were cut in Brazil 1930?
- Did Bueno Lobo cut other recordings for Columbia prior to 1932, as a staff member of the Columbia house band/orchestra?
Any help would be much appreciated, so feel free to post your comment, if you have any info concerning the mentioned recordings.

Nó em Pingo D'Água: "João Pernambuco"

Last night I had the pleasure of listening to the shown recording by the choro ensemble, Nó em Pingo D'Água, performing elaborate arrangements of compositions by João Pernambuco. Nó em Pingo D'Água consists of Mário Sève (flute), Pedro Amorim (mandolin), Jorge Eduardo (7-string acoustic guitar), Rogério Silva (6-string acoustic guitar), Wanderson de Paulo (cavaquinho) and Márcio Gomes (pandeiro).The ensemble unites with pianist, composer and arranger Antonio Adolfo on all tracks, and some tracks have guest staring by Maurício Carrilho (acoustic guitar), Mauro Senise (soprano sax) and Norato (trombone).
All tracks are composed by João Pernambuco, one of the originators of the guitar choro tradition in Brazil, and the tracks are:
1. Interrogando 2. Mimoso 3. Sonho de Magia 4. Graúna 5. Choro em Sol 6. Sentindo 7. Rosa Carioca 8. Brasileirinho 9. Dengoso 10. Valsa em Lá 11. Sons de Carrilhões 12. A Estrada do Sertão
The cd is recorded 1983 and released by Atração (ATR 32010) in the Acervo Funarte series. This cd may be no longer available, but you may have an opportunity to listen to it at the new web radio by Funarte, Canal Virtual.
This web radio gives access to many of the released recordings in the Acervo Funarte series and thus offers the opportunity to listen to different Brazilian music of high quality.

Doce de Coco

The Jacob Do Bandolim CD Doce De Coco, released by Paris Jazz Corner 982 944, has been announced in a July Choro blog. Now I've had time to enjoy this recording.

The CD contains 24 tracks from the late 1940s and early 1950s, most previously released for the Brazilian RCA-Victor.

Jacob (Jacó for friends) Pick Bittencourt was born in Lapa, in the middle of the red light district of Rio de Janeiro. He was a very opinionated man; he disliked Bossa Nova, the modest singers he heard on the radio, journalists and other people part of the entertainment business.

In 1947 he entered the Continental studios in Rio to make his first two recordings, Gloria ( composed by Bonfiglio de Oliveira) and his own composition Treme Treme, which is to be found on this CD ( track 18 ). Although he had a band of his own for ten years ( Jacob e Sua Gente) he didn't make any recordings before.

Six more recordings were made in 1947 and 1948 in the Continental studio before he decided to join RCA-Victor. This CD gives a good view on Jacób Do Bandolim ( as he called himselve ) earliest recordings. One of these great tunes is Flamenco, a 1948 recording by Jaco together with César Faria e Seu Conjunto (track 12 ).

Choro as choro should be.

He became a well known radio announcer with his own live radio show for Radio Guanabara, called Jacó e seu bandolim. Each show opened with the tune Despertar Da Montanha, a choro that became the signature tune of the program (track 7 ). Then he played five or six choros , which were to be discussed. The program became very popular and preserved the choro music for oblivion. Mind that in Brazil too, rock and other US pop music was rising.

Thanks to his live performances of Jacob on the bandolim, this instrument became very popular in the early 1950s. Mind that the bandolim wasn't used in the choro music before that time. Before the 1950s the mandolin was used - Both instruments have four double courses of strings but the shape and playing technique of both instruments differs. The bandolim has an oval shape and a flat back and a somewhat deeper body than a mandolin. The bandolim is played with a pick made of tortoiseshell or plastic.

The liner notes of the record are written in French (with one summary in english) and contains full discographical information; a rarity in choro reissues.

If you want to experience choro music or the music of its inventor Jacob do Bandolim this CD is a must.