Moacir Santos - Saudade (1974)

This is the second Moacir Santos LP at Loronix. There is nothing to say about a legend who had influence a whole generation of musicians such like Paulo Moura, Oscar Castro-Neves, Baden Powell, Maurício Einhorn, Geraldo Vespar, Bola Sete, Sérgio Mendes, Dom Um Romão, João Donato, Roberto Menescal, Carlos Lyra, Dori Caymmi, Airto Moreira, and Flora Purim, among others.

Moacir Santos, when interviewed by All About Jazz, gave the perfect definition of its own:

"Any time we talk, my wife says, 'you are thinking about music again.' I am always thinking about music."

Toquinho - Toquinho (1970)

A friend of us said that the missing piece at Loronix is Toquinho. No more, there are several other missing pieces and the fun of this business is to keep some missing slots to be completed.

zecalouro proudly presents a very early Toquinho, just on his second career LP, Toquinho – Toquinho (1970). What a nice surprise! Toquinho is strongly associated with Vinicius de Moraes on a partnership that started in 1970 and last for more than a decade. What amazes me most in this album is that Toquinho is alone here and probably doing whatever he wants on the set.

We can listen Toquinho vocals on 3 songs, Agua Negra de Lagoa, Zana e Dobrando a Esquina, Jorge Ben duets with Toquinho on the legendary song Que Maravilha and Carolina, Carol Bela. Paulinho Nogueira is also here on Bachianinha #1 playing guitar with Toquinho.

Toquinho guitar playing is powerful and can be heard out loud throughout the entire LP.

Luciano Perrone - Batucada Fantastica Vol. 3 - Luciano Perrone e Seus Ritmistas Brasileiros (1972)

In one of the first Loronix posts, zecalouro introduced very successfully a LP from the Brazilian drumming master Luciano Perrone. Luciano released some records between the 60's and 70's with drumming on different Brazilian styles, mainly Carnaval Samba School beat.

It is bring back Luciano Perrone back to Loronix and introduce the Volume 3, Batucada Fantastica Vol 3, Luciano Perrone e Seus Ritmistas Brasileiros (1972). Believe zecalouro, if you are still amazed by Vol. 1, you will be paralyzed with Vol. 3, the best of all 3 LPs from Perrone's batucada releases.

Again, there are no songs, vocal or lyrics on this record, just rhythms for each Brazilian style, Samba, Bossa, Afoxe, Maracatu, etc.

Jack Wilson - Jack Wilson Plays Brazilian Mancini (1965)

This record came to my attention by one of the earliest Loronixers, Tom, which runs a blog that was one of zecalouro's inspirations to release Loronix, The Bossa Nova Music at http://bossanovadreamer.blogspot.com/

Tom came with this recommendation of this LP that zecalouro did not realize it was so rare and unique additionally, it is the first non-Brazilian LP posted at Loronix.

A Bossa Nova collectors pursuit, meet Jack Wilson - Jack Wilson Plays Brazilian Mancini (1965) with Jack Wilson (piano), Roy Ayers (vibraphone), Tony Brazil (guitar), Chico Batera and Sebastiao Neto (bass, drums and percussion). A wonderful Jazz LP with all tracks composed by Henri Mancini.

The reason this LP is being posted is by a unique fact, The Special Guest Artist Tony Brazil on Guitar is Antonio Carlos Jobim, using a pseudonym, for a reason that zecalouro does not know, Tom had to be credited like this.

Dolores Duran - A Musica de Dolores Duran (1959)

zecalouro is trying to understand this Brazilian singer for more than a few days. Dolores Duran. zecalouro is shamed with his total ignorance about this amazing artist, as a matter of fact, another recommendation of zecalouro's mom that he is bringing to Loronix.

Dolores Duran was a meteor; she started her professional career at the age of 10, at Ary Barroso Calouros em Desfile radio show. Two years later, with the passing of her father, Dolores started singing on the radio and musical shows using false identities to deceive the authorities.

From this fast start to the release of her first album, Dolores developed her talent as composer, something that would be recognized only after her passing. Believe me, Dolores was an active composer, making a partnership with Antonio Carlos Jobim on several songs. She died very early at the age of 29 from a heart attack after a presentation on Little Club nightclub.

zecalouro is trying to manage if Dolores was a great singer or a great composer, since as more as zecalouro excavates her work, the more zecalouro gets surprised to discover that several Brazilian classics were composed by Dolores in partnership of other renowned composers.

Dolores LPs are very hard to find. zecalouro could not resist to share the only record available so far on his ark, not a solo LP, Dolores has some guests - Marisa, Roberto Audi, Agnaldo Rayol and Morgana – singing some tracks, as follows:

01/13
A Noite do Meu Bem (Dolores Duran)
Dolores Duran

02/13
Cancao da Tristeza (Edson Borges e Dolores Duran)
Morgana

03/13
Castigo (Dolores Duran)
Marisa

04/13
Estrada do Sol (Antonio Carlos Jobim e Dolores Duran)
Agnaldo Rayol

05/13
Fim de Caso (Dolores Duran)
Dolores Duran

06/13
Minha Toada (Edson Franca e Dolores Duran)
Dolores Duran

07/13
Noite de Paz (Dolores Duran)
Roberto Audi

08/13
Nao me Culpe (Dolores Duran)
Dolores Duran

09/13
Olha o Tempo Passando (Edson Borges e Dolores Duran)
Marisa

10/13
Pela Rua (Ribamar e Dolores Duran)
Marisa

11/13
Por Causa de Voce (Antonio Carlos Jobim e Dolores Duran)
Dolores Duran

12/13
Se Eu Tiver (Ribamar e Dolores Duran)
Marisa

13/13
Solidao (Dolores Duran)
Dolores Duran

There is no reason to go wrong with this LP, zecalouro is now desperately seeking more out of print LPs from Dolores. If you have such piece, feel free to reach zecalouro@gmail.com, it will be a pleasure.

Waldir Calmon - Waldir Calmon Apresenta: Uma Noite no Arpege (1956)

Continuing with the Brazilian organists posts and also with the latest orchestra series, zecalouro introduces to Loronixers the legendary organist and pianist Waldir Calmon.

Waldir Calmon is an almost forgotten Brazilian artist that was very active from the 40's to 70's. Calmon was a solid contributor for Brazilian music and took several different roles as an artist, such as: piano and organ player, orchestra leader, composer, singer, among other complimentary activities, which includes a record label - Waldir Calmon Produções Artisticas - and his own renowned night-club - Arperge, which gives the title to this LP - in 1955, active until 1967.

My friends in Brazil will easily associate Waldir Calmon with the legendary song Na Cadencia do Samba, performed for decades on every Brazilian movie theatre on Canal 100, a soccer show with very nice color images from the matches of the past week.

Na Cadencia do Samba is available here at TurboUpload hosting server as a zecalouro gift, Hope uEnjoy! http://tinyurl.com/zlrxb

There is another important thing to say about this post. The record is a vinyl rip and the tracks are not slip accordingly, you will find a single track to entire Side A and another to Side B. That's why zecalouro is making available this time the tracklist and will be pleased it any friend makes this hardwork of splitting tracks to us.

Track List

Side A

01/13
In The Still Of The Night (Cole Porter)
02/13
Love Is A Many Splendored Thing (Fain-Webster)
03/13
Silbando Mambo (Péres Prado)
04/13
Un Poquito de Tu Amor (Xavier Cugat - R Soler - F L Aguirre)
05/13
Tô de Snooker (Bola Sete)
06/13
Quitandinha (Djalma Ferreira)


Side B

07/13
When Lights Are Low (Williams-Carter)
08/13
Variações Sobre Tema Bob Tura (Charlie Ventura)
09/13
Mariasinha (Garoto - A Ribeiro)
10/13
Balanceando Carioca (Carlos L Espírito Santo-Walgton S Silva)
11/13
Samba do Arnesto (Adoniran Barbosa-Alocin)
12/13
Dinorah (Benedito Lacerda-José Ramos)
13/13
Auf-Wiedersehe'n (S Storch)

Elza Soares - Sambossa (1963)

It is time to Elza Soares and her 3rd career LP, Sambossa, Odeon (1963). Sambossa is one of Elza Soares essentials, recorded just before Elza left Europe and got married with the legendary soccer player Garrincha. During this time, Elza also presented together with Louis Armstrong, which was a landmark on her career.

Sambossa is Elza’s transitioning from Samba to Bossa Nova. A nice performance of Dorival Caymmi Rosa Morena opens the LP, Billy Blanco gives to others compositions and there is also another classic, So Danco Samba, Tom Jobim and Vinicius de Moraes. Ribamar is in charge of the arrangements, making a set that fits nicely with Elza harsh voice and scats.

Edison Machado Quarteto - Obras (1970)

Keep rolling the instrumentals LP from the past; zecalouro introduces now a rare Edison Machado LP, Edison Machado Quarteto - Obras (1970). Edison Machado is one of the greatest Brazilian drummers of the 60's. This LP mixes Bossa Nova, Samba, and Jazz on a wonderful way with sax, bass, piano and - for sure - drums on foreground.

Some weeks ago a Loronix said here that Edison Machado is the only Brazilian drummer who knowns how to play Samba and this LP comes to make this statement a real truth. Tracks include Bonfa, Jobim, Donato, Gisllespie and Ion Muniz compositions.

Edison Machado Quartet is: Edison Machado (drums), Alfredo Cardim (piano), Ion Muniz (sax & Flute), Ricardo (bass) and the special guest for this set, Wheads Brito da Fonseca (guitar).

Raul de Barros - Hoje tem Baile com Raul de Barros (1959)

Without any previous planning, zecalouro is making this Wednesday some sort of Instrumental Brazilian Music Celebration, so let's keep the pace showing Loronixers an obscure and rare LP from Raul de Barros - Hoje tem Baile com Raul de Barros (19??, uncertain date).

Raul de Barros is "O Rei da Gafieira", The King of Ballroom, being active since the 40’s; he is one of the best Brazilian trombonists and the composer of the legendary song "Na Gloria", which is the track 5 of this LP. He also took part as trombonist on several Brazilian orchestras.

Raul de Barros is another great musician that was not recognized and acclaimed, even with his great contribution for Brazilian music throughout several decades. Since the late 90's Raul retired from the scene, living almost forgotten on a small cost town - Marica - in Rio de Janeiro.

zecalouro makes an announcement: if there is a jornalist, newspaper, TV chanell and anyone associated with the music press, please take a time to turn your attention to Raul de Barros. Surely, Raul has wonderful stories to tell. Let's bring Raul de Barros back to the spotlights, giving him properly recognition.

Luiz Eça & Astor Silva e Seu Conjunto - Cada Qual Melhor (1961)

Once again, instrumental music from two Brazilian legends, Luiz Eça - the renowned pianist from Tamba Trio - and Astor Silva - arranger and also one of the best Brazilian trombonists with the 1961 LP Cada Qual Melhor!.

The repertoire is made of Brazilian and American standards, such as: Ary Barroso, Tom Jobim, Gershwin, among others. Eça and Astor are accompanied by Astro Silva e Seu Conjunto. Even without knowing, Loronixers had the "touch" of Astor on several posts before as arranger. Astor was the lead arranger of CBS label, delivering several contributions on LPs of Elis Regina, Elza Soares, Roberto Carlos and others.

Radames Gnattali - Segredo para Dois (1963)

Radames Gnattali is a Brazilian legend, a true genius that inspired Antonio Carlos Jobim and many others. There are just a few solo LPs released by Ganattali and zecalouro is happy to share this one with Loronixers. Maestro Gnattali is so important and essential to Brazilian music that deserves a complete bio from All Music, as follows:

Radamés Gnattali is a fundamental name in Brazilian music. A classically trained composer, conductor, orchestrator, and arranger, he worked for a living in the popular side of the business, deeply influencing Brazilian popular music with his arrangements and conceptions through his omnipresence at the musical direction of Rádio Nacional, the biggest broadcast outing in Brazil during that time. His compositions, both in the erudite and popular fields, concurred to bridge the gap between the two idioms, a self-imposed task that was always kept in sight throughout his whole life.

Both his father and mother were musicians and he started his musical apprenticeship with his mother at age six; later he also took the violin, with his cousin Olga Fossati. At nine, he was decorated by the Italian consul after conducting a child orchestra with his own arrangements. At 14, he was already playing cavaquinho and violão and began his studies with Guilherme Fontainha. In the same year, he was examined by the Escola de Belas Artes de Porto Alegre and was admitted at once to the fifth grade. At 16, he was employed at the Cine Colombo, accompanying silent movies. His desire was to be a concerto pianist, but his parents didn't have the means to provide for his training and he had to work in dances and take in pupils. In 1923, he finished his studies with honors and decided to go to Rio. His professor, Fontainha, used all his prestige to appoint a concert by Gnattali on July 31, 1924, at the Instituto Nacional de Música. In front of a selected audience composed of journalists, musicians, critics, and authorities, he disencumbered himself from the task with greatness that registered with the critics from the period. Soon he met Ernesto Nazareth, who played at the Cinema Odeon, and he then became a frequenter of Galeria Cruzeiro, a piano seller that employed Nazareth as a sheet music demonstrator. After a while, Nazareth asked Gnattali to play for him, receiving enthusiastic applause. Mário de Andrade, a respected musicologist, was, at the time, director of the Conservatório Dramático Musical de São Paulo and invited Gnattali for a performance there.

He returned to Porto Alegre and continued to teach while performing extensively with the Quarteto Henrique Oswald, where he exercised and experimented his string quartet skills as the basis for his firm grasp on the symphonic orchestral writing. In 1929, Fontainha scheduled him again to play in Rio. This time, he played at the biggest pantheon of classical music in Rio, the Teatro Municipal, where he was backed by the Orquestra Sinfônica do Teatro Municipal, conducted by Francisco Braga. In that period, he already had a great number of compositions, both erudite and popular. In 1931, he participated in the IV Concert of the Instituto Nacional de Música's Official Series sided by such composers as Luciano Gallet, Heitor Villa-Lobos, and Lorenzo Fernandez. In the next year, already married, he embraced popular music for a living and was employed by the orchestras of Romeu Silva and Simon Bountman, playing at Carnival balls, operettas, dance parties, and radio shows. In those times, there were virtually no Brazilian arrangements. He began to write arrangements for Brazilian music almost at the same time as Pixinguinha, soon becoming famous for that. Next, he went to Lambari, Minas Gerais, then an elegant watering place, to sub for pianist Mário Martins at the Cassino das Fontes. In that period, he got a job that would profoundly affect his life, at the Rádio Clube do Brasil. In 1932, he become a session arranger and pianist for Victor, debuting there in the recording business with his choros "Espritado" and "Urbano" under the pseudonym Vero (adopted in all his popular pieces). As a pianist, he accompanied Bidu Sayão in 1934, the same year his "Concerto No. 1 para Piano e Orquestra" was conducted by Henrique Spedini, having the very Gnattali as soloist.

In that decade, he also worked for Rádios Mayrink Veiga, Gazeta, Cajuti, and Transmissora. Orlando Silva, the precursor of the colloquial way of singing later re-utilized by João Gilberto and the first to record Brazilian music with a symphonic orchestra, asked Gnattali to write arrangements for him. The association produced top-selling results, while the critics deplored the "American chord," as they referred to the ninth chord. At this point, it is important to quote Gnattali himself to solve a lot of confusion surrounding Brazilian music, including the so-called bossa nova. "If the ninth chord was also used in jazz, it was because the jazz composers also listened to Ravel and Debussy."

In 1938, he presented other erudite compositions at the Escola Nacional de Música and in the next year was invited to the New York World's Fair, together with the popular composers Pixinguinha, Donga, and João da Baiana, and the erudites Heitor Villa-Lobos, Francisco Mignone, Lorenzo Fernandez, and Camargo Guarnieri. Also in 1939, Ary Barroso presented his show Joujoux et Balangandans at the Teatro Municipal, with the Rádio Mayrink Veiga and Rádio Nacional's orchestras, conducted by Gnattali. The enormously successful, almost unofficial anthem "Aquarela do Brasil," was modified by Gnattali, which put five saxes playing the counter theme in seconds, originating the all-time classic introduction.

In 1938, Rádio Nacional was created. Initially a modest enterprise, from the very first moment it counted on Gnattali. But in 1940, the radio was expropriated by the Estado Novo, as was known the nationalist dictatorship by Getúlio Vargas. In line with the government's ideals, the radio changed its profile to represent an important asset in the cultural propaganda, which was based on the best production of the country. In those times, there weren't Brazilian music orchestras, only small groups (regionais) and salon dance orchestras. Then, in 1943, the Orquestra Brasileira Radamés Gnattali was created, together with the show Um Milhão de Melodias, which remained active for 13 years. It was a show that presented music from the entire world, but with appropriate Brazilian dressings through arrangements by Gnattali that were executed by the orchestra. At that time, Gnattali used to write nine full-scored orchestrations per week. That show was the first to pay tribute to Ernesto Nazareth, Chiquinha Gonzaga, and Zequinha de Abreu. Under the influence of his friend, drummer Luciano Perrone, Gnattali also changed the way of orchestrating Brazilian rhythms. At that time, the strings, woods, and reeds took charge of the harmonic/melodic conduction, and the rhythms were exposed by percussion. On the orchestra's recorded albums for RCA, there were plenty of rhythmists, but the regular broadcasts counted only with Luciano, who, feeling himself too weak to supply all the rhythmic richness of several percussionists, asked Gnattali to write some of the rhythms to be delivered by the orchestra. In 1941, the show Instantâneos Sonoros was simultaneously broadcast to Argentina, where it was a success, making Gnattali officially decorated in that country. Returning to Brazil, he was also awarded with the Prêmio Roquette Pinto. In 1946, London's BBC purchased the recording rights for "Brasiliana No. 1" for a large sum. At the request of the Chicago and Philadelphia symphonic orchestras, Arnaldo Estrela performed "Concerto para Piano e Orquestra." In 1949, while working for the Continental label, he created the Quarteto Continental (soon transformed to a sextet), which toured Europe in the III Caravana Oficial da Música Popular Brasileira, in 1960. In 1953, he presented at the Teatro Municipal his "Concertino para Violão e Orquestra," conducted by Eleazar de Carvalho. The concertino had been written especially for the great violonista Garoto, who was the soloist. It was the first time in which the violão, an instrument related to low-life sambistas and malandros, climbed such a respectable stage (with the possible exception of a prior Segovia concert there). In 1954. he composed the "Suíte da Dança Popular Brasileira" for electric guitar and piano, dedicated to Laurindo Almeida and executed by Garoto in São Paulo. In the same year, he opened the show When the Maestros Meet Each Other, where Tom Jobim presented himself. Jobim accounted later that he, a novice then, was extremely nervous to be there conducting in front of longtime venerated maestros, but Gnattali, at the piano, was friendly and helped him with some cues. In 1958, during the Festival Radamés Gnattali at the Teatro Municipal, he presented his "Concerto para Harmônica de Boca e Orquestra," with soloist harmonica player Edu da Gaita. That same year, Gnattali composed the "Concerto para Acordeão (accordion) e Orquestra," written for Chiquinho do Acordeon. In 1964, Gnattali formed a duo with Iberê Gomes Grosso (violoncello) and toured Europe. The next year, he presented the "Concerto Carioca No. 1." In 1968, Gnattali was hired by Rede Globo, where he worked as a composer/orchestrator for 11 years. He also composed the soundtracks for several movies, including Bonitinha mas Ordinária, Eles Não Usam Black-Tie, Perdoa-me por me Traíres, and others. In 1983, he received the Prêmio Shell as an erudite artist in a ceremony at the Teatro Municipal, an occasion when he presented his "Concerto Seresteiro No. 3" for piano, orchestra, and "regional" (Camerata Carioca). He continued his extremely active career until he had a stroke a year before his death.

Angela Maria - Angela de Todos os Temas (1970)

Welcome back to Loronix, Angela Maria, now with a late LP from 1970, Angela de Todos os Temas. We have been wondering together here that even with a bad repertoire, line-up, production, arrangement, etc. Angela is outstanding enough to deliver good LPs or at least acceptable ones.

By the end of the 60's, according with reviewers and music journalists, Angela's career declined due her outdated repertoire and the revolution on Brazilian music with Tropicalia and MPB that has left Angela behind. The only exception is this LP that was a extraordinary commercial success, responsible by the release of some Brazilian classics, such as Gente Humilde (Garoto, Vinicius de Moraes and Chico Buarque), Os Argonautas (Caetano Veloso) and Noite de Temporal (Dorival Caymmi).

This is the first Angela Maria LP that zecalouro is in doubt to tag it or not as a medium LP. Weird, since Angela de Todos os Temas is acclaimed as one of the best Angela's LP from the 70's.
Perhaps zecalouro is being influenced by this incredible cover artwork that seems to be just a photograph of Angela taken at the record set lobby (there is something I need to say in Portuguese, essa capa é uma das mais cafonas que zecalouro já viu em toda a sua vida), look at Angela's shadow at the wall, that's incredible.

Well, this is zecalouro opinion. Maybe zecalouro is wrong, as always. Do not be influenced by this parrot, it is Angela Maria with all the magic we are used to hear on later posts.

Dick Farney & Booker Pittman - Jam Session das Folhas (1961)

Perhaps today is the day zecalouro is posting to Loronixers his mega-rare releases. Jam Session das Folhas - Dick Farney e Booker Pittman (1961) is very rare vinyl collectors item.

This LP was recorded live in the end of 1960 at the auditorium of a Brazilian newspaper, Folha de Sao Paulo. As zecalouro told before, Dick Farney was an outstanding singer and an awesome pianist who contributed decisively to the renovation of Brazilian popular music, incorporating jazz harmonies and style.

Dick was at the piano on all tracks, accompanied by Heraldo do Monte (guitar), Luiz Chaves (bass), Paulinho (drums) among others. Booker plays sax and sings on some tracks.

Vox Populi - Vox Populi (1967)

zecalouro is very good to remember each recommendation received, but he is a disaster to associate the recommendation with the friend who made it. Actually, better remembering the LPs instead of the recommendation itself.

We have here another good example, Vox Populi, same (1967). These guys took everything available at that time and made this nice mix of MPB, Jazz, Bossa Nova, Samba Jazz and Sergio Mendes Bossa Rio style. Vox Populi and this LP are so obscure that zecalouro cannot guarantee if it is a debut LP or one in a row of a series.

As a matter of fact, Vox Populi the set was made with wonderful Brazilian musicians: Fernando Leporace (Bass), Amaury Tristão (Vocals), Guto Graça Melo (Guitar), Helvius Vilela (Piano), Getúlio Pereira (Drums), Cecília Saldanha da Gama (Vocals), Laudir de Oliveira (Percussion) and Otavio Brandao (Vocals).

Jose Roberto e Seu Conjunto - Organ Sound, Um Novo Estilo (1970)

Once again, another Brazilian 60's organist to be added to zecalouro's list and a complete obscure LP, Jose Roberto e Seu Conjunto - Organ Sound, Um Novo Estilo (1970).

On a first hearing, zecalouro was awesome by the arrangements, rhythm section and Jose Roberto technique on his Hammond B3.

Suddenly, a big question on zecalouro's green head has appeared: who is this Jose Roberto, that plays so nice and made this amazing LP? Jose Roberto is in fact an early Jose Roberto Bertrami, the Brazilian legend who afterwards itself formed the international acclaimed Azymuth. At least, zecalouro will keep the list untouched this time.

5 out of 5 stars Brazilian instrumental music made by Bertrami. A really nice LP that is some steps ahead of its counterparts of that time.

Brazilian music amazes me. The old LPs are coming to zecalouro hand like a waterfall. Many thanks to all Loronixers around the world. zecalouro receives more music than his capacity to post here. Maybe one day it should be necessary to create some sort of Loronix Letfovers Blog to introduce several geems zecalouro has under his green wing.

Elza Laranjeira - A Noite do Meu Bem (1960) - Debut LP

Elza Laranjeira is back to Loronix, now with her debut LP A Noite do Meu Bem (1960). This is one of those orchestrated LP from the early 60's with the late 50's flavour. Elza is accompanied by Maestro Simonetti e sua Orquestra.

A Noite do Meu Bem is one of the most successful Elza's LPs, the song A Noite do Meu Bem is such like Elza's trademark and her version of Tom and Vinicius Eu Sei que Eu Vou te Amar is one of the best interpretation of this song ever.

Orlann Divo - A Chave do Sucesso (1962)

Orlann Divo, A Chave do Sucesso (1962), debut LP with Ed Lincoln (organ, piano), Waltel Branco (guitar), Rubens Bassini (percussion) and Fernando Bancario (drums).

zecalouro does not known what to write about this LP and the acclaimed Orlann Divo, perhaps Loronixers are already used to Orlann Divo. Anyway, if there is something zecalouro is quite sure is that these guys had a lot of fun in 1962 on this set. I heard that these songs were played 24 hours a day, even outside Brazil.

There is a story zecalouro found on a Orlann Divo interview for WhatMusic. zecalouro has a lot of fun with these stories, as follows:

Well there's a funny story about Jorge Ben. One day I was playing at Bottles on the Beco das Garrafas and the owner of the Plaza Club Oliveira Filho, came up to me and said Orlann that's a kid outside who says he's written some songs for you. I was quite curious so I went out and there was this kid you know, Jorge Ben, very very young and he took the guitar and started playing Por Causa de Voxe and Mas Que Nada, you know woth that same singing through the nose style; singing voh-shay instead of voh-say. Well I was flattered but I thought they were fantastic and said Kid you gotta record them yourself. He said Oh no MR Divo I wrote these songs for you, Im not a singer! And I said hey kid Look at em I wasn't a singer either and look at me [laughs]! Some while later I heard that Armando Pittiliginia from Philips had signed him up and the next thing you know Mas Que Nada is selling millions all around the world! But, in truth I had just recorded my frist LP and I didn't' think I could take his songs and not record them. But he found his own voice and that's great. He ended up covering one of my songs!

Claudia Telles - Claudia Telles (1976)

Another special post to a Loronixer recommendation that was really hard to manage and has finally comes to life. It took so long that I couldn’t remember who remind zecalouro on this LP.

Anyway, there is also a story behind it. Claudia Telles - Claudia Telles (1976) came by accident to zecalouro on his zecalouro@gmail.com address by the Loronixer Rogelio Centella. Rogelio received this LP from another dude known as Wilton - a very friend of Rogelio - that took this LP from the guy who plays bass on the sessions, the legendary Paulo Cesar Barros, member of Renato e Seus Blue Caps.

Hello, Paulo Barros, we do not know each other and zecalouro could not reach you to agree on this post. Since this is a out of print LP that Loronixers will love, everybody will run to the stores to get the available albums fro Claudia, which is really nice and compliant with Loronix value proposition. Thanks Paulo, it will be a honror to see your comments about this LP and inside information about the sessions you had with Claudia.

Let's talk about Claudia Telles, she is daughter of Sylvia Telles and this 1976 LP is her debut album. There are several tracks that were very successful by its release time, such like: Fim de Tarde, Eu Preciso te Esquecer and a nice version of And I Love Her, The Beatles.

The LP has sounds like the 70's - probably by the arrangements, piano and keyboard played by Lincoln Olivetti. zecalouro feels like being dragged back to his childhood times when listening to these songs. Really cool.

Andre Penazzi - Orgao, Balanco e Percurssao (1965)

With our last Lafayette post, zecalouro made an exercise, listing all Brazilian organists from the 60's. zecalouro was quite sure that the list was a final work, ready to be filed on a given space on his cage.

Refer, an active and knowledgeable Loronixer, very friend of us, demonstrated once again that zecalouro was wrong. As a matter of fact, zecalouro is allways wrong. It is time to retrieve the organist list and – thanks to Refer - make an important addition: Andre Penazzi, presented here to Loronixers with the LP Orgão, Balanço e Percussão (date uncertain, probably early 60's).

Orgão, Balanço e Percussão is a surprising instrumental LP, with Penazzi organ sounding rusty and dirty on 12 well-known Bossa Nova songs. There is a lot of Samba on this LP, with a rhythm section performing nicely on foreground.

Lafayette - Lafayette Apresenta Dina Lucia (1965)

Lafayette is a big challenge to zecalouro, just in terms of finding available information to present to my dear friends at Loronix. This post is in respect of many friends that have been crying for Lafayette since Loronix was born.

Lafayette is considered the "official organist" of a cultural movement born in the 60's known as Jovem Guarda and lead by the acclaimed Brazilian singer Roberto Carlos. Using a Hammond B-3, Lafayette can be listened on several Roberto Carlos LPs, including the top hit "Quero que va Tudo para o Inferno".

This is Lafayette debut LP, Lafayette Apresenta Dina Lucia (1965), his wife. Since then, Lafayette recorded more than 30 LPs to CBS, most of them based on instrumental versions of successful commercial songs of the time.

That's the way it is! zecalouro had some personal affairs with Lafayette as musician in the 80's, but this is only curiosities of a past that should be kept sleeping in the bottom on zecalouro's cage.