Mércia - ...A Moça Chamada Mércia (1968)

zecalouro presents a Brazilian singer that is probably unknown by many Loronixers. Meet Mercia, with the 1968 LP A Moça Chamada Mercia, a sweet bossa record arranged by Oscar Castro Neves, produced by Aloysio de Oliveira and composed by Renato Teixeira.

This LP is very cult. Once again, the information available about Mercia is almost unavailable. Mercia only recorded this nice LP, what happened to her? Who knows?

Let's see what happens, zecalouro likes this kind of mystery, particularly when it is around a nice record and a beautiful singer like Mercia. Tracks include:

01 - Feira de Trocas (Renato Teixeira)
02 - O Trem da Separação (Renato Teixeira)
03 - Cavaquinho (Renato Teixeira) - Participação: Renato Teixeira
04 - Soldadinho (Renato Teixeira / João Chiesse)
05 - Meu Remédio É Carnaval (Renato Teixeira)
06 - Feriado Nacional (Renato Teixeira)
07 - Bandeira Branca (Renato Teixeira / Maranhão) - Participação: Renato Teixeira
08 - Álbum de Família (Renato Teixeira)
09 - A Filha do Rei (Renato Teixeira)
10 - Cordão da Graça (Renato Teixeira)
11 - Ganhei Outra Saudade (Renato Teixeira)
12 - O Rancho (Renato Teixeira / Geraldo Cunha)

Conjunto 707 - Formula 707 (1966)

Conjunto 707 - Formula 707 (1966), a Brazilian BossaJazz instrumental group that has released only this LP for Chantecler. zecalouro was keeping this LP for months just waiting for additional information. Then, a friend of zecalouro said that this LP is so rare, good and unique that zecalouro was being selfish on keeping it without sharing with Loronix friends.

That's a nice argument, so zecalouro decide to present Loronixers Conjunto 707, which is Antônio Diniz (organ, accordion and arrangements), Ailton José Roncato (vibraphone), Waldomiro Lima (guitar), Divaldo B. Oliveira (piano, vibraphone), Victor Batista Lopes (piston), Pedro Chrispim (sax tenor), Walter Bento (bass, guitar), Altamyr Sarmento (acoustic guitar), Geraldo Lamanna (drums), Benedito Vilela (vocal) and José Carvalho e Benedito dos Santos (percussion). Tracks include:

01 - Você (Roberto Menescal / Ronaldo Bôscoli)
02 - Amanhecendo (Roberto Menescal / Luis Fernando Freire)
03 - Io Che Non Vivo (Senza Te) (Donaggio / Pallavicini)
04 - Night And Day (Cole Porter)
05 - Vivo Sonhando (Tom Jobim)
06 - Midnight Lace (Lubin / Howard)
07 - Deus Brasileiro (Marcos Valle / Paulo Sergio Valle)
08 - Starway To The Stars (Parish / Malneck / Signorelli)
09 - Midnight On The Cliffs (L. Pennario)
10 - Um Sonho e o Mar (Walter Bento)
11 - Levanta Mangueira (Luis Antônio)
12 - Fotografia (Tom Jobim)

Walter Wanderley - Samba So! (1965)

There are some curiosities that zecalouro would like to say about this 1965 Walter Wanderley LP, Samba So, which has a coverart picture that became one of the most famous Walter Wanderley pictures worldwide. This is the kind of record that was born in 1965, but was modified on further releases.

The first release by Fermata - the artwork is available below this paragraph - did not credited Walter Wanderley due his contract obligations with Philips. All tracks starts with the word Samba.

Then, "Samba So" was released by World Pacific with the opening cover artwork of this post, later on another release gave the name "Walter Wanderley... ... é Samba" and the final CD reissue, "Samba!". The line up is: Walter Wanderley (Organ), Azeitona (Bass), Arrudinha (Drums), Heraldo do Monte (Guitar), Bolão (Sax, Flute), Corisco (Pandeiro) e Radamanto (Agogô). Tracks include:

01 - Samba do Avião (Tom Jobim)
02 - Samba da Madrugada (Dora Lopes / Carminha Mascarenhas / H. Nascimento)
03 - Samba Em Prelúdio
04 - Samba da Minha Terra (Dorival Caymmi)
05 - Samba Só (Walter Santos / Tereza Souza)
06 - Samba Silante (Telmo Soares)
07 - Samba no Japão (Orlann Divo)
08 - Samba de Bossa (Corisco / Heraldo do Monte / Chu)
09 - Samba Novo (Durval Ferreira / Newton Chaves)
10 - Samba de Uma Nota Só (Tom Jobim / Newton Mendonça)
11 - Samba Brasileiro (Claribalte Passos)
12 - Samba Triste (Baden Powell / Billy Blanco)

Evinha - Evinha (1973)

A friend of zecalouro has asked to make available to Loronixers a LP of the Brazilian singer Evinha, which was member of the legendary Trio Esperança, a successful vocal group from the 60's.

zecalouro took a 1973 Evinha LP, known as to be the hardest to find Evinha record. By the way, sometimes zecalouro uses to post records that were already posted on other friends blog. This should happen again, several times. zecalouro does not have time or skills to search all the blogsphere to check if someone else had first made a certain LP available.

Well, if you see an LP from another friend posted here without saying so, don't be mad with the green bird. Just send him an email, available at zecalouro's profile.

Back to Evinha, do not miss the AMG bio, tracks include:

01 - O que é que eu estou fazendo na rua (Luis Carlos Sá - Guarabyra - Zé Rodrix)
02 - No meio da madrugada (Jon Lemos - Roberto Corrêa)
03 - Foi assim [Juventude e ternura] (Renato Corrêa - Ronaldo Corrêa)
04 - Tiro de cores (Cassiano - Robson Jorge)
05 - As canções que você fez pra mim (Erasmo Carlos - Roberto Carlos)
06 - Deixa rolar (Luis Carlos Sá - Guarabyra - Zé Rodrix)
07 - Moça (Maria Thereza Guinle)
08 - Como vai você (Mário Marcos - Antônio Marcos)
09 - Vozes vazias (Ely de Oliveira - Fernando Araújo)
10 - Não vá ficar debaixo das rodas (Augusto Magalhães - Sidney Matos)
11 - Ben (B.Black - W.Share)
12 - Trechos: - O que é que eu estou fazendo na rua (Luis Carlos Sá-Zé Rodrix-Guarabyra), - As canções que você fez pra mim (Roberto Carlos-Erasmo Carlos), - Foi assim (Juventude e ternura) (Renato Corrêa-Ronaldo Corrêa), - No meio da madrugada (Roberto Corrêa-Jon Lemos), - Moça (Maria Thereza Guinle)

A successful vocalist in the Jovem Guarda in the Trio Esperança, Evinha had hits in her solo career with songs like "Teletema" (Antônio Adolfo/Tibério Gaspar), "Que Bandeira" (Marcos Valle/Paulo Sérgio Valle), "Como Vai Você" (Antônio Marcos), and "As Canções Que Você Fez Para Mim" (Roberto Carlos/Erasmo Carlos). Since her childhood, she sang together with siblings Mário Correia José Maria and Regina Correia José Maria. In 1958 the three of them formed the Trio Esperança, which had great success during the Jovem Guarda times and is still active. In 1968, she departed from the trio to pursue her solo career, being replaced by her sister Marisa Correia José Maria. Her first hit was "Casaco Marrom" (Guarabyra/Danilo Caymmi/Renato Corrêa). In the IV FIC (International Song Festival) in 1969, she won first place with "Cantiga Por Luciana" (Paulinho Tapajós/Edmundo Souto). In 1977, she recorded with Paul Mauriat. As the crooner of Mauriat's orchestra, she toured Japan and China. In the '90s, she rejoined the Trio Esperança. Appeared in solo performances in Brazil in 1999.

Helio Mendes, Seu Piano - Conjunto - Week-End no Rio (1963)

Everything is good on this LP, the cover, the repertoire, the instrumental music, even the name is cool, Week-End NO Rio.

Helio Mendes is another Brazilian pianist and organist making his debut at Loronix with his 1963 LP Week-End no Rio, instrumental music with Walter Wanderley organ style, brass, accordion and guitar on nice standards, such as: Dans Mon Ile (one of zecalouro's favorites), Stella by Starlight, Corcovado and others.

Helio Mendes e Seu Conjunto is Helio Mendes (organ and piano), Mauricio Oliveira (guitar), Cicero Ferreira (piston), Moacyr Barros (sax, clarinet), Betinho (drums), Marinho (accordion), Edilio (bass) and Moacyr Lima (percussion). Tracks include:

01 - Na Cadência Do Samba
02 - Samba Em Preludio
03 - Nancy
04 - Cueando Calienta El Sol
05 - Corcovado
06 - Speak Low
07 - Stella By Starlight
08 - Dans Mon Île
09 - Et Maintenant
10 - Faceira
11 - Volta Por Cima
12 - O Samba Brasileiro Nº 2

Sivuca e Seu Conjunto - Motivo para Dancar Nr. 2 (1965)

It has been a long time since zecalouro presented to Loronixers the first out of two Sivuca LPs titled Motivo para Dancar. The quest for the number two is now over and zecalouro proudly presents Sivuca e seu Conjunto - Motivo para Dancar Nr 2 (1957).

Sivuca is a legendary accordionist, arranger and composer that is still active. Fascinanting cover. The girl on the artwork looks very like a zecalouro's friend who is a Brazilian singer. Who guess how is she? Tracks include:

01 - Caravan (Ellington - Tizol - Milis)
02 - Feitiçaria (Evaldo Ruy - Custódio Mesquita)
03 - Mistura fina (Luiz Bandeira)
04 - Canção do mar (Federico de Brito - Ferrer Trindade)
05 - Viva meu samba (Billy Blanco)
06 - Rancho fundo (Ary Barroso - Lamartine Babo)
• Nem eu (Dorival Caymmi)
• Doce melodia (Abel Ferreira)
• Feitiço da Vila (Noel Rosa-Vadico)
• Covarde (Lourival Faissal-Getúlio Macedo)
07 - Sonhando contigo (Fausto Guimarães - Anísio Silva)
• Poinciana (N. Simon)
• Frenesi (Alberto Dominguez)

Joao do Vale - O Poeta do Povo (1965)

Joao do Vale was a very important singer and composer noted by introducing the popular art of NorthEast of Brazil to the mass medium-classed people of major Brazilian cities.

With Nara Leao and Ze Ketti, Joao do Vale performed the show Opiniao (1964), a great success, responsible for the release of one of his most acclaimed composition, Carcara.

zecalouro presents Joao do Vale and his first LP, O Poeta do Povo, released just after show Opinião, where Joao sings his compositions. Joao do Vale has recorded only 3 LPs on his entire career. AMG Bio should provide a better approach for Joao do Vale starters. Tracks include.

01 - A Voz do Povo
02 - Carcara
03 - Para Mim Nao
04 - Peba na Pimenta
05 - Minha Historia
06 - A Lavadeira e o Lavrador
07 - Pisa na Fulo
08 - O Jangadeiro
09 - Fogo no Parana
10 - Ouricuri
11 - O Bom Filho Sempre a Casa Torna
12 - Sina de Caboclo

update: comentário do usuário Glauber:

Esse é mais um injustiçado da "música popular brasileira". João do Vale, menino analfabeto de Pedreiras, interior do Maranhão. Mesmo tendo sido gravado por Fagner, Zé Ramalho, Chico Buarque, Bethânia, Miúcha, entre tantos outros, foi relegado à vala comum do esquecimento. Inesquecível a sua participação no show "Opinião", com Nara Leão e Zé Ketti. Conforme me relatou uma sobrinha sua, que conheci por acaso, morreu afundado no álcool, além de ter sofrido um derrame. Abraço João, sua música faz parte da minha vida...

João do Vale is a singular poet. His lyrics, which transmit his profound understanding of the sertaneja (inlander) soul, are full of a very personal notion of rhythm. The strength of his work can be appraised if we consider that he is one of the three great figures of Northwestern popular music (the others being Luís Gonzaga and Jackson do Pandeiro) even having recorded only two individual albums.

Soon having to work as a truck-driver assistant to help his very poor family, he traveled through the Northwestern inland knowing that humble people and their lives. This profound identification with his roots would forge his philosophy of life, and his natural talent would do the rest, with no help from formal education. Because he wanted to stay at school, but being black and poor he suffered the consequences of racial and social prejudice, having to abandon his studies very early. He was expelled from school to give room for the son of a recently appointed bureaucrat from Pedreiras.

At 12, his family moved to São Luís, where he joined a bumba-meu-boi group, writing lyrics for their songs. Dreaming about living in Rio, he became a truck-driver assistant. From adventure to adventure, in the meanwhile working as prospector in Minas Gerais, he finally reached Rio, in 1950, at 17. Finding a job as a mason assistant, he'd run the radio stations at night, searching for an opportunity. He succeeded in approaching Zé Gonzaga. Initially reluctant, in due time Zé would be his admirer, having recorded "Cesário Pinto, a big hit in Northwest. Next in the line would be Luís Vieira, which composed "Estrela Miúda" with João and convinced singer Marlene to record it. So, a very narrow gap separated the arriving of João in Rio, in the ending of year 1950, and the recording of his songs by renowned artists, in the next year. He soon would be recorded by other great names, such as Luís Vieira himself, Dolores Duran, Luís Gonzaga and Maria Inês.

In 1954, he appeared in the movie Mão Sangrenta, directed by Carlos Hugo Christensen. In the set he'd know Roberto Farias, which would become a director, commissioning João with his movies' soundtracks, such as No Mundo da Lua (1958). That brought other movie works, such as Meu nome é Lampião, by Mozael Silveira, in the next year. In 1956, his composition "Na asa do vento," with Luís Vieira, would be recorded by Dolores Duran.

His fertile association with Luís Gonzaga, o Rei do Baião (the King of Baião) produced "Sertanejo do Norte" (1959), "De Terezina a São Luís" (1962), "Pra onde tu vai, baião?" (1963) and "Fogo no Paraná" (1964). But due to publishing contracts, Luís Gonzaga's name couldn't appear in the credits, so he was substituted by his wife (Helena Gonzaga). That wouldn't prevent the Rei do Baião of recording the songs, tough. Invited by Professor Earl W. Thomas, João went to Tennessee in 1963 to perform his compositions.

In 1964, the showroom iCartola was in its most popular phase. It was when sambista Zé Keti became acquainted with João and takes him to perform over there. Heavily acclaimed, he starts to perform there regularly at Fridays. It would be fundamental to expose João to the interest of those medium-classed people in search of genuine popular Art and sediment his fame and reputation. Soon he'd be invited by Oduvaldo Viana Filho, the Vianinha, to join the performance Opinião (1964). This show was an resistance act against the ruling dictatorship that counted on extremely popular bossa nova singer Nara Leão, who split with that movement in search of a more politicized expression, arousing excited polemic in the musical scene. The reunions would gather, at poet Ferreira Gullar' home, Nara Leão, João do Vale, Paulo Pontes, Vianinha and Armando Costa. The aim of the spectacle was to highlight the works of very different people (Zé Keti, a urban sambista composer; João do Vale, a Northwestern composer, and Nara Leão, a medium-classed singer) but with the same opinion (opinião): to protest against military dictatorship. The huge success of that musical marked an epoch in popular music and presented a great revelation: singer Maria Betânia (Caetano Veloso's sister), through her delivery of João' "Carcará."

Opinião was such a tremendous success that Philips label invited João to record his first individual Lp, O poeta do povo, where João sings his compositions. Two years later, Philips issued a double compact with João singing his compositions "Eu chego lá" (with Abel Silva), "Sanharó" (with Luís Guimarães), "Eu vim praí (with Manoel Euzébio) and "Viva meu baião (with Vezo Filho).

Now a renowned composer, João would be invited to participate in other shows, like A voz do povo (1966), with Nelson Cavaquinho and Moreira da Silva; Eu chego lá (1967); Chiclete com banana (1972); Se eu tivesse meu mundo, Opinião (1975); and E agora, João? (1976).

João do Vale only succeeds in recording his second LP, João do Vale Convida, in 1981, due to political persecution by the military government. Famous artists which joined the project to affirm their support and admiration for this great composer were Chico Buarque, Nara Leão, Fagner, Alceu Valença, Zé Ramalho, Tom Jobim, Amelinha, Gonzaguinha, Clara Nunes, Hermeto Pascoal and Jackson do Pandeiro. The production was signed by Chico Buarque.

In 1982, João would record his second individual LP, with Chico Buarque. Chico would pay another tribute to João in the João Batista do Vale CD, awarded with the Prêmio Sharp as the best regional record.

Having lived for more than 30 years in the city of Rio, João never abandoned the rich sonorities evocative of sertão, never became an urban composer. But he performed a revolutionary task: He fused the urban samba with the Northwestern baião, with great artistic success.

Big Boy - The Big Boy Show (1974)

Loronix friends in Brazil will appreciate more this post than others. Big Boy - The Big Boy Show (1974) is one of the few LPs releases by this artist, which was not a singer, but a DJ.

Big Boy was responsible for a revolution on Brazilian radio, being the first to make a more relaxed approach to the public, introducing rock and bringing a young audience to this media that was dominated by formality, outdated speakers with no innovation for years. Big Boy influence can still be seen today in Brazil by many radio speakers that still try to make his style and approach to bring music.

Big Boy has released just a few LPs with repertoire selected by him mixed with his speaking creating on record the way he used to perform his speaking in Radio.

This LP is from one of his famous shows, The Big Boy Show - tracks in English - being the last released by him. If someone invites you to be a DJ on a party, take this LP with you and people will kick around the floor.

Paulinho da Viola - Foi um Rio que Passou em Minha Vida (1962)

What a late debut at Loronix, Paulinho da Viola should be here since the beginnig. The waiting is over on great style, zecalouro brings to Loronixers one of the best early Paulinho da Viola LPs, Foi um Rio que Passou em Minha Vida (1970).

Paulinho da Viola is all about Samba of the old style, acoustic, with nice and sweet melodies. This record is definitively a great start for anyone who wants to start and for those who are used with Paulinho da Viola later works, since some early records like this one are out of print.

zecalouro will ask for AMG bios help to show Loronixers the first Paulinho da Viola release. Tracks include:

01 - Para não contrariar você (Paulinho da Viola)
02 - O Meu Pecado (Zé Keti)
03 - Estou Marcado (Paulinho da Viola)
04 - Lamentacao (Mauro Duarte)
05 - Mesmo sem Alegria (Paulinho da Viola)
06 - Foi um Rio que Passou em Minha Vida (Paulinho da Viola)
07 - Tudo se transformou (Paulinho da Viola)
08 - Nada de Novo (Paulinho da Viola)
09 - Jurar com Lagrimas (Paulinho da Viola)
10 - Papo Furado (Paulinho da Viola)
11 - Nao Quero Voce Assim (Paulinho da Viola)
12 - Sinal fechado (Paulinho da Viola)
13 - Ruas que Sonhei (Paulinho da Viola)

Paulinho da Viola was born in a musical environment. His father, the acoustic guitar player (violonista) César Faria, worked in the renowned choro group Época de Ouro, whose leader was the legendary Jacó do Bandolim. Those grave gentlemen -- chorões, that is, preservers of the long tradition of choro -- appeared at Faria's house every week, and Jacó, with his baritone tone, always demanded complete silence for their rehearsals. Little Paulinho da Viola grew up listening to those wonderful sounds, a true part of history of Brazil, and these situations of identification formed his character for his whole life. Always a combative supporter of true, native samba and choro, he never gave up his ideals to meet commercial success. Unexpectedly, this formula of sincerity worked well, and even if he never had any problems selling out the entire printing of his records, he beat his own standard with 1996's Bebadosamba, which brought him his first gold record, with 100,000 records sold; a great feat for completely anti-commercial, pure samba-of-the-hills music.

Facing the opposition of his father, who wanted him to follow a "serious profession," young Paulinho da Viola learned by himself his dad's instrument, the violão. He tells this story in his samba "Catorze Anos." Later he would learn from Zé Maria, a renowned composer and friend of the family.

In 1959, he meet an important figure of Brazilian popular music, Chico Soares, nicknamed Canhoto da Paraíba. Canhoto, or "Left-Handed," was an amazing violonista who played with the strings set as if for a right-handed player. He heavily influenced the young musician to deepen his apprenticeship, and Paulinho da Viola soon came up with a choro composition, which was unrecorded.

His first samba, from 1962, "Pode ser Ilusão," unrecorded as well, came when he was already frequenting the samba school União de Jacarepaguá. This school is not as traditional as the one he would join later, Portela, as a composer, but it was convenient. It was located in the same neighborhood as his aunt's home, where he'd spend his weekends; he'd be allowed to have more freedom regarding going out at night than he'd enjoy under his father's hand.

Even then, he met important sambistas and composers there, like Catoni and Jorge Mexeu. They stimulated him to go further in his involvement with music, and in the next year, invited by his cousin Oscar Bigode, who was the drums director (diretor de bateria) for the Portela samba school, he changed for this one.

In the introductory performance, at the Nozinho's bar, Paulinho met great names of samba: João da Gente, Jair do Cavaquinho, Zé Keti, Casquinha. He showed his samba "Recado," for which he only had made the A part. Casquinha liked it, and made the bridge in the spot. In the same blow, Paulinho was accepted as composer of an important samba school, and had as partner a renowned creator.

In the meantime, he continued his studies in accounting and to work as a bank clerk. One day, he had to attend a client who was the poet Hermínio Bello de Carvalho, a person viscerally linked to popular music, gatherings (rodas) of choro and samba, etc. Paulinho had already met him in some of those rodas, and they became close friends, with Hermínio becoming a partner and passionate instigator of his career.

Still in 1963, Hermínio introduced Paulinho to Cartola, who would be the great influence in the earlier style of Paulinho's career. At this point, the Zicartola (restaurant and showroom hosted by Cartola and run by his wife Zica) was at full steam, and Paulinho began to play there, either violão or cavaquinho, accompanying other singers and composers or himself, interpreting other people's songs. Then, Zé Keti urged him to show his own compositions. So, from 1964 on, he would give his compositional work real impetus.

The next year came with two important marks on his career: the Rosa de Ouro musical, and the recording of the LP Roda de Samba. The show was directed by Hermínio Bello de Carvalho and presented in Rio, São Paulo, and Bahia. Singers Clementina de Jesus and Aracy Cortes were accompanied by the Cinco Crioulos: Élton Medeiros, Nélson Sargento, Anescarzinho, Jair do Cavaquinho, and Paulinho (who had just received his nickname "da Viola" from Zé Keti and journalist Sérgio Cabral). The LP, originally meant to be only a tape for suggestion of repertoire for singers, was received with interest by recording company Musidisc, which decided to record the album. It was done by the Cinco Crioulos group (with the exception of Nélson Sargento), which, reinforced by Zé Keti and Oscar Bigode, was renamed A Voz do Morro (The Hill's Voice). Amongst the songs there were already three by Paulinho: "Coração Vulgar," "Conversa de Malandro," and "Jurar com Lágrimas."

The experience was such a commercial success that Musidisc decided to make another LP in the same year of 1965, Roda de Samba II (this one with the same formation, and with the inclusion of Nélson Sargento). Paulinho was beginning to be considered a good singer, besides being a good composer. This record contains two of his sambas, "Recado" and "Responsabilidade."

These two sincere records, oriented toward the registration of pure traditional samba music of the carioca hills, were considered the Best of Year by the critics. The whole printing of the two was quickly sold out, but Paulinho commented about having seen very little money.

This success put them on the map of the bigger recording companies, and RGE hired the Voz do Morro to another LP, recorded in 1966, where Paulinho sings his "Sinhá Não Disse," a samba de partido alto.

In 1966, he won the Carioca Carnival contest for his school Portela, with his samba enredo "Memórias de um Sargento de Milícias." In this same year, Paulinho recorded with Elton Medeiros the LP Na Madrugada, which included his sambas "Arvoredo," "Catorze Anos," "Momento de Fraqueza," "Minhas Madrugadas," (with Candeia), "Jurar com Lágrimas," and "Rosa de Ouro" (with Elton and Hermínio de Carvalho), again through RGE. Again in 1966, he won the third place in the important II Festival of Brazilian Popular Music of Record TV, with "Canção Para Maria" (with Capinam), interpreted by Jair Rodrigues, and accompanied Clementina de Jesus at the Festival of Black Arts in Dakar, Senegal.

In the next year, Odeon issued Rosa de Ouro, Vol. II. In 1968, Paulinho achieved sixth place in the I Bienal do Samba with "Coisas do Mundo, Minha Nega," interpreted by himself, which would be included on his first solo LP for Odeon, Paulinho da Viola. The FBPM of Record TV of that year brought him a situation with Portela. Hermínio had asked Paulinho to compose a song that he'd use in a musical, which was never released. The song, interpreted by Elza Soares, was called "Sei Lá, Mangueira," with Mangueira being a rival school of Portela's. Paulinho didn't expect it to pass the competition, but it made it to the finals, and Paulinho had to produce a convincing explanation to the Portelenses.

Next year, at the V FBPM, he won the first place with his masterpiece "Sinal Fechado," displaying a different profile as a composer. Here, the expansiveness and simplicity of the hills' expression gives way to a reflexive, musically more elaborate feel.

1970 brought him a great happiness, with his long, hard-to-remember lyrics for "Foi um Rio que Passou em Minha Vida" being sung by the masses at the Carnival. In that same year, Odeon issued a new LP with the same title of that song, and Paulinho produced for RGE the LP Portela, Passado de Glória, a compilation of the old masters of the school, with his father present on the violão. In 1971, Paulinho issued another LP on Odeon, paying homage to Nelson Cavaquinho through the samba "Sol e Pedra." In 1972, he issued another LP for Odeon, A Dança da Solidão, and played at the R.F.A. and in Austria with Maria Betânia, Jorge Arena, Sebastião Tapajós, Terra Trio, and Pedro Sorongo.

In 1973, with Sérgio Cabral, Paulinho created the show Sarau, performed in the Teatro da Lagoa, Rio, where he reintroduced the choro group Época de Ouro to a new generation of middle-class people who had already forgotten the wonders of choro music, his old passion. Still in 1973, Odeon issues the LP Nervos de Aço, which had sad overtones reflecting his recent separation from his wife Isa Souza Dantas.

He would only record again in 1975, with Amor à Natureza (Odeon), after Dantas' return. The next year, EMI issued his double album Memórias 1: Cantando and Memórias 2: Chorando. In 1977, Paulinho issued the LP Paulinho da Viola, and in the next year another LP under the same title. In 1979, EMI issues Zumbido, going back to compositions by traditional sambista Wilson Batista. WEA issued another LP under the title of Paulinho da Viola in 1981. In 1982, A Toda Hora Rola uma História appeared on EMI. For RCA, Paulinho recorded and issued Eu Canto Samba in 1989. Marisa Monte recorded his "Dança da Solidão" in 1994, in her CD Cor de Rosa e Carvão. In this same year, Paulinho opened the Heineken Concerts, at the showroom Plaza in São Paulo, joined by the Velha Guarda da Portela, Canhoto da Paraíba, and Gilberto Gil. Paulinho's first LP, Roda de Samba, was reissued in 1995 on CD by Musidisc, while EMI reissued in CD Paulinho da Viola [1975], Memórias 1: Cantando, and Memórias 2: Chorando (1976), Nervos de Aço (1973), and Paulinho da Viola [1978]. He had 11 of his out-of-print LPs reissued by Odeon in 1996, the year which was marked by the major event which was motivated by the show at the beach of Copacabana, during the festivities of the ending year. The show gathered Caetano Veloso, Chico Buarque, Gilberto Gil, Gal Costa, and Milton Nascimento, and Paulinho complained afterward through the press that he received three times less than the other artists, with great repercussion.

Following eight years out of the studios, he issued, still in 1996, through BMG, the CD Bebadosamba, which sold 100,000 copies and motivated a show with the same name, acclaimed by the critics as one of the best of that year. In the same year, Paulinho issued the double CD Bebadachama, recorded live in a show at the Tom Brasil showroom, in São Paulo, together with his father. This show was awarded as Best of Year by APCA (São Paulo's Association of Art Critics). RGE reissued on CD two of his first records in 1997, Na Madrugada and A Voz do Morro. After all this, there's another important thing to say about Paulinho da Viola. He is an artisan, a cabinetmaker who had built all his home's furniture, and makes presents of his works to close friends. This is a rich path to follow for those interested in understanding his music. This spirit of craftsmanship is embedded in his songs, built singularly to satisfy his loving search for detail and expression of his culture and origins.

Bola Sete - Bossa Nova (1962)

This is an early out of print Bola Sete LP from 1962 recorded as a traditional trio format, guitar, drums and bass. Bola Sete - Bossa Nova (1962) is not a true "Bossa Nova" record as titled, but a nice Jazz LP, Bola was one of the first Brazilian artists to move to US and could not be associated or influenced by the movement.

Great guitar solos that zecalouro uses to hear weekly. This post would never be released without the help of the Loronixer Leandro Ferreira, which is from now one zecalouro consultant on artwork recovery. Leandro's art could transform a tiny icon into this nice picture. Miracle. Thanks Leandro. Tracks include:

01 - Tô de sinuca (Bola Sete)
02 - Meu Mundo Diferente (Konrad - Bola Sete)
03 - Dilema (O. Guilherme - Jacques)
04 - Piteuzinho (Bola Sete)
05 - Se Acaso Voce Chegasse (Lupcinio Rodrigues)
06 - Samba do Perrotoquei (Djalma Ferreira)
07 - Manha de Carnaval (Antonio Maria - Luiz Bonfa)
08 - Muita Bossa Brasileira (Bola Sete)
09 - Por Causa de Voce (Dolores Duran - Tom Jobim)
10 - Cingandinho (Bola Sete)
11 - Agora é Cinzas (Marcal - Bide)
12 - Sem Voce (Konrad - Bola Sete)

Jose Mauro - Obnoxius (1970)

This great LP was recorded by Jose Mauro - who made just this single record - in 1970 with the participation of a constellation of Brazilian stars of that time. Unfortunately, Jose Mauro has died in a car accident before the record commercial launching.

Jose Mauro - Obnoxius is an orchestral LP with the regency and arrangements of Gaya and all songs composed by Jose Mauro and Ana Maria Bahiana. You will probably need to make several listens to get all this album beauty. The line-up is:

Jose Mauro: Guitar
Dom Salvador: Organ and Piano
Geraldo Vespar: Guitar
Paulo Moura: Sax
Maurilo: Trumpet
Altamiro Carrilho: Flute
Rildo Hora: Harmonica
Sebastiao Marinho: Bass
Wilson Das Neves: Drums
Juquinha E Mamao: Percussion
Naipe De Cordas De Roberto Quartim

Tracks include:

01 - Obnoxius
02 - Tarde de Núpcias
03 - Memória
04 - Ponto de Chamada
05 - As Aventuras Sentimentais de Espiroqueta Camargo
06 - Talismã
07 - Arraial Da Lua Cheia
08 - Ancoradouro
09 - Canção Da Casa Illuminada
10 - Apocalipse
11 - Exaltacão E Lamento Do Ultimo Rei

Os Cariocas - A Grande Bossa dos Cariocas (1964)

This is a delicious LP from Os Cariocas. I really like these guys. zecalouro found on linear notes that all 12 tracks are being recorded on this LP for the first time. Since this record brings several Bossa Nova classics, such as: A Minha Namorada, Samba de Verao, Inutil Paisagem and So Tinha de Ser com Voce, we have a important and impossible to miss release.

Maestro Severino Filho is the arranger (for voice and instruments) on 6 orchestrated tracks and 6 tracks were they are accompanying themselves. Tracks include:

01 - Minha Namorada (Carlos Lyra - Vinicius de Moraes)
02 - Samba de Verao (Paulo Sergio Valle - Marcos Valle)
03 - Inutil Paisagem (Tom Jobim - Aloysio de Oliveira)
04 - Nem o Mar Sabia (Roberto Menescal - Ronaldo Boscoli)
05 - Insonia por Sonia (Wilson Tiropelli)
06 - Longe do Rio (Luiz Fernando Freire - Edu Lobo)
07 - E Vem o Sol (Paulo Sergio Valle - Marcos Valle)
08 - Tema para Quatro (Severino Filho)
09 - Domingo Azul (Billy Blanco)
10 - Moca da Praia (Luiz Fernando Freire - Roberto Menescal)
11 - Ei Natureza! (Paulo Bruce - Sergio Carvalho)
12 - So Tinha que Ser com Voce (Tom Jobim - Aloysio de Oliveira)

Jackson do Pandeiro - Aqui to Eu (1970)

If you were between a group of Loronixers that had been asking zecalouro for an him, the waiting is over, zecalouro presents the legendary Brazilian percussionist Jackson do Pandeiro and his never released in CD 1970 LP Aqui to Eu.

Jackson had a great important on the dissemination of the Brazilian Northeast region music and its unique genres, such like Baiao, Forro, Xaxado, etc. zecalouro will ask for AMG bios, tracks include:

01 - Meu Passarinho Fugiu (Ivo Marins - Jackson do Pandeiro)
02 - Maria da Pa Virada (Jackson do Pandeiro - Betinho)
03 - Chiclete com Banana (Almira Castilho - Gordurinha)
04 - Tenha do de Mim (Ivo Marins - Jackson do Pandeiro)
05 - Mulher do Anibal (Nestor de Paula - Genival Macedo)
06 - Pombo Correio (Ivani - Serafim Adriano)
07 - Quebra Galho (Calazans Viveiros - Audemir Silva)
08 - Cade meu Boi (Jorginho - Bezerra da Silva)
09 - Aqui to Eu (José Higino - Anatalício)
10 - Sebastiana (Rosil Cavalcanti)
11 - O Solteirao (J. Cavalcanti - Antônio dos Passos)
12 - O Canto da Ema (Alventino Cavalcanti - Ayres Vianna - João do Vale)
13 - O Curandeiro (Serafim Adriano - Jorge Costa)
14 - Xodo de Motorista (Dílson Dória - Elino Julião)

Maybe the most original Brazilian percussionist/singer ever, and certainly the most influential one, Jackson do Pandeiro was, together with Luís Gonzaga, responsible for the nationwide dissemination of Northeastern Brazilian music. During his career, he had hits that continue to be re-recorded until today, like the arrasta-pé "Casaca de Couro," the xamego "Forró na Gafieira," the baião "A Cantiga do Sapo," the cocos "O Falso Toureiro" and "Cajueiro," "Meu Enxoval" (co-written by Gordurinha), "17 Na Corrente," "Coco do Norte," "O Velho Gagá," "Vou Ter Um Troço," "Sebastiana," "O Canto da Ema," and "Chiclete com Banana." He had a fundamental role in the Brazilian popular music tradition celebrated by a broad selection of contemporary figures, ranging from Lenine to David Byrne (who produced the CD Forró Etc.). During his career, however, Jackson didn't have significant sales as we understand them today, nor international tours, let alone the glamour enjoyed by today's idols. In fact, the rediscovery of his importance is a relatively recent phenomenon, indebted to a great extent by interest in Tropicalia from Brazilian popular cultural's past; Gilberto Gil recorded "O Canto da Ema" (D. Aires Viana/Alventino Cavalcanti/João do Vale) and "Chiclete com Banana" (Gordurinha), while Gal Costa recorded "Sebastiana." Since then, Jackson's hits have been recorded by Alceu Valença, Chico Buarque, Tom Zé, Elba Ramalho, João Bosco, Geraldo Azevedo, Genival Lacerda, Zé Ramalho, Leila Pinheiro, Paralamas do Sucesso, Cascabulho, Chico César, and other artists.

The vigorous syncopation exhibited by the interplay of his singing and his inseparable pandeiro (a kind of tambourine with jingles), an inheritance of the black culture that produced the coco from Alagoas, made it quite natural for him to adapt to the Southwest music, namely the Carioca sambas and Carnival sambas. Bringing to Carioca TV and radio, as early as the mid-'50s, the lively poetry and singing of the cantadores (Northeastern minstrels) of the fairs, full of improv and humor, Jackson took by assault the audiences that crowded his live performances in the highly popular auditorium radio shows in which he participated -- like the Programa César de Alencar, on the Rádio Nacional -- producing success after success. At the same time, he was the first one to blend the Carioca malandragem (street wisdom) with swinging Northeastern cocos and emboladas (an ancient form of rhythm and poetry sung to the accompaniment of just a pandeiro).

Son of a singer devoted to the folkloric cocos of her region, Flora Mourão, Jackson (who was nicknamed "Jack" by his mother, after his physical resemblance to actor Jack Perry; adopting later, as a professional, his stage name) started in music playing the zabumba (folkloric Northeastern drum) to back up his mother. After a series of hardships beginning in childhood as a peasant and throughout his youth, when he worked as a baker and later as a drummer in the joints of João Pessoa (Paraíba), in the early 50s he was hired by the Rádio Jornal do Comércio (Recife, Pernambuco). At that station, which was being inaugurated, he adopted the stage name Zé do Pandeiro (and then Jackson do Pandeiro) and recorded his first 78 rpm single and had his first hit with the xote "Sebastiana" (written by Rosil Cavalcanti, with whom Jackson had a duo at the time). The song is evidence of the rhythmic/stylistic innovations based on improvisation that Jackson was devising within the core of traditional Northeastern music. Singing cocos that were mostly his mother's repertory, Jackson had local success, recording several albums that introduced him to the distant audiences of Rio de Janeiro; like the rojão "Forró no Limoeiro," which brought him enough money to finance his and Almira's trip to Rio. Getting to know the amateur singer/dancer Almira Castilhos de Albuquerque, Jackson formed with her the duo Jackson do Pandeiro e Almira.

Almira had a prominent role over Jackson's life, having been the person who taught him how to write his own name. Her sensuality as a dancer and his enormous talent as a singer/percussionist/entertainer soon were acclaimed, and they departed to Rio de Janeiro in 1954. In Rio, Jackson came to know in person the Carioca journalists that were already celebrating his music on paper. The duo's first record in Rio was a collection of previously released singles in 1954 called Sua Majestade O Rei do Ritmo, gathering Northeastern rhythms like the rojão, the coco alagoano, the xote, and the batuque nordestino, along with the Carioca samba.

Returning to João Pessoa, Jackson and Almira married in October of that year, but didn't find the same warmth from their audiences. Recording the "Xote de Copacabana" (a tribute to Rio), the two of them returned to that city in 1955, settling there permanently. Jackson started to perform at radio stations Tupi and Mayrink Veiga, having been hired by Nacional. In São Paulo, he worked in clubs and radio stations Record, Nacional, and Bandeirantes. During the '50s, the duo was popular enough to perform in several films like Minha Sogra é Da Polícia, Cala a Boca Etevilna, Tira a Mão Daí (in which Ângela Maria, Virgínia Lane, Linda Batista, and Dircinha Batista also worked), and Batedor de Carteiras. Until the duo's dissolution in 1967 (with the end of the marriage), they were backed by the Pau de Arara trio, later renamed as Trio Borborema.

Encouraged by the reception of the market, Jackson started to record with success Carnaval marches like "Mão na Toca," "Intenção," "Vou Gargalhar," (Edgar Ferreira, 1955), "Boi da Cara Preta" (Paquito/Romeu Gentil/José Gomes, 1956), "O Velho Gagá" (Almira Castilhos/Paulo Gracindo, 1961), and the biggest hit of the Carnaval of 1962, "Me Segura Que Eu Vou Dar Um Troço" (Jackson/Arnô Provenzano/Otolindo Lopes).

Jackson had a broader success from the mid-'50s until the late '60s, during the period in which he kept the duo with his wife Almira. With the "Jovem Guarda" and the explosion of youth music in the '60s, the opportunities for Jackson gradually diminished and the duo came to an end, together with the marriage, in 1967. It was only in 1972 that Jackson's contribution to Brazilian popular music would be celebrated, by Gilberto Gil's re-recording of "Chiclete com Banana" (not by coincidence, a song whose lyrics are full of references dear to Tropicalia) on Gil's Expresso 2222. The title track also evidences Jackson's strong influences in the vocal/rhythmic line. Gil later re-recorded "O Canto da Ema" and "A Cantiga do Sapo," while Gal Costa re-recorded "Sebastiana." Also in 1972, Alceu Valença called Jackson to perform as a duo Valença's "Papagaio do Futuro." It was enough to reinvigorate the coco master, who returned to the recording studios and tours throughout Brazil, nevertheless restricted to the June parties known as festas juninas, with its specific repertory of marchas juninas.

After another decade of activities and lesser popularity, Jackson died on the road, soon after doing a show. One year after his death, he was paid tribute in São Paulo in the 30 Anos de Rojão performance, with the presence of Zé Kéti, Odair Cabeça de Poeta, Paulinho Boca de Cantor, Edgar Ferreira, and others. In 1997, Jackson was given an homage during the ceremony of the Sharp Awards.

Zimbo Trio e Sonny Stitt - Sonny Stitt in Brazil with the Zimbo Trio (1979)

There is something interesting about Zimbo Trio, they have recorded more than 40 albums on their long career, always playing Brazilian music exclusively. The only exception to this, is this record with the American Jazz musician Sonny Stitt, recorded in Brazil when Zimbo Trio was backing Sonny Stitt on a South America tour.

Sonny Stitt in Brazil with the Zimbo Trio LP was for years a collectors item, since it was released only in Brazil. A CD reissue was released several years ago on CD, going out of print. Tracks include:

01 - Hope's Blues (Stitt)
02 - Corcovado (Tom Jobim)
03 - There you will never be another you (Warren - Gordon)
04 - Little Sued Shoes (C Parker)
05 - Autumm Leaves (Parsons - J.Prever - J.Kosma - Mercer)
06 - Samba do Orfeu (Antonio Maria - Luis Bonfa)
07 - Blues for Gaby (Stitt)

This record was sent to zecalouro by Jonh Lester, a Loronix friend that runs an wonderful Jazz Blog that you should not miss for nothing, Jazzseen.