Ed Lincoln - A Volta (1964)

This is certainly a special record to Ed Lincoln's career. Ed Lincoln - A Volta (1964) was recorded just before Ed Lincoln got back from a car accident in 1963 that let him paralyzed in a bed for seven months.

As a matter of fact A Volta means The Return, in English. This is important to understand also this cover, were Ed Lincoln seems to be on some kind of press conference with his name all around the wall behind it. He seems to be very happy to be back to business. Tracks include:

01 - Ai Que Saudade Dessa Nega (Ed Lincoln)
02 - Eu Vou Também (Menininha) (Ed Lincoln / Orlann Divo)
03 - The Blues Walk (C. Brown)
04 - Falaram Tanto de Você (Durval Ferreira / Orlann Divo)
05 - Vou Andar Por Aí (Newton Chaves)
06 - Deix'isso Pra Lá (Ed Lincoln / Luis Paulo)
07 - Na Onda do Berimbau (Oswaldo Nunes)
08 - Amar É Bom (Ed Lincoln)
09 - Palladium (Ed Lincoln / Orlann Divo)
10 - Sacy Perere (Humberto Reis / Rildo Hora)
11 - São Salvador (Durval Ferreira / Aglaê)
12 - Voltei (Ed Lincoln / Silvio César)

Fafa Lemos - Seu Violino e Seu Ritmo (1959)

What about putting together Samba and violin? Sounds weird, but not with the Brazilian musician Fafa Lemos, a violin virtuoso that was a strong contributor to Brazilian music and Bossa Nova, active between the 40's to the 70's. Fafa Lemos is that kind of guy that was all around the music scene of that time collaborating with every renowned artist in Brazil and several others in United States and abroad.

Fafa recorded several solo LPs, zecalouro introduces Fafa Lemos and his music with Fafa Lemos - Seu Violino e Seu Ritmo (1959), Fafa Lemos sings and plays Brazilian and American standards. AMG bio and tracks are listed below:

01 - Jalouisie (J. Gade)
02 - Lamento (Djalma Ferreira / Luis Antônio)
03 - Love Is a Many Splendored Thing (Paul Francis Webster / Fain)
04 - Noche de Ronda (Maria Teresa Lara)
05 - Saturado (Berico / Franco Ferreira)
06 - A Noite e a Lua (Berico / Franco Ferreira)
07 - Chega de Saudade (Tom Jobim / Vinicius de Moraes)
08 - A Certain Smile (Paul Francis Webster / Fain)
09 - Picolissima Serenata (Amurri / Fierro)
10 - Balada Triste (Dalton Vogeler / Esdras Pereira da Silva)
11 - Acercate Más (Osvaldo Farrés)
12 - Seja Lá Como For (Berico / Franco Ferreira)

Fafá Lemos was an important Brazilian musician in the '40s through the '70s. A violin virtuoso hired by the most significant radio station (Nacional, which was heavily financed by the nationalist government of Getúlio Vargas), he played with virtually all of the Brazilian stars of those times, recorded a great solo discography (in Brazil and the U.S.), and also had an appreciable solo career abroad.

His musical studies began at seven. With the accompaniment of the Orquestra Sinfônica do Teatro Municipal do Rio de Janeiro, under conduction of maestro Burle Marx, he soloed a Vivaldi concert only two years later. In the next year, he played at the prestigious National Institute of Music, accompanied by renowned pianist Souza Lima. Moving to Paraná, he abandoned music for four years to complete his high school studies. In 1940, he returned to Rio and joined the Brazilian Symphonic Orchestra for four months and the Carlos Machado Orchestra (in which he would work for six years) at the luxurious Cassino da Urca. Accompanying Carlos Machado, he began playing at the Casablanca nightclub in 1946, but the Trio Rio (which played at Bally-Hi nightclub) made a better proposal and he joined them.

In 1950, Rádio Nacional hired him for the outing's cast and in that capacity, he would accompany the Brazilian musical who's who of those times. In 1952, he went to the U.S. for the first time -- he would go there several times -- and on one of those trips, he recorded the soundtrack to the film Meu Amor Brasileiro (Mervyn Le Roy, Metro) with Laurindo Almeida. Accompanying Carmen Miranda, they toured several American cities. For New York's CBS, he recorded three TV shows and was hired by Hollywood's KTV as a soloist. Also in 1952, he recorded several albums for the American RCA Victor. Some time before, Paulo Tapajós, musical director for Rádio Nacional, created the show Música em Surdina (music in mute), under the winning concept of taking the excellent soloists hired by the station from the orchestral mass and putting them in small groups. So, Tapajós created the Trio Surdina: Lemos, Garoto (violão and several other string instruments), and Chiquinho do Acordeon (accordion). Sometimes the trio was joined by Vidal (bass) and Bicalho (percussion). After prime time, they would entertain the listeners for hours, playing refined instrumental music until the daily closing of the broadcasts. Playing international music in Brazilian rhythms, they also incorporated Noel Rosa classics ("Com que Roupa?" sung by Lemos); "Ninguém me Ama" (Antônio Maria/Fernando Lobo, a hit in the voice of Nora Ney); and the trio's own compositions, such as the choro "Relógio da Vovó" and the baião "Nós Três." In 1953, the trio released the first of a series of LPs (Musidisc): Garoto's "Duas Contas," which can be considered a precursor of bossa nova, regarding lyrics, harmony, and melody. Tied by contract to the radio, the trio was emulated by some or all of its members in recordings for singers under a great deal of denominations. For example, "Vingança" (Lupicínio Rodrigues) was recorded by Linda Batista in 1951 (RCA), where pianist Carolina Cardoso de Meneses subbed the accordion of Chiquinho's, and "Risque" (Ary Barroso) was recorded next year by the same singer, this time with the exact formation of Trio Surdina. The extraordinary success of the trio, a format obsessively adopted by nightclubs and recording companies after them, was also in part credited to the extinction of gambling in Brazil by president Dutra in 1946. The biggest musician employers were the big casinos, which presented an array of sophisticated entertainment besides gambling, music being one of the most important. Those musicians became unemployed overnight and created pocket shows in the nightclubs that took the place of the casinos: Night & Day, Casablanca, Monte Carlo, and others.

In 1953, Lemos returned to the U.S., touring and recording with Carmem Miranda until her death in 1955. Forming a trio, he performed at the Marquis restaurant for over a year and at the Frascati restaurant for five months. In 1956, he returned to Brazil and became artistic director for RCA Victor, releasing all of his solo recordings on 78 rpms in the U.S. In 1958, he shared an album with Luiz Bonfá (Bonfafá, Odeon). Lemos performed in nightclubs and TV shows until 1961, when he moved again to the U.S. In 1964, he appeared as guest artist on Laurindo Almeida's Guitar From Ipanema (Capitol/EMI/Toshiba).

Tim Maia - Tim Maia (1973)

Another "waiting over" has gone, Tim Maia - Tim Maia (1973), an early LP from the Brazilian singer known as the Father of Soul Music. I have to confess that I'm not a great fan of Tim Maia, but listening to this record, I should confess that this dude is really good on his art and a superb Soul singer.

This LP is full of hits and was recorded on a time that Tim Maia was very influenced by North American music - there are some songs with English lyrics composed by Tim Maia. It is also necessary to say that Arara Azul was the friend who could make this post possible by sending this cover artwork. Arara Azul is a perfectionist and asked zecalouro to wait a little bit while preparing a better scanning. Sorry Arara Azul, I could not wait longer.

That's Saturday, party time and Tim Maia records are known as capable of putting in the ballroom even those who are not used to shake the body around. Let's check what you think about this record. Tracks included with AMG bios as well:

01 - Réu Confesso (Tim Maia)
02 - Compadre (Tim Maia)
03 - Over Again (Tim Maia)
04 - Até Que Enfim Encontrei Você (Tim Maia)
05 - O Balanço (Tim Maia)
06 - New Love (Tim Maia / Roger Bruno)
07 - Do Your Thing Behave Yourself (Tim Maia)
08 - Gostava Tanto de Você (Édson Trindade)
09 - Música no Ar (Tim Maia)
10 - A Paz do Meu Mundo É Você (Mita)
11 - Preciso Ser Amado (Tim Maia)
12 - Amores (Tim Maia)

The father of Brazilian soul music, Tim Maia never hid his true nature from his fans, his prospective employers, or the law. Iconoclastic, ironic, outspoken, polemical (but always humorous), and openly addicted to cocaine and marijuana, he was known for lightheartedly missing appointments and even big-time gigs, and also for being boycotted by recording companies, major TV networks such as Globo, and other media that didn't swallow his disturbing presence.

With his potent and flexible baritone tone, Maia was able to convey not only a happy and energetic dance feel, but was capable of inspiring sentiment in otherwise corny songs as well, like his hit "Me Dê Motivo" (Paulo Massadas/Michael Sullivan). Throughout his career, this flexibility was evidenced through the multitude of styles embraced by him: soul, funk, bossa nova (in the '90s), romantic songs, American pop, samba, baião, and MPB. In the '90s, he was discovered by younger pop stars who re-recorded several of his hits. This was the case of Skank, Lulu Santos, Ara Ketu, Paralamas do Sucesso, and Marisa Monte, not to mention Elis Regina, Gal Costa, and other established artists who have recorded his songs.

In the '70s, Maia started to record albums and do shows promoting his indigenous synthesis of American soul and Brazilian music with elements of samba and baião. The movement gradually took the working-class suburbs of the north side of Rio de Janeiro, exploding in 1976 with the black movement.

Maia started to write his earliest songs at eight and at 14, as a drummer, he formed the group Os Tijucanos do Ritmo, which lasted one year. He then took guitar classes and was soon teaching the kids in the neighborhood of Tijuca, in Rio, including the Matoso gang (Maia, Jorge Ben, Erasmo Esteves, later Erasmo Carlos, and several others), named after the street where they used to hang out. In that period, Maia was the guitar teacher of Esteves and when Roberto Carlos joined the gang in 1958, he also took classes with him. Tim Maia, Carlos, and Esteves (together with Edson Trindade, Arlênio Lívio, and José Roberto "China") formed the group the Snacks (later the Sputniks), playing balls and performing on TV (including on Carlos Imperial's Clube do Rock on TV Continental, where Carlos was already a regular). The group was soon dissolved due to incompatibility between Carlos and Maia.

After his father's demise in 1959, Maia won a scholarship to study TV communications in the U.S., where he lived for four years. There he started as a vocalist, having joined the Ideals, but in 1963, he was arrested for possession of marijuana. Jailed for six months and then deported to Brazil, he didn't find any warmth on the part of his old comrades Esteves and Carlos, who were beginning to enjoy the massive success of Jovem Guarda, which would get a grip on the entire country in a few years. Moving to São Paulo, he had some support from Os Mutantes instead. Having recorded in 1968 his first single (CBS) with his compositions "Meu País" and "Sentimento," he became more visible after 1969 when he launched his "These Are the Songs," which was re-recorded by Elis Regina in the next year, in duo with him and included on Regina's Em Pleno Verão. In 1970, he recorded his first LP, Tim Maia (Polygram), that had his classics "Azul da Cor do Mar" (Maia), "Coroné Antônio Bento" (Luís Wanderley/João do Vale), and "Primavera" (Cassiano), staying for 24 weeks in the Carioca top charts. In the next year, Tim Maia, Vol. 2 had other everlasting hits: "Não Quero Dinheiro (Só Quero Amar)" (Maia), and "Preciso Aprender a Ser Só" (Marcos Valle/Paulo Sérgio Valle). Tim Maia Vol. 4 (1973) had "Réu Confesso" (Maia) and "Gostava Tanto de Você" (Édson Trindade). Still in the '70s, he founded his own label, initially Seroma and then Vitória Régia Discos. Infatuated with the religious/philosophic sect Universo em Desencanto, Maia launched independently through Seroma in 1975 two minor albums, Tim Maia Racional, Vols. 1 & 2. Three years later, he had one of his biggest hits, "Sossego," and another success with "Acenda o Farol," both launched on Tim Maia Disco Club (Warner Bros.). In 1983, he had hits with "O Descobridor dos Sete Mares" (Gilson Mendonça/Michel) and "Me Dê Motivo" (Paulo Massadas/Michael Sullivan), included on O Descobridor dos Sete Mares (Polygram). Another milestone of his career in the decade of 1980 was Tim Maia (Continental, 1986), which had the hit "Do Leme ao Pontal (Tomo Guaraná, Suco de Caju, Goiabada Para Sobremesa)" (Maia). In 1990, he interpreted bossa nova classics on an album released through his label Vitória Régia that wasn't noticed, the LP Tim Maia Interpreta Clássicos da Bossa Nova. After a period of poor presence in the media, he was again on top after being mentioned by Jorge Ben Jor in 1993 in his "W/Brasil." In the same period, Maia had another hit with his re-recording of "Como Uma Onda" (Lulu Santos/Nelson Motta) for a TV ad. At the same time, he withdrew from majors, recording his next albums through Vitória Régia, including What a Wonderful World (1997), where he recorded American pop/soul classics, and Amigos do Rei/Tim Maia e Os Cariocas, with the famous vocal group. Obese and in bad health, in March 1998 he was doing a gig at the Municipal Theater of Niterói when he became ill. Hospitalized, he died a few days later. In 1999, he was paid tribute in a show by several MPB artists. The show was launched on CD and DVD. In 2000, he had another tribute, also released in CD.

Silvio Caldas - Cabelos Brancos (1958)

Silvio Caldas is another Brazilian singer that a lot of people were crying of to appear at Loronix. This LP was send from our great friend Pablo Sznajdleder from Argentina. Pablo is a great fan of Brazilian music and is starting to share with zecalouro his wonderful collection, by the way, a truly awesome collection that would make Brazilian collectors loose their breath.

Silvio Caldas is from the old school of the Radio golden ages and it is one of the most important artist from the seresta (serenade) genre. AMG bio is provided to a better understanding of Seresta and Silvio Caldas journey as well. This LP, Silvio Caldas - Cabelos Brancos (1958) has the participation of the group Boêmios da Cidade. Tracks include:

01 - Cabelos Brancos (Marino Pinto / Herivelto Martins)
02 - Foi Uma Pedra Que Rolou (Pedro Caetano)
03 - Saudade de Você (Silvio Caldas / Billy Blanco)
04 - Uma Jura Que Fiz (Ismael Silva / Noel Rosa)
05 - Chuvas de Verão (Fernando Lobo)
06 - Serra da Boa Esperança (Lamartine Babo)
07 - Compromisso Com a Saudade (Billy Blanco)
08 - Talento Não Tem Idade (Ataulfo Alves)
09 - Reverso (Marino Pinto / Gilberto Milfont)
10 - Pistom de Gafieira (Billy Blanco)
11 - Pastora dos Olhos Castanhos (Alberto Ribeiro / Horondino Silva "Dino")
12 - Quando o Samba Acabou (Noel Rosa)

Sílvio Caldas, one of the so-called Four Greats of Brazilian music (along with Francisco Alves, Orlando Silva, and Carlos Galhardo), was the most important artist of the seresta genre. A very romantic musical expression, characterized by simple Harmonies, strong bel canto-inspired voices, and sentimental renditions, the seresta owes its affirmation in the Brazilian musical landscape to Caldas. Primarily a singer, Caldas also had success as a seresta composer chiefly in the '30s. Amongst his immortal classics, it can be mentioned that a partnership with noted lyricist Orestes Barbosa produced "Chão de Estrelas" and "Arranha-Céu"; other important examples of the duo's production of are "Serenata," "Suburbana," "Santa dos Meus Amores," "O Nome Dela Eu Não Digo," "Torturante Ironia," and "Quase Que Eu Disse." Caldas also worked with Cartola, Wilson Batista, Ary Barroso, and Billy Blanco. Caldas' militancy in the seresta genre brought him the epithet of "O Seresteiro do Brasil" (the Seresteiro/Serenader of Brazil), which followed him throughout his long and prolific career. He worked professionally as an artist for 65 years (more than any other Brazilian singer), most of it filled with intense activity in radio, the studio, and live performances. Having the seresta, a particular preference for valses, it's not surprising that Caldas was an excellent interpreter in this genre. But he became individualized in a romantic yet contained style, the opposite of the overly sentimental style practiced by other famous artists like Vicente Celestino. Caldas also didn't have a potent a voice like Francisco Alves; instead, the originality of his interpretations, which used to make frequent use of rhythmic devices, ended up opening the way for a new style that would be fully explored by Mário Reis, who, together with Orlando Silva, decisively influenced João Gilberto and all bossa nova. Caldas also dedicated himself to the samba genre, having been one of the main interpreters of Ary Barroso's songs, launching classics like "Morena Boca de Ouro" (recorded later by João Gilberto), "Linda Lourinha" (by João de Barro), "Pastorinhas" (Noel Rosa/de Barro), "Lenço no Pescoço" (by Wilson Batista -- this samba initiated the musical polemic between Batista and Rosa), "Minha Palhoça" (J. Cascata), "Da Cor do Pecado" (Bororó), and "Mulher" (Custódio Mesquita/Sadi Cabral).

Caldas was raised in a musical environment: his father was composer A.N. Caldas. Since he was a child, Caldas used to perform at parties and serestas, having debuted in a public performance at six at the Teatro Fênix. In 1927, he opened Rádio Mayrink Veiga, followed by other radio stations. Caldas recorded his first album in 1930, through Victor. Immediately noticed by Ary Barroso, he launched his "Faceira," which became Caldas' first recorded hit. In 1932, he recorded the all-time classic samba-canção "Maria" (Barroso/Luís Peixoto). After 1944, he became involved in movies, such as Tristezas Não Pagam Dívidas and Não Adianta Chorar. Having known fame and success, and having been decorated by the Brazilian Academy of Literature, Caldas retired to his ranch in upstate São Paulo, where he lived his last 40 years, still participating in the musical scene until 1970.

Oswaldo Nunes & The Pops - Ta Tudo Ai! (1969)

A friend of Loronix that does not want to be identified sent me this LP as one of the "best Samba Rock" album ever. Everybody knows that zecalouro does not have Samba Rock authority to make a serious evaluation of this friend statement. I will tell you honestly what I think: this is a crazy record that mix several things together such as: samba, baiao, forro and sometimes ROCK on a dancing set. If you are looking for something to make you kick around the house, this is the LP for you. Oswaldo is teamed with another Brazilian band called The Pop at this LP.

Oswaldo Nunes died early, murdered at his apartment in Rio. The reason of his death is still a mystery. If you live in Brazil, you certainly know a song called Oba! performed by Bafo da Onca (carnaval group) that became this group anthem.

Let's see what Loronixers have to say about this wonderful piece of madness from Oswaldo Nunes, tracks include:

01 - Tá Tudo Aí (Oswaldo Nunes)
02 - Cateretê (Arnoldo Silva / Odair José de Araújo)
03 - Outro Amor de Carnaval (Raul Borges / Oswaldo Nunes / Humberto de Carvalho)
04 - Você Deixa (Oswaldo Nunes)
05 - Guerra Santa (Ciro de Souza / Mário Rossi)
06 - Tamanqueiro (Oswaldo Nunes)
07 - Dendeca (Oswaldo Nunes)
08 - Doce Canção (Oswaldo Nunes)
09 - Cascata (Oswaldo Nunes / A. Marcilac)
10 - Mulher de Malandro (Celso Castro / Oswaldo Nunes)
11 - Chorei Chorei (Oswaldo Nunes)
12 - Canto da Sereia (Oswaldo Nunes)

Erasmo Carlos - Sonhos e Memorias, 1941 - 1972 (1972)

This is probably the best LP released by Erasmo Carlos, the preferred composition partner of the romantic Brazilian singer Roberto Carlos and one of the renowned figures of Jovem Guarda movement.

Erasmo Carlos - Sonhos e Memorias, 1941 - 1972 (1972) was originally a recommendation of Rufino - which changed recently his name to Jamil - and later on by the mighty Mr. G. In fact, Mr. G., a serious Brazilian music researcher from the 70's, got mad when I told him that I had this LP and it was out of Loronix for such long time.

If Jamil and Mr. G. say that this is one of the best Brazilian LPs from 1972, I cannot do anything but post. All 12 tracks are from Roberto Carlos and Erasmo Carlos, AMG bio is also included, as well personnel:

Personnel

Mamao Conti, Paulinho Braga, Robertinho Silva
(drums)
Paulo Cesar, Alex Malheiros, Luizao Maia, Pedrinho
(bass)
Tavito, Jorge Amiden, Luiz Claudio Ramos
(12 string guitar)
Tavito, Renato, Paulo Cesar, Luiz Claudio Ramos
(electric guitar)
Erasmo Carlos, Luiz Claudio Ramos
(acoustic guitar)
Roberto Simonal
(sax)
Poly
(Hawaiian guitar)
Jose Roberto Bertrami, Emilio, Lafayette
(piano)
Tavito, Lafayette, Bertrami
(organ)

Track list

01 - Largo da 2ª Feira (Roberto Carlos / Erasmo Carlos)
02 - Mané João (Roberto Carlos / Erasmo Carlos)
03 - Bom Dia Rock'n'roll (Roberto Carlos / Erasmo Carlos)
04 - Grilos (Roberto Carlos / Erasmo Carlos)
05 - Minha Gente (Roberto Carlos / Erasmo Carlos)
06 - Mundo Cão (Roberto Carlos / Erasmo Carlos)
07 - Sorriso DelaA (Roberto Carlos / Erasmo Carlos)
08 - Sábado Morto (Roberto Carlos / Erasmo Carlos)
09 - É Proibido Fumar (Roberto Carlos / Erasmo Carlos)
10 - Vida Antiga (Roberto Carlos / Erasmo Carlos)
11 - Meu Mar (Roberto Carlos / Erasmo Carlos)
12 - Preciso Encontrar Um Amigo (Roberto Carlos / Erasmo Carlos)

Erasmo Carlos is a historic figure in Brazilian rock, acknowledged by many as the father of Brazilian style. Extremely important as a composer, mainly because of his creations with longtime partner Roberto Carlos, he has been intensively recorded by many top artists. He also has an extensive solo discography. Heavily influenced by rock & roll, he learned his first chords with Tim Maia in 1957. In the same year, he became a member (together with Roberto Carlos) of Maia's seminal band Os Sputniks, a precursor to Brazilian soul music. The next year, he joined the group the Snacks as a vocalist, again with Roberto Carlos. Until the mid-'60s, both performed on radio and TV shows like Os Brotos Comandam (Rádio Guanabara and TV Continental) and Festival de Brotos (TV Tupi), becoming important precursors to the Jovem Guarda movement. From 1965 to 1967, he joined the group Renato e Seus Blue Caps as a vocalist and guitarist. His first composition, "Eu Quero Twist," was recorded by Agnaldo Rayol for Copacabana. His first recording as a singer was in 1962, with "Terror dos Namorados," written with Roberto Carlos. Soon the duo released "Parei na Contramão," and the two hits consecrated them permanently. "Festa de Arromba" (with Roberto Carlos) was a big hit in 1964. In September 1965, TV Record launched the show Jovem Guarda, directed toward their young audience. The show would give birth to the homonymous movement that provoked the precocious demise of bossa nova. In Jovem Guarda, Erasmo Carlos was the Tremendão, and shared the hosting with Roberto Carlos and Wanderléa. Many songs of the duo Roberto/Erasmo became big hits, with "Quero Que Tudo Vá Para o Inferno" being the anthem of a whole generation. Erasmo Carlos' career continued after the end of Jovem Guarda with the recording of many albums and show performances; at the same time, his compositions continued to be recorded by many top artists. In 1968, he made his first appearance in film, in Roberto Carlos em ritmo de aventura, the same year in which he was sued for the corruption of youngsters due to his sensual performances; he was prohibited from performing for two years. In the next year, he appeared in Roberto Carlos e o diamante cor-de-rosa and, in 1970, in A 300 km por hora. In 1972, he was awarded with the Coruja de Ouro trophy for his performance in the film Os Machões (1971). In 1974, he formed the rock band Companhia Brasileira de Rock with guitarist Liminha, saxophonist Yon, bassist Rubão, pianist Sérgio Kaça, and drummer Dinho. This was followed by a performance in the Hollywood Rock Festival and, in 1985, the historic Rock in Rio Festival for 250,000 people. In 1997, he and Roberto Carlos were awarded the Shell prize for the entirety of their works.

Cronica da Cidade Amada - OST (1964)

Hello, this is the original soundtrack of the movie Cronica da Cidade Amada, by Carlos Hugo Christensen (1964), a comedy with short stories about the daily life of people in Rio de Janeiro, the Cariocas. I did not see the movie and probably only a few people in Brazil had the chance to watch it.

Taiguara, Tito Madi, Portinho, Blecaute and Rio 65 Trio perform the soundtrack. The cover brings a picture of a girl with a "pipa" style that I use to have a lot of fun at the beach with my parents. I could never see this "pipa" again, how I miss this time.

If you do not know what is a "pipa", it is the device used by Benjamin Franklin to discover electricity. Tracks include:

01 - Crônica da Cidade Amada (Taiguara)
02 - Aparição (Taiguara)
03 - Quero Morrer no Rio (Blecaute)
04 - Muito Tempo a Esperar (Tito Madi)
05 - Meu Fraco É Café Forte (Rio 65 Trio)
06 - Crônica de Amor (Paulo Autran)
07 - Receita de Domingo (Taiguara)
08 - Receita de Domingo (Paulo Autran)
09 - O Pombo Enigmático (Diálogo dos Pombos)
10 - Aruanda (Rio 65 Trio)
11 - Retrospecto
12 - Cidade Maravilhosa (Portinho e sua Orquestra)

Grupo Cravo & Canela - Preço de Cada Um (1977)

There is a story behind this post, Mr. G, a friend from New York that without saying so, went to an old vinyl store today and took a picture of this album artwork.

Then, Mr. G. sent to zecalouro an email with this cover attached with a reminder "This record is one of the best MPB records from the 70's, and I heard many, many Brazilian music from the 70's in my life". A perfect match, since I have this album and no hope to get an artwork to make it available here.

So, let's say thank you to Mr. G., the friend that without knowing is making this post available.

This is Grupo Cravo & Canela - Preco de Cada Um (1977), pretty hard to find and as Mr. G. says, an outstanding record. Once again you should take a time to research Cravo & Canela to gather the line up and more detailed information about this LP. The back cover is here, but the linear notes are very hard to read. If any friend has image processing talents to reveal the writing, zecalouro appreciates. Tracks include:

01 - Preco de Cada um
02 - Fogo Pago
03 - Capoeira Poeira
04 - Gago Apaixonado
05 - Estatutos da Gafieira
06 - Asa Branca - Que nem Jilo
07 - Amor em Jacuma
08 - Loteca
09 - Estupido Cupido - Banho de Lua
10 - Iboru Iboya
11 - Trem Atrasou - Ze Marmita
12 - Beijo Bahiano - Boca de Caqui

Nilo Amaro e Seus Cantores de Ebano - Raizes (1980)

Nilo Amaro e Seus Cantores de Ebano, a Brazilian vocal group lead by Nilo Amaro and influenced by the American Gospel. We had the chance to know a successful post at Loronix from the Brazilian singer Noriel Vilela, which had his origins at Os Cantores de Ebano, sharing with Nilo Amaro the lead voices.

Nilo Amaro e Seus Cantores de Ebano recorded just a few LPs, this is the late Raizes (1980) with vocal arrangements by Nilo Amaro, backed up by nice Brazilian musicians such as: Almir Sater (viola), Carlinhos (acoustic guitar), Cláudio Bertrami e Isaac (bass) and Bira (Percussão).

It will be very nice to check the Nilo Amaro's baritone voice performing a regional repertoire. Tracks include:

01 - Vovó Maria Baiana (Dom Carlos)
02 - Gralha Azul (Luis Leite / Iaci Pinto)
03 - Guacyra (Hekel Tavares / Juraci Camargo)
04 - Negrinho do Pastoreio (Barbosa Lessa)
05 - Asa Branca (Luis Gonzaga / Humberto Teixeira)
06 - Leva Eu Sodade (Tito Neto / Alventino Cavalcanti)
07 - Romaria (Renato Teixeira)
08 - Peguei Um Ita no Norte (Dorival Caymmi)
09 - Felicidade (Lupicínio Rodrigues) -- Luar do Sertão (Catulo da Paixão Cearense)
10 - Mulher Rendeira (Tradicional / Adpt. Zé do Norte)
11 - Andorinha Preta (Breno Ferreira)
12 - O Uirapuru (Murillo Latini / Jacobina)

Conjunto Copacabana Bossa - Bossa (1966)

Another obscure LP from the 60's, Conjunto Copacabana Bossa - Bossa (1966). Everything I know is that a Brazilian singer, composer and producer called Paulo Tito is leading this set. This is an instrumental LP with a Bossa Nova combo and nice brass section performing versions of Brazilian standards of that time, such as: Jobim, Marcos Valle, Tito Madi, Edu Lobo and others.

There is some bio information on Paulo Tito on Brazilian websites, but I did not find even a single mention of this LP on his discography. The personnel’s listing has been a challenge that I will let with you friends to track down for us. Tracks include:

01 - Arrastão (Edu Lobo / Vinicius de Moraes)
02 - Chuva (Durval Ferreira / Pedro Camargo)
03 - Balanço Zona Sul (Tito Madi)
04 - Meditação (Tom Jobim / Newton Mendonça)
05 - Garota Moderna (Evaldo Gouveia / Jair Amorim)
06 - Primavera (Carlos Lyra / Vinicius de Moraes)
07 - Samba de Verão (Marcos Valle / Paulo Sergio Valle)
08 - Canto do Quilombo (Luis Carlos Sá)
09 - Preciso Aprender a Ser Só (Marcos Valle / Paulo Sergio Valle)
10 - Gente (Marcos Valle / Paulo Sergio Valle)
11 - Reza (Edu Lobo / Ruy Guerra)
12 - Giramundo (Luis Carlos Sá)

Agostinho dos Santos - Antonio Carlos Jobim e Fernando Cesar na Voz de Agostinho dos Santos (1958)

I have been receiving several requests for new Agostinho dos Santos LPs. I did not realize how many fans Agostinho had at Loronix, there were several emails received and some shouts at the CBox application on the down right. This is time for Agostinho dos Santos - Antonio Carlos Jobim e Fernando Cesar na Voz de Agostinho dos Santos (1958).

These crazy times with flight accidents reminds me that Agostinho died very early in 1973 on a famous flight accident in Paris close to Orly Airport. Well, Agostinho is all about happiness and let's keep rolling with him singing the Antonio Carlos Jobim (side A) and Fernando Cesar (side B) repertoire. Tracks include:

01 - Estrada do Sol (Tom Jobim / Dolores Duran)
02 - Sucedeu Assim (Tom Jobim / Marino Pinto)
03 - Eu Não Existo Sem Você (Tom Jobim / Vinicius de Moraes)
04 - Foi a Noite (Tom Jobim / Newton Mendonça)
05 - Se Todos Fossem Iguais a Você (Tom Jobim / Vinicius de Moraes)
06 - Por Causa de Você (Tom Jobim / Dolores Duran)
07 - Tudo Ou Nada (Fernando César)
08 - Dó-ré-mi (Fernando César)
09 - Graças a Deus (Fernando César)
10 - Segredo (Fernando César)
11 - Deixe Que Eu Possa Esquecer (Fernando César / Renato de Oliveira)
12 - Crepúsculo (Fernando César / Renato de Oliveira)

Celeste - Cinco e Triste da Manha (1978)

Let's start reading a statement of Joao Gilberto about the singer Celeste, he said: "É uma das mais belas vozes que já escutei" (It is one of the most beautiful voices I have ever heard). Joao Gilberto would not say something like this for nothing.

This is Celeste - Cinco e Triste da Manha (1978), the debut LP of a singer acclaimed by musicians and reviews that never had a public acceptance accordingly. Cinco e Triste da Manha is arranged by J.T. Meirelles and Chiquinho de Moraes. For reasons that I could not check, Celeste is almost forgotten in Brazil, but not for my friends at Loronix, at least from now on. Tracks include:

01 - Serrado (Djavan)
02 - Pó (Fafy / Sarah Benchimol)
03 - Cinco e Triste da Manhã (Silvio Silva / Fernando César)
04 - Dupla Traição (Djavan)
05 - Sonhos (Peninha)
06 - Ronda Tristeza (Tranka)
07 - Amor a Três (Roberto Correia / Jon Lemos / Eros)
08 - Foi Assim (Paulo André / Ruy Barata)
09 - Como Posso Saber (Djavan)
10 - Vergonha É Não Lutar (Kiko)
11 - Sinal de Solidão (Tranka / Jenny)
12 - Teia de Aranha (Elizabeth)

Baden Powell & Billy Nencioli - Billy Nencioli et Baden Powell (1965)

This is a unique Baden Powell LP, recorded with the French singer Billy Nencioli, which I could not find much information about, Baden second release to Barclay in 1965. All songs are Baden Powell and Billy Nencioli compositions, arrangements from Baden Powell that is accompanying Billy in all songs.

The lyrics are in French and I could not understand very well what the record is all about; anyway it is a cool piece. Several French musicians were on the set on a group titled Les Violons de Paris and complemented by Baden itself on guitar, M. Gaudry (bass), D. Humair e Molinetti (drums), Hernandez (flute), R. Guerin (trumpet), B. Garcia (sax tenor) and Ceret (percussion).

I'm sure that our friends in French will provide more detailed info about this record and Billy Nencioly. Tracks include:

01 - Si Rien Ne Va (Billy Nencioli / Baden Powell)
02 - Cet Hiver à Courchevel (Billy Nencioli / Baden Powell)
03 - Quel Métier (Billy Nencioli / Baden Powell)
04 - On Peut Me Dire Du Mal de Toi (Billy Nencioli / Baden Powell)
05 - Mais Ne Rigole Pas (Billy Nencioli / Baden Powell)
06 - Pour Toi Marie (Billy Nencioli / Baden Powell)
07 - Un Vieux Refrain (Billy Nencioli / Baden Powell)
08 - Jean Marie Juana (Billy Nencioli / Baden Powell)
09 - Tiens Bonjour (Billy Nencioli / Baden Powell)
10 - La Dernière Fois (Billy Nencioli / Baden Powell)
11 - Souviens-toi Mon Frere (Billy Nencioli / Baden Powell)
12 - Mon Ami Pierrot (Billy Nencioli / Baden Powell)

Luiz Henrique - Mestiço (1975)

Let's start the show today with Luiz Henrique and what I suppose to be his last LP, Luiz Henrique - Mestiço (1975), released after Barra Limpa and Popcorn by Verve during his stay in the US. This album is really different from the first solo LP and these two later works. Mestiço is exactly what the name supposes to be, a fusion of 70's influences approaching psycho, progressive rock with jazz arrangements.

Unfortunately, the linear notes does not bring any info about the line-up of this set, which I'm asking you please to send comments if you have this information. Tracks include:

01 - Jandira (Luis Henrique / Raul Caldas Filho)
02 - Mestiço (Luis Henrique)
03 - Sonhar (Luis Henrique / Raul Caldas Filho)
04 - Saiandeira (Luis Henrique)
05 - Say Hello To K T (Pra Não Deixar de Sambar) (Luis Henrique)
06 - Dianne (Luis Henrique)
07 - Sempre Amor (Luis Henrique / Oscar Brown Jr.)

Attention, please: post Post (Ouch!) information: the line-up, world class team, which confirms my first impressions. Great LP, released in 1975 by Itagra, an independent Brazilian label, just a few and limited number of copies were released. In spite of some discographies considering this LP as a 1972 release, I'm quite sure that this gem came to life in 1975.

Personnel

Luiz Henrique
(guitar, vocal)
J.T. Meirelles
(sax, flute, arrangements)
Laércio de Freitas & William
(electric piano)
Tenório Jr.
(piano)
Luizão
(electric bass)
Edson Lobo
(acoustic bass)
Paulinho Braga & Edison Machado
(drums)
Hermes
(percussion)

Isaura Garcia - A Pedida é Samba (1961) with Walter Wanderley e Seu Conjunto

Isaura Garcia is a Brazilian singer, born in 1919 that started his career winning a radio contest with the age of 14. Isaura debut on recordings was in 1941, being active until the late 80's releasing his last LP. Isaura was born and fixed his residence all over her career and life in Sao Paulo City.

Isaura Garcia was married with Walter Wanderley during a certain time in the late 50's till the mid 60's. This LP, Isaura Garcia - A Pedida é Samba (1961) has the accompaniment of Walter Wanderley e Seu Conjunto, which is a nice opportunity to hear Walter performing on his early years. Tracks include:

01 - Palhaçada (Haroldo Barbosa / Luis Reis)
02 - Cai a Tarde (Rubens Caruso)
03 - Noite Por Dia (Antônio Bruno)
04 - Velho Enferrujado (Gadé / Valdrido Silva)
05 - Água de Beber (Tom Jobim / Vinicius de Moraes)
06 - A Pedida É Samba (Roberto Martins / Jair Amorim)
07 - Chorou Chorou (Luis Antônio)
08 - Que É Que Eu Faço (Ribamar (1) / Dolores Duran)
09 - Zé do Contra (Denis Brean / Osvaldo Guilherme)
10 - Velho Gagá (Fernando César)
11 - Não Sabemos (Rubens Caruso)
12 - Chora Coração (Denis Brean / Osvaldo Guilherme)

Alaide Costa - Coracao (1976)

Why should they let an album like this one goes out-of-print? A truly jewel from the mid 70's by Alaide Costa, one of the greatest Brazilian divas. Since the beginning, I had that felling that I was hearing something really out of the standard from a singer solo LP.

In spite of the great Alaide Costa performance and interpretation, the difference here is on the world-class team of Brazilian jazzman assembled to the set, as follows:

Personnel

Production
Milton Nascimento and Mariozinho Rocha

Arrangements and Conduction
Joao Donato

Joao Donato
(piano)
Novelli
(bass)
Robertinho Silva
(drums)
Nelson Angelo
(guitars)
Toninho Horta
(electric guitar)
Ivan Lins
(piano on track Corpos)
Joao Donato, Novelli, Nelson Angelo and Fernando Leporace
(backing vocals)

Sorry, almost forgot the tracks, here we go:

01 - Pai Grande (Milton Nascimento)
02 - O Samba Que Eu Lhe Fiz (Sueli Costa)
03 - Coração (Nelson Ângelo / Ronaldo Bastos)
04 - Catavento (Milton Nascimento)
05 - Quem Sou Eu (Johnny Alf)
06 - Sonho e Fantasia (João Donato / Lysias Ênio)
07 - Corpos (Ivan Lins / Vitor Martins)
08 - Pé Sem Cabeça (Danilo Caymmi / Ana Borba)
09 - Tomara (Novelli / Paulo César Pinheiro / Maurício Tapajós)
10 - Viver de Amor (Toninho Horta / Ronaldo Bastos)
11 - Tempo Calado (Alaíde Costa / Paulo Alberto Ventura)
12 - O Que Se Sabe de Cor (Fernando Leporace)

Turma da Bossa - Sambas de Brasilia (no date)

zecalouro is running out of hope to find information about this group and this record, which is a wonderful Bossa Jazz instrumental LP, with Brazilian standards songs from Antonio Carlos Jobim, Billy Blanco, Dorival Caymmi and others.

My lonely quest for information is over, so I will let with you the work to find out additional information about Turma da Bossa and the LP: Turma da Bossa - Sambas de Brasilia (196?). Feel free to use comments to post your findings and information for this LP. Tracks include:

01 - Lamento (Djalma Ferreira / Luiz Antonio)
02 - Vai, mas vai mesmo (Ataulfo Alves)
03 - Chega de saudade (Antonio Carlos Jobim / Vinicius de Moraes)
04 - Mocinho bonito (Billy Blanco)
05 - Lá vem a baiana (Dorival Caymmi)
06 - Que é que é (Bororó)
07 - É luxo só (Ary Barroso)
08 - Se acaso você chegasse (Lupicinio Rodrigues)
09 - Recado (Djalma Ferreira / Luiz Antonio)
10 - Barracão (Luiz Antonio)
11 - Com que roupa (Noel Rosa)
12 - Brigas nunca mais (Antonio Carlos Jobim / Vinicius de Moraes)

Tito Madi - De Amor se Fala (1964)

Mr. X strikes again and makes zecalouro remembers a missing Brazilian artist, Tito Madi, singer, composer, a true genius that started in the 50's and continues performing his art in the 21st century.

As we are getting used with Mr. X selections, he made his best this time with Tito Madi - De Amor se Fala (1964) with several well-know Bossa Nova classics and arrangements in charge of the Maestro Lyrio Panicali, which guarantees a nice quality music. zecalouro is making available AMG bio for complimentary information on Tito Madi. Tracks include:

01 - Ah Eu Não Sei (Tito Madi)
02 - Se Meu Coração Pedir (Tito Madi)
03 - Balanço Zona Sul (Tito Madi)
04 - Final Sem Adeus (Romeo Nunes)
05 - Canção Praieira (Tito Madi / Luis Peixoto)
06 - Chove Lá Fora (Tito Madi)
07 - Vai e Diz Adeus (Tito Madi)
08 - Garota Paulista (Tito Madi)
09 - Rio Triste (Tito Madi)
10 - Meu Mar (Romeo Nunes / Tito Madi)
11 - De Amor Se Fala (Tito Madi)
12 - Rio Moço (Tito Madi / Luis Peixoto)

One of the singers and composers of the samba-canção era intuitively connected with the soon-to-be stylistic revolution of bossa nova, Tito Madi anticipated several features of this movement in the sophisticated harmonies of his influential compositions and relaxed vocal renditions, recorded on 44 albums. His first big hit and one of his biggest ever, "Chove Lá Fora" was recorded in 1957, and was also highly praised by critics and awarded several times. The song was also recorded with success by the Platters and Della Reese in the U.S. under the title "It's Raining Outside." The Platters also recorded his "Quero-te Assim" ("I Wish") and "Rio Triste" ("Sad River"). "Balanço Zona Sul" is another of his most important classics, followed by "Menina Moça" (Luís Antônio), "Canção dos Olhos Tristes," "Chove Outra Vez" (with Romeu Nunes), "Sonho e Saudade," and "Amor e Paz."

He started playing music early and was interested in an artistic career by age six. Madi already was one of the directors of the local radio station (Rádio Pirajuí) at 18. "Eu Espero Você," his first composition, was written when he was 20, and four years later his valse "Eu e Você" was recorded by Os Quatro Amigos. In 1952, he was hired by Tupi (São Paulo) and worked there for two years before he was appointed Revelation Singer of the Year for his recording of his compositions "Pirajuí" and "Não Diga Não," both written with Georges Henri. Moving to Rio de Janeiro, he became a crooner in several hot nightclubs in a period that the traditional repertory of those venues was being highly influenced by jazz. Among his most important albums it can be mentioned the four volumes of his A Fossa, recorded respectively in 1971, 1972, 1973, and 1974. He continues to perform, and signed with the Dubas label in 2001, the same year he released Ilhas Cristais.

Walter Wanderley - Walter Wanderley Set: When it Was Done (1968)

This Walter Wanderley Set - When it Was Done (1968) LP is only available due the great help I had from Cesar Saldanha. Cesar had a lot of work to gather, scan and finalize the cover artwork that I had no hope to find on good quality.

Begining with this "formal" cover, this Walter Wanderley LP is pretty different from the ones you are used to hear, it has a more sophisticated production with arrangements by Eumir Deodato and Don Sebesky. In spite of it, what makes this LP really unique is the participation of the Brazilian singer Milton Nascimento on the opening track, Open Your Arms (Let me Walk Right In). There is also a nice version of Antonio Carlos Jobim Surfboard that itself makes the entire record worthwhile. Tracks include:

Sorry, just forgot to say that Anamaria Valle is sharing vocals with Marilyn Jackson e Linda November.

01 - Open You Arms (Let Me Walk Righ In) (Andança) (Danilo Caymmi / Edmundo Souto / Paulinho Tapajós / Vrs. Jay Livingston / Vrs. R. Evans) special guest: Milton Nascimento
02 - Surfboard (Tom Jobim)
03 - Baião da Garôa (Luis Gonzaga / Hervé Cordovil)
04 - Reach Out For Me (Burt Bacharach / H. David)
05 - Olê Olá (Chico Buarque)
06 - Ponteio (Edu Lobo / Capinan)
07 - When It Was Done (J. Webb)
08 - On My Mind (Eumir Deodato / Vrs. Norman Gimbel)
09 - Jus My Love And I (Eumir Deodato / J. Spencer)
10 - Capoeira (Eumir Deodato)
11 - Verdade Em Paz (Truth In Peace) (Durval Ferreira / Pedro Camargo)

Paulinho Baterista - Batucada | Escola de Samba da Cidade e Paulinho e Sua Bateria (1961)

One of the first Loronix posts was a record from Luciano Perrone, a Brazilian drummer that released three LPs with "batucadas" - no songs, but rhythm sets of different Brazilian percussion styles. Everybody got crazy with Luciano Perrone music and his records are among those all time Loronix favorites.

Now it is time to meet another artist and a LP with the same style, Paulinho Baterista - Batucada - Escola de Samba da Cidade e Paulinho e Sua Bateria (1961). Paulinho is much more "popular" than Luciano Perrone and this record gets very close to the way people use to make Batucada on the streets in the early 60's. One some tracks, guitar and brass instruments can be heard to support the batucadas and are very well placed. Tracks include:

01 - Estilo Clássico
02 - Sorongo
03 - Bossa Nova
04 - Cruzado e Bossa Nova
05 - Marcha e Frevo
06 - Samba de Morro
07 - Partido Alto
08 - Baião Rojão e Maracatu
09 - Samba de Rua
10 - Samba de Carnaval
11 - Teleco Teco
12 - Batuque Em 3 Andamentos

Carlos Penha - Bom Balanço em Bossa Nova (1973)

I took a recommendation of a great Loronix friend some months ago to track down this LP, Carlos Penha - Bom Balanco em Bossa Nova (1973). My first researches confirmed that Carlos Penha released only this record, which is hunted by vinyl fans worldwide, and then dissapeared. I had no hope to find it, putting an end to the quest and filing Carlos Penha under "impossible to find".

Yesterday, this same friend sent an email remembering Carlos Penha again and this time was different. I'm so happy to make it available that could not wait longer to research about Carlos Penha and this LP, so I will let with you friends to place comments with additional info about this nice LP. Tracks include:

01 - Bombalanço (Ed Severo)
02 - Cobrança (Pery Pereira)
03 - Yemanjá (Tercio Guimarães / Celina Ferreira)
04 - Fim de Estrada (Pery Pereira)
05 - Terra Santa (Alberto Araújo / Marcos Versiani)
06 - É Tarde (Ugo Marotta / Vica Giffoni)
07 - Quem Foi (Tradicional)
08 - Zé Povo (Alberto Araújo / Marcos Versiani)
09 - Confissão (Alex)
10 - Vai Solidão (Tonio Silva / Nilton Ferreira)
11 - Ausência de Paz (Tonio Silva)
12 - Prelúdio Em Amor Maior (Antônio Carlos / Badeco)

Nonato Buzar - Nonato Buzar (1970)

zecalouro will let you decide if this LP is Samba Rock, Samba Soul or any other genres that are really hard to identify, but for sure this is a wonderful album from the Brazilian singer, composer, producer and anything else that fits: Nonato Buzar.

This amazing cover is from Nonato Buzar - Nonato Buzar (1970), his debut solo LP, a late debut, since Nonato was active since the late 50's with performances on nightclubs in Rio de Janeiro. Nonato was also the creator and leader of the most famous group from the Pilantragem Movement of the late 60's, A Turma da Pilantragem.

Before this LP, Nonato left Brazil to live in Paris during 1972 to 1976 where he founded and recorded an album with a band called Nonato Buzar e o Pais Tropical. zecalouro has this French LP, but he will check the acceptance of this first Nonato album to decide about releasing this second one. Please give your feedback in comments. Tracks include twelve songs composed by Nonato Buzar, as follows:

01 - Que Película (Nonato Buzar / Torquato Neto)
02 - Uma Ordem Sim Sinhô (Nonato Buzar / Antônio Carlos Marques)
03 - Assim na Terra Como no Céu (Nonato Buzar / Roberto Menescal / Paulinho Tapajós)
04 - Vitória Vitória (Nonato Buzar)
05 - Irmãos Coragem (Nonato Buzar / Paulinho Tapajós)
06 - Olho D'água (Nonato Buzar / Paulinho Tapajós)
07 - 100 Milhas (O Donzelo) (Nonato Buzar / Paulo Sergio Valle)
08 - Elementar Meu Caro Watson (Nonato Buzar / Paulinho Tapajós)
09 - Beira-mar (Nonato Buzar / Antônio Carlos Marques)
10 - Verão Vermelho (Nonato Buzar)
11 - A Feira (Nonato Buzar / Mônica Silveira)
12 - Quase Adeus (Nonato Buzar / Carlos Monteiro de Souza / Torquato Neto)