Elizeth Cardoso - 78 RPM Recordings for Todamerica Label

zecalouro wants to show to first post out of a short serie 78 RPM recordings. We will start with the great diva Elizeth Cardoso recordings for Todamerica.

The Legendary Todamerica kept business from 1950 through the 70's in Sao Paulo. The artists that recorded to Todamerica includes Joao Gilberto - which 78 RPMs are already available at Loronix - Elizeth Cardoso, among others.

zecalouro presents a compilation of 12 songs recorded by Elizeth Cardoso for Todamerica label at the early 50's, very nice ones.The cover artwork is just to capture your attention and makes the post looks beautiful, it was taken from the LP A Meiga Elizeth #2. Tracks include:

01 - Complexo
02 - Cancao de Amor
03 - Vem para os Bracos Meus
04 - A Mentira Acaba
05 - Da Me tuas Maos
06 - Quem Diria
07 - O Amor e Uma Cancao
08 - Se eu Pudesse
09 - E Sempre Assim
10 - Falsos Beijos
11 - As Palavras nao Dizem Tudo
12 - Nosso Amor Nossa Comedia

Jair Rodrigues - Eu Sou o Samba (1975)

Along these nice days of Loronix more that 300 LPs were posted. Several Brazilian music styles and variations were presented from instrumental music to singing. But zecalouro never made available an LP like this one.

This is Jair Rodrigues - Eu Sou o Samba (1975), Jair Rodrigues never seems to get tired and you will never get seated and relaxed with this LP. Jair makes a nice album when sometimes you think that he is using a Samba School bateria on the set, almost impossible to stay seated, will feel on the mood to stand-up and kick around the house. Eu Sou o Samba is a relief to make your day on those mornings that you fell badly. This is a courtesy of our Loronix friend Rogelio. Tracks include:

01 - Se houvesse um jeito (Gilson de Sousa)
02 - Alegria de vocês (Chocolate do Mercado Modelo - Wilson Mauro - Jair Rodrigues)
03 - Sonhei quando o sonho acabou (Leticia) (Paulinho Camargo - Totó)
04 - Não pode (Barbosa da Silva - Carlos Kinza)
05 - Pula, pula amarelinha (Beto Scala - São Beto)
06 - No tempo do vovô (Everaldo da Viola - Dida)
07 - Vai meu samba (Ary do Cavaco - Otacilio)
08 - Terra encantada (Cezão - Zé Maria)
09 - Manhã de um novo dia (Ederaldo Gentil - Edil Pacheco)
10 - Cirandeira (José de Ribamar Vianna)
11 - Ele vem aí (Anastácia)
12 - Maravilhoso é sambar (Ederaldo Gentil - Edil Pacheco)

Clara Nunes - Voce Passa e Eu Acho Graça (1968)

We had the chance to know Clara Nunes debut LP, A Voz Adoravel de Clara Nunes a few posts ago and we understood she was a complete different singer by that time in terms of repertoire, interpretation and identification with Samba, which is the genre Clara Nunes is widely recognized.

This LP, the second Clara Nunes LP, Você Passa e Eu Acho Graça (1968), landmarks her transition to Samba, mostly by the enhancement of the repertoire, with the introduction of classic Samba compositions and songs from "modern" composer, such as Chico Buarque and Antonio Carlos Jobim.

Clara is more confortable on this LP and really close to the genre of her choice. Special attention to the song Voce Passa e Eu Acho Graca, which is the album title and the song of a video early presented by zecalouro a few weeks ago. Tracks include:

01 - Você não é como as flores (Carlos Imperial - Ataulfo Alves)
02 - Sabia (Chico Buarque - Tom Jobim)
03 - Cheguei à conclusão (Darcy da Mangueira)
04 - Desencontro (Chico Buarque)
05 - Pra Esquecer (Noel Rosa)
06 - Rua D'Aurora (Durval Ferreira - Fátima Gaspar)
07 - Voce Passa e Eu Acho Graca (Carlos Imperial - Ataulfo Alves)
08 - Sucedeu Assim (Marino Pinto - Tom Jobim)
09 - Grande Amor (Martinho da Vila)
10 - O que é que Eu Faço (Ribamar - Dolores Duran)
11 - Minha Partida (Elizabeth - David Nasser)
12 - Corpo e Alma (Augusta Maria Tavares)
13 - Encontro (Élton Medeiros - Luiz Sergio Bilheri)
14 - Porta Aberta (Benedito Reis - Jair Amorim)
15 - A Noite - Quando Cai a Noite (Roberto Muniz - Almeidinha)

Conjunto Sambacana - Musicas de Pacifico Mascarenhas (1969)

This is a perfect piece if you like to play acoustic guitar around a fire on a camp, no lights, moderate alcohol and, how can I say, girls... The back cover has all 14 songs lyrics and - amazing - tablatures with the harmony of each song ready to play.

This is a LP out of a series of 6 released by Pacifico and his Sambacana. All tracks composed by Pacifico and all songs in A Major, probably to best fit the girls singing or - for some - their lack of talent for singing. Anyway, nice and smooth Bossa Nova Vocal album. The line-up is unknown, but the arrangements are from Roberto Menescal and Hugo Marota. Tracks include:

01 - Pouca Duracao
02 - Amor e Ilusao
03 - Aconteceu
04 - Olhos Feiticeiros
05 - Olhando Estrelas no Ceu
06 - Onibus Colegial
07 - Foi Assim
08 - Se eu Tivesse Coragem
09 - Comecou de Brincadeira
10 - Assim foi o Nosso Amor
11 - Quanto Tempo
12 - Bolo
13 - Mandrake
14 - Amor em Quatro Estacoes

Lana Bittencourt - Sambas do Rio (1960)

Perfect match: Loronixer request + out of print LP + LP is good + available at zecalouro's ark = POST. This post comes from this equation, zecalouro likes to run over recommendations and they are very useful to Loronix.

zecalouro presents Lana Bittencourt - Sambas do Rio (1960), all songs composed by Antonio Carlos Jobim and Luiz Antonio, appearing intercalated, as you can see at the track list.

Nice early 60's Samba LP full of that huge brass and string orchestral arrangements very common in the 50's. The cover is cool, with a landscape of Rio de Janeiro showing Pao de Acucar mountain, probably taken from Niteroi, anyway. Tracks include:

01 - Amor Amor (Luiz Antonio)
02 - Longe e o Ceu (Antonio Carlos Jobim)
03 - Poema das Maos (Luiz Antonio)
04 - Corcovado (Antonio Carlos Jobim)
05 - Eu e o Rio (Luiz Antonio)
06 - Outra vez (Antonio Carlos Jobim)
07 - Chorou Chorou (Luiz Antonio)
08 - So em Teus Bracos (Antonio Carlos Jobim)
09 - Estrada do Amor (Luiz Antonio)
10 - Fotografia (Antonio Carlos Jobim)
11 - Ri (Luiz Antonio)
12 - Este seu Olhar (Antonio Carlos Jobim)

Heraldo do Monte e Seu Conjunto Bossa Nova - Batida Diferente (1960)

Heraldo do Monte, Brazilian musician, which you had the chance to known as member of Os Cinco-Pados a few posts ago, is finally making his debut at Loronix, by the way, on a great style, with his first solo LP, Heraldo do Monte e Seu Conjunto Bossa Nova - Batida Diferente (1960).

zecalouro feels better today after a spending the afternoon sleeping like a polar bear. But he needs to save his energies for tonight and asks for AMG help to introduce Heraldo do Monte to his Loronix friends. Tracks includes:

01 - Samba de Pizzicatto (Heraldo do Monte - M.Lameira Viana - W Marchetti)
02 - Rapaz de Bem (Johnny Alf)
03 - Raízes (Denis Brean - O Guilherme)
04 - Amor Em Paz (Tito Madi)
05 - Zé De Conceição (Joao Roberto Kelly)
06 - Maria Ninguém (Carlos Lyra)
07 - Feio Não É Bonito (Carlos Lyra)
08 - Batida Diferente (Durival Ferreira - Mauricio Einhorn)
09 - Je Ne Sais Pourquoi (Fernand Bianchers - Chuvisco)
10 - Eu Sei Que Vou Te Amar (Antonio Carlos Jobim - Vinicius de Moraes)
11 - Céu e Mar (Johnny Alf)
12 - Tamanco No Samba (Orlandivo - Helton Menezes)

Former member of the historic Northeastern jazz group Quarteto Novo, Heraldo do Monte also developed an important solo career. His album Cordas Vivas (1983) was already released in 22 countries. He has played with Michel Legrand, Dick Farney, Zimbo Trio, Walter Wanderley, and Paulo Moura and performed abroad in international festivals of Cuba, Montreal, and Montreux. He already became a professional in Rio, playing with Walter Wanderley in 1956 and with Dick Farney in 1960. His first recording came as a sessionman in a Dolores Duran album, with Walter Wanderley. His first solo album was recorded in 1960, Heraldo E Seu Conjunto. He wrote all of the arrangements for the group Os Cincopados and participated in their 1965 recording. As a member of the Orquestra de Carlos Piper, he was awarded with the Guarani and Roquette Pinto trophies (1965). With the group Quarteto Novo, he was also awarded with the Roquette Pinto and received the Imprensa trophy twice. In 1975, he backed Michel Legrand in his live performances at the Teatro Municipal of São Paulo. He also performed with the Zimbo Trio. In 1980, he performed and recorded an album with Elomar and Arthur Moreira Lima, and, two years later, he did the same with Elomar, Arthur Moreira Lima, and Paulo Moura in the famous show ConSertão. In 1997, the four of them played together again in the Kaiser Bock Winter Festival. In 1988, he participated in the Montreal International Jazz Festival (Canada). He also participated in the Montreux and Cuba festivals. In 1994 and 1995 he was awarded with the Prêmio Sharp as arranger of two Dominguinhos' albums. His ''Chuva Morna,'' included in O Piano Brasileiro de Arthur Moreira Lima, is one of his songs recorded by famous interpreters. In 1997, together with Arthur Moreira Lima and Paulo Moura, he represented Brazil in the Caribbean International Music Festival. In 1998 he arranged, conducted, and played in the album Baião: 50 Anos de Poesia, Ritmo e Emoção, together with Hermeto Pascoal, Sivuca, Renato Borghetti, Oswaldinho, and Dominguinhos. In June, he played with the French guitar player Raphael Fays at the Sesc Ipiranga (São Paulo). In 2000, he participated in the Moacir Santos tribute at the Memorial da América Latina, São Paulo, with Johnny Alf, Leila Pinheiro, Roberto Sion, Teco Cardoso, and Mané Silveira.

Doris Monteiro - Confidencias de Doris Monteiro (1956)

I've got to admit it's getting better, a little better all the time, specially if you have the chance to know this rare LP from a very early Doris Monteiro. Released in 1956, all songs are composed by Fernando Cesar. There is a wonderful story behind this composer, actually, Fernando Cesar was a businessman, and he was the owner of a soup factory in Rio de Janeiro, UFE, most known as Sabao Portugues.

And he composed a lot with almost a hundred composition recorded by several artists. Doris Monteiro was his favorite Brazilian singer and had the help of Fernando Cesar on this LP, since all songs are Fernando's compositions. Tracks includes:

01 - Quando as Folhas Cairem (Maurício de Oliveira - Fernando César)
02 - Vento Soprando (Fernando Cesar)
03 - Gracas a Deus (Fernando Cesar)
04 - Cigarro sem Batom (Fernando Cesar)
05 - O Amor é Isso (Fernando Cesar)
06 - Joga a Rede no Mar (Fernando Cesar - Nazareno de Brito)
07 - Do-Re-Mi (Fernando Cesar)
08 - Melancolia (Fernando Cesar)

Jacob do Bandolim - Primas e Bordoes (1962)

This is the greatest Brazilian bandolim legend, Jacob Pick Bittencourt that took his instrument as part of his name, Jacob do Bandolim. Jacob is the most important musician of choro genre. In spite his active career, Jacob never was a professional musician and is the artist behind the most renowned choro compositions and recordings.

This is the never released in CD LP from 1962, Primas e Bordoes, a landmark in Jacob career, which he starts to be recognized as a great artist. Tracks includes:

01 - Teu beijo / choro (Mário Alves)
02 - Falta-me você / choro (Jacob)
03 - Araponga / choro (Luiz Gonzaga)
04 - Minha gente / choro (Pixinguinha)
05 - Meu chorinho / choro (Jonas Silva)
06 - Glória / valsa (Pixinguinha)
07 - Um bandolim na escola / samba (Jacob)
08 - Naquele tempo / choro (Pixinguinha)
09 - A ginga do Mané / choro (Jacob)
10 - Gorgulho / choro (Benedito Lacerda - Waldemar)
11 - Negrinha / choro (Joubert de Carvalho)
12 - O vôo da mosca / valsa (Jacob)

zecalouro will take AMG help to better show what Jacob do Bandolim means for Brazilian Music and choro.

Jacob do Bandolim is one of the first names in the history of the choro genre. A serious and dedicated musician, he instilled a high degree of professionalism in the traditionally relaxed music -- even if he was never a professional himself (he made a living as a notary). He struggled to preserve Brazilian roots, and fought to impose his artistic sincerity on the music industry. He left important compositions that were incorporated in the repertory of chorões.

The son of a middle-class family, do Bandolim followed formal studies until his completion of the accounting course of study. In 1930, when he was 12, he became strongly motivated by the music of a blind violinist who was his neighbor. Asking his mother to give him a violin, he left the bow of the instrument aside, picking the strings with hairpins. After many broken strings, his mother gave him a mandolin at the suggestion of another neighbor.

His first performance as an amateur was three years later, at the Grêmio dos Estudantes Israelitas. In December of that year, he performed for the first time on Rádio Guanabara. In those times, he was already a brilliant mandolinist, and also a good violonista (acoustic guitarist) and cavaquinho player. In the next year, he won his first important contest at Rádio Guanabara, invited by Benedito Lacerda. Accompanied by Carlos Lentine, Luís Bittencourt, Canhoto, and Russo do Pandeiro, his group was named Jacob e Sua Gente by the show director, and was awarded the maximum grade given by the professional jury in a contest disputed by other 27 participants. Jacob e Sua Gente became a regular on Rádio Guanabara, alternating with the Regional de Benedito Lacerda and the Gente do Morro group in the accompaniment of professional singers and musicians like Noel Rosa, Herivelto Martins, Dunga, Joel e Gaúcho, Elizeth Cardoso, Ataulfo Alves, Lamartine Babo, Araci de Almeida, and Carlos Galhardo. But do Bandolim never became a professional musician because he knew he would have lost his musical personality -- which was a very purist one. Instead, he held several jobs as a salesman or hawker, becoming a notary in 1940 and keeping that job until his death. In 1935, he joined the Conjunto da Rádio Ipanema, one of the three important groups of his life, initially directed by Mário Silva and later directed by himself. The group featured César Faria (after 1939) and Claudionor Cruz (violões, or acoustic guitars), Léo Cardoso (afoxê), and Candinho (drums). In 1943, by insistence of his future father-in-law, he abandoned his radio work, returning at the explicit desire of his wife, Adylia, in 1945 at Rádio Mauá. His first album was recorded in October 1947 with Continental (a company for whom he worked until 1949), having the hit "Remeleixo." In July 1949, do Bandolim moved to RCA Victor, recording eight albums until October 1950. From March 1951 on, for the next ten years, he was accompanied by the Regional do Canhoto. In July 1961, the recording of Chorinhos e Chorões marked the opening of the group Época de Ouro, the third important group of his life, and one of the most prominent of all time in the genre. The group used other names until the LP Vibrações, which was released in October 1967 and is considered one of the best of all time. Do Bandolim's imposed weekly rehearsals on Fridays and sometimes on Saturdays were rigorous. During those rehearsals the musicians sweated profusely, because the slightest mistake was accompanied by terrible admonishing in do Bandolim's resounding voice. In 1968, with Elizeth Cardoso (whom he introduced to the artistic scene), the Época de Ouro, and the Zimbo Trio, do Bandolim gave a concert at the Teatro João Caetano that was released on two albums by the Image and Sound Museum of Rio de Janeiro, and is considered one of the best shows of all time in Brazilian popular music. The American mandolinist Dexter Johnson organized a compilation of do Bandolim's solo work on two CDs with 43 tracks, Mandolin master of Brazil.

O Conjunto Farroupilha - Os Farroupilhas na TV (1960)

O Conjunto Farroupilha is a band from Brazil South - the same region that gave us Elis Regina and others - dedicated to folkloric and regional music that later moved to Sao Paulo and adhere the Bossa Nova wave. They also have some German influence, since Brazil South had significant Germany migration in the early twenty century.

zecalouro will ask for AMG help for O Conjunto Farroupilha biography, as follows:

The Conjunto Farroupilha was created on the Rádio Farroupilha in Porto Alegre, Rio Grande do Sul, Brazil, in 1948. Initially dedicated to folkloric and regional repertory, recording with success "Gauchinha Bem-Querer," "Piazito Carreteiro," "Prenda Minha," "Boi Barroso," "Chimarrita Balão," "Negrinho do Pastoreio," and "Pezinho," they also had success in the 1960s in the bossa nova genre. In 1952 their first album was only the fourth to be pressed in Brazil. Four years later the group moved to São Paulo, beginning a series of tours throughout Brazil and abroad. Their international tours, kept up regularly for years, included countries like China, U.S.S.R., Germany, and Venezuela, where they also recorded albums. In the '60s they adhered to bossa nova, having recorded with success "Bolinha de Sabão" (Orlandivo/Adilson de Azevedo), "Moça da Chuva" (Paulinho Nogueira/Rita Moreira), "Azul Contente" (Walter Santos/Tereza Souza), "Papai Walt Disney," and "Por Causa de Você" (Tom Jobim/Dolores Durán). In that decade they had their own show at TV Record, in São Paulo. Around 1963, Tasso Bangel and Danilo Vidal created the Farroupilha recording company. In 1971 the group was dissolved. After they teamed up again in 1983 for a performance on the regional TV show Som Brasil they recorded the LP Farroupilha 35.

Triste Janero - Meet Triste Janero (1968) USA Bossa Nova

zecalouro is felling miserable again today with this hard flu he got. He woke up fine this morning but had the stupid idea to take his recumbent to meet some friends at Aterro do Flamengo. In spite the effort to pedal almost 10 kilometers, zecalouro got a heavy shower when coming back to his cage. Stupid bird that would be resting quiet at home instead of going out.

Our great Loronix friend Refer gave the idea of posting some sort of "international" Bossa Nova, such like the previous Polish EP. Thanks Refer, that's what zecalouro will try to manage. Good ideia.

This is the time to meet a Bossa Nova band from USA, Triste Janero, with the 1968 LP Meet Triste Janero. Triste Janero was born in Dallas, released this LP and then disappeared leaving only this nice BossaJazz easy-listening pop album.

They meant to name the band - Sad January - with the words in Portuguese Triste Janeiro, but they probably got Janero from Spanish instead of Portuguese. Another thing came to zecalouro attention, if the band is Triste Janero (sad January), why they are so happy running together and smiling inside these hippie clothes?

Who cares?