• Os Cobras — O LP
  (1964) RCA Victor BBL 1290
• Erlon Chaves — Sabadabada
  (1965) Continental PPL 12188
• Jota Júnior — Nova Bossa Nova
  (1966) Musidisc Hi-Fi 2132
• José Roberto Bertrami — José Roberto Trio
  (1966) Farroupilha LPFA 420
• Breno Sauer — Viva a Bossa
  (1963) Entré/CBS 4026
• Os Megatons — Os Megatons
  (1965) Philips P 632.747 L
• Leda Soares — Leda Soares
  (196?) Polydor CS/552
• Dóris Monteiro — Doris Monteiro
  (1964) Philips P 632.735 L
• Os Seis em Ponto — Os Seis em Ponto
  (1964) RGE XRLP 5264
• Pery Ribeiro — Eu Gosto da Vida
  (1961) Odeon MOFB 3213

This double-page spread from the book features multi-instrumentalist Breno Sauer and “the other” Os Cobras.

Breno Sauer was born into a musical family in Porto Alegre, with a father and three brothers playing drums, guitar and accordion. He tried all three instruments before opting for the accordion. Deeply impressed by The Art Van Damme Quintet, Sauer was eager to have his own group with the very same line-up of electric guitar, vibraphone, bass, drums and accordion. However, Breno Sauer had to give up the accordion in the early sixties due to health problems, switching to the vibraphone, which he played until 1967, when his quartet broke up. As a result, Breno Sauer switched his main instrument once more, sticking to the piano since then.

From 1959 to 1966, Breno Sauer released six original albums plus one compilation. The first two albums, the 1959 debut Viva o Samba and the 1960 successor Viva a Música presented Altivo Penteado “Garôto” on vibrafone, Olmir Stocker “Alemão” on guitar, Gabriel Jorge Bahlis “Turco” on bass and Afonso Cid “Pirata” on drums as a quintet joining Breno Sauer on the accordion. Presumably the same line-up accompanied singer Agostinho dos Santos on the b-side of his 1960 album Agostinho, Sempre Agostinho, although credited only as Conjunto RGE. The line-up of the 1962 album Viva o Ritmo seems not detectable which is why the change from accordion to vibraphone is difficult to date back. In 1963, the album Sambabessa featured Breno Sauer on vibraphone, Osvaldo Carrero on accordion, Olmir Stocker on guitar, Ernê Eger on bass and Portinho on drums. The same year, Viva a Bossa compiled fourteen songs from the first four albums.

In 1965 and 1966, Breno Sauer released his probably best-known albums, 4 na Bossa and 4 no Sucesso, featuring himself on vibrafone, Adão on piano, Ernê Eger on bass, and Portinho on drums. From 1967 on this quartet was travelling extensively throughout Mexico and the US for several years, before Breno Sauer settled in New York to continue his career.

Although Breno Sauer was quite rightly very successful during his prime in the sixties, he seems rather underestimated today. This is regrettable, since his accomplished work, admiring models such as the Modern Jazz Quartet, deserves closer attention.

Playlist Breno Sauer:
1. Lembranças (Raul Sampaio – Benil Santos) from the album Sambabessa (1963)
2. A Felicidade (Antônio Carlos Jobim – Vinícius de Moraes) from the album Viva o Samba (1959)
3. O Amor em Paz (Antônio Carlos Jobim – Vinícius de Moraes) from the album 4 na Bossa (1965)
4. Desafinado (Raul Sampaio – Benil Santos) from the album Sambabessa (1963)
5. Mr. Gershwin (The Man I Love) (George Gershwin – Ira Gershwin) from the album Viva o Samba (1959)
6. Ninguém Podera Julgar-me (Nessuno Mi Puo’ Giudicare) (Daniele Pace – Mario Panzeri – Luciano Beretta – Miki Del Prete) from the album 4 no Sucesso (1966)
7. Discussão (Antônio Carlos Jobim – Newton Mendonça) from the album Viva o Ritmo (1962)
8. Você (Roberto Menescal – Ronaldo Bôscoli) from the album 4 na Bossa (1965)
9. Frenesi (Alberto Borras Dominguez) from the album Viva o Samba (1959)
10. Aline (Christophe) from the album 4 no Sucesso (1966)

The eye-catching art-work for Viva e Bossa in unidentified.

The art work for José Roberto Trio is by Antônio Melero.

The art work for Nova Bossa Nova is by Joselito with photograph by Mafra.

The art work for Os Seis em Ponto is by Otaviano Mello and Raul Vogh with photograph by Renato Landin.

The art work for Doris Monteiro is by Paulo Brèves with photograph by Mafra.

As stated previously in → No. 22 — Pages 30-31: Ely Arcoverde | Os Cobras | Zumba-Cinco | Os Cinco-Pados, Os Cobras was the name of two one-time projects with different line-ups, first in 1960 and then again in 1964. The second Os Cobras was a septet including Tenório Jr. on piano, Raul de Souza on trombone, Hamilton on cornet, J.T. Meirelles on alto sax and flute, Paulo Moura on alto sax, José Carlos ”Zezinho” on bass and Milton Banana on drums, inviting Jorginho on flute, Aurino on baritone sax, Cipó on tenor sax, Roberto Menescal on guitar and Ugo Marota on vibraphone for guest appearances on their recording session under musical direction by Maestro Zaccarias. Unfortunatley, the critically acclaimed album O LP was their only joint effort, still ranking as one of the most remarkable samba-bossa albums.

Playlist Os Cobras:
1. Uganda (Orlandivo – Roberto Jorge) from the album O LP (1964)
2. Chão (Amaury Tristão – Roberto Jorge) from the album O LP (1964)
3. Adriana (Roberto Menescal – Luis Fernando Freire) from the album O LP (1964)
4. Mar Amar (Roberto Menescal – Ronaldo Bôscoli) from the album O LP (1964)

The art-work for O LP is by J. Moreira.

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• Waldir Calmon — Mambos!
  (1959) Copacabana CLP 10012
• Teddy Garner — Sax Imortal
  (1961) Columbia LPCB 37146
• Nelsinho — Nelsinho e Seus Trombones
  (1964) Magisom GMLP 1011
• Breno Sauer — Viva o Samba
  (1959) Columbia LPCB 37063
• Aurino, Jorginho — Na Cadência do Samba
  (1963) RCA Victor BBL 1235
• Bob Fleming — Sax in Hi-Fi
  (1958) Masterpiece Master 553

This double-page spread of the book features some more puzzling reutilization of arrangements, this time by Aurino and Jorginho.

Although Aurino Ferreira de Oliveira (*1925), commonly known as Aurino, is one of Brazil’s finest soloists on the tenor, baritone and alto saxophone as well as the clarinet, information about him is hard to find. Aurino was a member of Sexteto de Jazz Moderno, Eumir Deodato’s Catedráticos, Sérgio Mendes’ Bossa Rio on the legendary album Você Ainda Não Ouviu Nada, and played on Dom Um Romão’s masterpiece Dom Um. Aurino released only three albums under his own name, first in 1960 his solo debut Saturday Night, followed the next year by a collaboration album with Paulo Moura, Nelsinho and Maurílio titled Coquetel de Sucessos, and in 1963 his teaming with Jorginho, Na Cadência do Samba.

As with Aurino, there seems hardly any information available about Jorge Ferreira da Silva, who played the saxophone but most notably the flute, hence he was nicknamed Jorginho da Flauta. Except for his participation in the 1963 album Bossa Nova as member of Sexteto de Jazz Moderno, his joint effort with Aurino, Na Cadência do Samba, was the only album bearing Jorginho’s name on the front cover. Both Aurino and Jorginho belong to the long list of renowned musicians who contributed to countless recordings by others, but did not enjoy their own share of albums.

Fortunately, Aurino and Jorginho teamed up for Na Cadência do Samba, an album which is noteworthy not only for its quality but for being another example of the reutilization of arrangements. It seemed to be a quite popular practice by Brazilian record labels to provide arrangements previously used by other artists for instrumentalists on their solo recordings, as it happened in some cases to Chiquinho do Acordeom with Odeon, to Radamés Gnattali with Continental, to Pernambuco with Musiplay/Copacabana and to Héctor Costita on both albums he recorded as Don Júnior with RGE. In the case of Aurino and Jorginho the label was RCA Victor.

On Na Cadência do Samba both soloists play alternately, accompanied by a swinging orchestra and an intimate combo. The soloists added their solo parts over the instrumental part of original tapes used for Leny Andrade, Cauby Peixoto, Rosana Tolédo, Nelly Martins and others. However, the selection of these arrangements includes gems like the beautiful Para Não Sofrer by Antônio Carlos Jobim, introduced by Nelly Martins the year before, and the exquisite Filosofia, whose original recording by Leny Andrade two years prior is the only one besides Aurino’s interpretation.

Tracklist and comparative samples of Na Cadência do Samba with uncredited orchestra and arrangements:

1. Na Cadência do Samba (Ataulfo Alves – Paulo Gesta) featuring Aurino with arrangement also released in 1963 on Jorge Veiga’s album Jorge Veiga
2. Insensatez (Antônio Carlos Jobim – Vinícius de Moraes) with arrangement also released in 1962 on Nelly Martins’s single Insensatez b/w Para Não Sofrer [→ Playlist]
3. Sambop (Durval Ferreira – Maurício Einhorn) with arrangement also released in 1961 on Leny Andrade’s album A Sensação [→ Playlist]
4. Fuga (Durval Ferreira) featuring Jorginho with arrangement also released in 1960 on Johnny Alf’s album Rapaz de Bem [→ Playlist]
5. Filosofia (Aldacir Louro – Linda Rodrigues) with arrangement also released in 1961 on Leny Andrade’s album A Sensação [→ Playlist]
6. Tema Sem Palavras (Durval Ferreira – Maurício Einhorn) featuring Jorginho with arrangement also released in 1960 on Johnny Alf’s album Rapaz de Bem
7. Samba do Avião (Antônio Carlos Jobim) with arrangement also released in 1962 on Cauby Peixoto’s album Canção Que Inspirou Você [→ Playlist]
8. Não Dá Pé (Hianto de Almeida – Otávio Teixeira) featuring Jorginho with arrangement also released in 1961 on Leny Andrade’s album A Sensação
9. A Mesma Rosa Amarela (Capiba – Carlos Penna Filho) featuring Aurino with arrangement presumably also released in 1962 on Vanja Orico’s single Cantiga da Vida b/w A Mesma Rosa Amarela
10. Receita Para Esquecer (Durval Ferreira – Orlando Henriques) featuring Jorginho with arrangement also released in 1961 on Leny Andrade’s album A Sensação
11. Tristeza de Nós Dois (Durval Ferreira – Maurício Einhorn – Bebeto) with arrangement also released in 1961 on Rosana Tolédo’s album Sorriso e Lágrima [→ Playlist]
12. Para Não Sofrer (Antônio Carlos Jobim) with arrangement also released in 1962 on Nelly Martins’s single Insensatez b/w Para Não Sofrer [→ Playlist]

[My special thanks to Órfãos do Loronix for helping in the research.]

The art work for Na Cadéncia do Samba shows a photograph by Mafra.

The art work for Sax in Hi-Fi is by Joselito with photograph by Mafra. For more on the alias of Bob Fleming see → No. 1 and → No. 7.

The art work for Nelsinho e Seus Trombones shows a photograph by Mafra.

The art work for Viva o Samba features a photograph by Van Erven. Breno Sauer is featured in article → No. 32 — Pages 118-119.

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• Ataulfo Alves — Ataulfo Alves e suas Pastoras
  (1959) Odeon MOFB 3108
• Orquestra do Sindicato dos Músicos Profissionais do Rio de Janeiro — Orquestra de Danças
  (1957) Sinter SLP 1104
• Paulinho Nogueira — Paulinho Nogueira
  (1965) RGE XRLP 5274
• Garôto — Garoto Revive em Alta Fidelidade
  (1957) Odeon MOEB 3002

This double-page spread from the book presents some brilliant art work for Ataulfo Alves and Garôto.

Ataulfo Alves de Sousa (1909-1969) is considered as one of the most influencial composers and singers of samba. A child of seven and becoming an orphan at the age of ten, he started to work in various jobs while still going to school. But for all that, he played the guitar, accordion and cavaquinho, and started songwriting by the age of 19. Following his first recording in 1933, Ataulfo Alves released a total of about 90 singles and 18 albums in his career. In 1943, he formed his ‘Pastoras’, a three-women choir, with whom he worked until 1961. In the same year, he founded his own publishing company, ATA (Ataulfo Alves Edições). He composed more than 300 songs, including samba classics like Ai, Que Saudades da Amélia, Mulata Assanhada and Na Cadência do Samba. Ataulfo Alves’ compositions have been interpreted by practically every musician in Brazil.

Playlist Ataulfo Alves:
1. Sei que é Covardia… Mas (Ataulfo Alves – Claudionor Cruz) from the album Ataulfo Alves e suas Pastoras (1959)
2. Bom Crioulo (Ataulfo Alves) from the album Ataulfo Alves e suas Pastoras (1959)

The outstanding art work for Ataulfo Alves e suas Pastoras by Odeon in 1959 is by César G. Vilela with photograph by Francisco Perreira. The 1969 reissue by Imperial shows a cautiously revised layout.

Aníbal Augusto Sardinha a.k.a. Garôto (1915-1955) was a multi-talented instrumentalist and composer. Especially as a guitarist he is considered to be ahead of its time. Starting with the banjo which he soon swapped for a self-made guitar, he made his first recording in 1930 at the age of 15. Garôto enjoyed an impressive career which took him to the U.S., touring with Carmen Miranda, and even to Hollywood, where he contributed to some movie soundtracks. In the early fifties, Garôto was part of the popular Trio Surdina with whom he recorded four albums. In 1954 he set an all-time record in Brazil with his single São Paulo Quatrocentão b/w Baião Do Rouxinol selling 700,000 copies, a record which was to last for many years.

After Garôto’s early death, arranger and conductor Léo Peracchi discovered some unreleased recordings of songs by Ary Barroso in the vaults of Odeon. While dubbing is a common routine today, it was an experimental venture in the mid-fifties when Léo Peracchi recorded Garôto‘s guitar play with an especially arranged setting of orchestra and chorus. Garoto Revive em Alta Fidelidade was released in 1957, two years after Garôto‘s passing, becoming his only solo album.

Playlist Garôto:
1. Aquarela do Brasil (Ary Barroso) from the album Garoto Revive em Alta Fidelidade (1957)
2. Risque (Ary Barroso) from the album Garoto Revive em Alta Fidelidade (1957)

The exquisite yet uncredited cover of Garoto Revive em Alta Fidelidade came in two versions.

The art work for Paulinho Nogueira is by Tide Hellmeister.

The Sindicato dos Músicos Profissionais do Rio de Janeiro was founded in 1907, as a repesentation of interests for musicians from Rio de Janeiro. The 1957 album Orquestra de Danças celebrated the 50^th anniversary of the Sindicato with an impressive cast of more than 60 musicians including Cipó, Juarez Araújo, Moacyr Marques ‘Bijú’, K-Ximbinho, Paulo Moura, Aurino Ferreira, Fats Elpídio, Formiga, Mozart Ituassú, Paulo Magalhães and Dom Um Romão amongst others, arranged and conducted by Lyrio Panicali, Astor Silva, Arcy Barbosa, Helio Marinho, Pachequinho and Nelsinho. The result is swinging big band samba.

Playlist Orquestra do Sindicato dos Músicos Profissionais do Rio de Janeiro:
1. Glorinha (Arcy Barbosa) from the album Orquestra de Danças (1957)
2. Seleção de Baiões (Humberto Teixeira) from the album Orquestra de Danças (1957)

The art work for Orquestra de Danças is uncredited.

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• Guio de Moraes — Gente Que Diz de Balanço
  (1964) Continental PPL 12131
• Orquestra Discastro, Don Bradley, Rubens, Robledo, The Star Boys, Conjunto de Fred & Richard — Grande Baile No. 1
  (196?) Discastro GED-1001
• Carlos Lyra — Bossa Nova
  (1960) Philips P 630.409 L
• Garôto — Garôto & Sexteto
  (1966) Farroupilha LPFA-412
• Dick Farney, Brazilian Jazz Quartet, Tenteto de K-Ximbinho — 2^o Concêrto de Jazz de Camera no Teatro Municipal
  (1960) Prestige DLP 2001
• The Pop’s — The Pop’s
  (1967) Equipe EQ 813
• The Pop’s — Na Base do Iê, Iê, Iê
  (1966) Equipe EQ 811
• Turma da Gafieira — Turma da Gafieira
  (1957) Musidisc Hi-Fi 1
• Chaim Lewak — Para Ouvir Amando N ^o. 3
  (1959) Som SOLP 40089
• Sérgio Mendes, Bossa Rio — Você Ainda Não Ouviu Nada (1964) Philips P 632.701 L
• Cid Gray — Só Samba Sabendo Sambar
  (1961) Continental LPP 3160

This double-page spread from the book features jazzy sounds by two very different legends: Turma da Gafieira and Sérgio Mendes.

Turma da Gafieira was a highly original all-star band which released only two albums, both in 1957. The cast is not entirely verified, but the debut album Turma da Gafieira presumably features João Leal Brito ‘Britinho’ and Paulinho (Paulo Lima de Jesus?) on piano, Zé Bodega on tenor saxophone, Raul de Barros on trombone, Maurílio Santos on trumpet, Altamiro Carrilho on flute, Sivuca on accordion, Nestor Campos on guitar, Jorge Marinho on bass and Édison Machado on drums. The successor Samba em Hi-Hi supposedly features João Leal Brito ‘Britinho’ and/or Paulinho (Paulo Lima de Jesus?) on piano, Zé Bodega and Cipó on tenor saxophone, Raul de Souza on trombone, Altamiro Carrilho on flute, Sivuca on accordion, Baden Powell on guitar, an unidentified bass and Édison Machado on drums. While the debut featured compositions by Altamiro Carrilho only, the second album was a mix of sambas and popular songs like Conceição, Cauby Peixoto’s no. 1 hit of 1956. The groups final release in 1962, Melodia… Ritmo… Alegria… Turma da Gafieira, was a compilation of the two original albums.

As members of Turma da Gafieira, Édison Machado introduced his ‘samba no pratos’, the samba rhythm using cymbals, and Sivuca played his ‘scats’ on the accordion for the first time. Both techniques, although annoying some purists at first, became characteristics of these musicians.

Turma da Gafieira’s historical value for Brazil’s popular music is of great importance, since for the first time improvised jazz was recorded to genuine samba rhythms. When bolero, samba-canção, fossa and tango were the dominating styles for ballads, and samba in its many varieties for up-tempo songs, the mixing of jazz improvisations with Brazilian rhythms was way ahead of time. Bossa nova was yet to come, not to mention the subsequent forms of samba-jazz and hard bossa.

Playlist Turma da Gafieira:
1. Samba de Morro (Altamiro Carrilho) from the album Turma da Gafieira (1957)
2. Conceição (Jair Amorim – Valdemar de Abreu ‘Dunga’) from the album Samba em Hi-Fi (1957)
3. Rio Antigo (Altamiro Carrilho) from the album Turma da Gafieira (1957)
4. Meu Sonho é Você (Altamiro Carrilho – Átila Nunes) from the album Turma da Gafieira (1957)
5. Vagabundo (Wilson Batista / Jorge de Castro) from the album Samba em Hi-Fi (1957)

The fabulous art work of Turma da Gafieira, indicating Vera Regina as the cheerful model, is by Joselito with photograph by Mafra.

The unidentified art work for Na Base do Iê, Iê, Iê and The Pop’s comes in repetitive layouts.

The art work for Guio de Moraes is by Paulo Brandão.

Sérgio Mendes (*1941) is certainly one of Brazil’s best known musicians, most notably because his fifty-year long career emanated internationally from the U.S. He intended to be a classical pianist, but soon became interested in jazz, especially in pianists like Stan Kenton, Horace Silver and Bill Evans.

In 1961, he debuted with his first album Dance Moderno, conducted by Carlos Monteiro de Souza. In 1962, Sérgio Mendes founded his first group, Bossa Rio Sextet, with Paulo Moura on tenor saxophone, Pedro Paulo on cornet, Durval Ferreira on guitar, Octávio Bailly on bass and Dom Um Romão on drums. Bossa Rio Sextet accompanied Julian ‘Cannonball’ Adderley on his album Cannonball’s Bossa Nova, and was part of the legendary ‘Bossa Nova at Carnegie Hall Concert’ in 1962.

For his 1964 album Você Ainda Não Ouviu Nada, the Bossa Rio Sextet was changed to Bossa Rio with Héctor Costita and Aurino Ferreira on tenor saxophone, Raul de Souza and Ed Maciel on trombone, Sebastião Neto on bass and Édison Machado on drums. Você Ainda Não Ouviu Nada is considered a classic, significantly developing bossa nova into samba-jazz.

After that, the Sérgio Mendes Trio was founded with Sebastião Neto on bass and Édison Machado on drums. Inviting Rosinha de Valença on guitar and Dave Pike on vibraphone for the session, the famous album Quiet Nights was recorded in 1963, but kept in the vaults until 1966 when it was released in the U.S. With Chico Batera replacing Édison Machado, the Sérgio Mendes Trio recorded the ensuing Bossa Nova York in 1964, with Antônio Carlos Jobim on guitar, Phil Wood on alto saxophone, Art Farmer on fluegelhorn and Hubert Laws on flute. The next year, Sérgio Mendes moved to the U.S. to form Brasil ’65, the first of several successful ‘Brasils’ to come.

Playlist Sérgio Mendes:
1. O Amor em Paz (Antônio Carlos Jobim – Vinícius de Moraes) from the album Você Ainda Não Ouviu Nada (1964)
2. Hô-bá-lá-lá (João Gilberto) from the album Dance Moderno (1961)
3. Quiet Nights (Corcovado) (Antônio Carlos Jobim) from the album Quiet Nights (1963)
4. Vivo Sonhando (Antônio Carlos Jobim) from the album Bossa Nova York (1964)
5. Neurótico (João Theodoro Meirelles) from the album Você Ainda Não Ouviu Nada (1964)

The art work for Você Ainda Não Ouviu Nada is by Licínio Almeida with photographs by Paulo Namorado.

It’s hardly impossible to find out more about vibraphonist, pianist and composer Altivo Penteado a.k.a. Garôto except the fact that he played with Dick Farney, Breno Sauer and Os Farroupilhas on some albums, but released only one on his own. In 1966, Garôto & Sexteto was recorded with Fernando Tancredi on tenor saxophone and clarion, Paulo Santos on cornet, Augusto R. Rodrigues on guitar, Gabriel Bahlis on bass and Hamilton A. Lima on drums.

Playlist Garôto:
1. Tristeza de Nós Dois (Durval Ferreira – Maurício Einhorn – Bebeto) from the album Garôto & Sexteto (1966)
2. Samba de Verão (Marcos Valle – Paulo Sergio Valle) from the album Garôto & Sexteto (1966)

The art work for Garôto & Sexteto is by Antônio Melero ‘Antoninho’.

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• Marisa Barroso — Cantigas de Enganar o Tempo
  (1961) Copacabana CLP 11211
• Rosana Tolédo — Momento Nôvo
  (1964) Philips P 632.715 L
• Morgana — Fuga com Morgana
  (1962) Copacabana CLP 11261
• Claudette Soares — Claudette é Dona da Bossa
  (1964) Mocambo LP 40214
• Giane — Giane
  (1965) Chantecler CMG 2308
• Dorinha Freitas — A Voz de Dorinha Freitas
  (1961) RGE XRLP 5098
• Rosana Tolédo — Distância/Tudo de Mim
  (1963) RGE CS 70 032
• Rosana Tolédo — Tudo de Mim/Segredo/Além do Amor/Raízes
  (1963) RGE n/a
• Rosana Tolédo — A Voz do Amor
  (1963) RGE XRLP 5200
• Rosana Tolédo — Sorriso e Lágrima
  (1961) RCA Victor BBL 1136
• Rosana Tolédo — A Voz Acariciante de Rosana
  (1960) Odeon MOFB 3158

This double-page spread from the book features two great singers: Rosana Tolédo and Dorinha Freitas.

Sisters Maria da Conceição Tolédo (*1934) and Maria Helena de Tolédo (*1937), artistically known as Rosana Tolédo and Maria Tolédo, started out as a singing duo from 1947 to 1951. While Maria Tolédo enjoyed an international career in the mid-sixties with three albums recorded in the U.S. along with her husband Luiz Bonfá, Rosana Tolédo became one of the top recording stars in the early sixties back home in Brazil.

In 1955, Rosana Tolédo auditioned at Rádio Inconfidência, when conductor Moacir Portes told her, she had no timing and sang out of tune. Her father sponsored some broadcasting time, and three months later she was hired by Rádio Inconfidência as a professional singer. Until 1960 she continued her numerous radio and stage appearances with Rádio Mineira, where she sang with Emílio Santiago and Clara Nunes, and alongside started her TV appearances.

Rosana Tolédo’s discography includes more than a dozen singles and five solo albums, released from 1960 to 1964. Her debut A Voz Acariciante de Rosana, arranged and conducted by Lindolpho Gaya, included notable versions of Sonata em Luar by Fredy Chateaubriand and Vinícius de Carvalho,and Canção Que Morre no Ar by Carlos Lyra and Ronaldo Bôscoli, paving the way for more soulful interpretations to come. Her rendition of Samba Triste, Baden Powell’s classic collaboration with Billy Blanco, considerably contributed to the nascent success of the composer and guitarrist. (The same arrangement of Samba Triste was used again by Chiquinho do Acordeom the following year on his album Chiquinho, Seu Acordeom e Sua Orquestra, but such reutilization will be topic in a later post.)

In 1961, her second album Sorriso e Lágrima was arranged and conducted with an augmented orchestral backing by Nelsinho, including the swinging Saudade Vem Correndo, penned by Luiz Bonfá and Maria Tolédo, and one of the first renditions of Tristeza de Nós Dois by Durval Ferreira, Maurício Einhorn and Bebeto. (This arrangement as well was reused by another instrumentalist, this time by tenor saxophonist Aurino on his 1963 album Na Cadência do Samba.)

Rosana Tolédo’s 1962 album E a Vida Continua, once morearranged and conducted by Nelsinho, included her stellar interpretation of Não Me Diga Adeus, a samba classic from the forties by Paquito, Luis Soberano and João Correia da Silva.

Her 1963 album A Voz do Amor, arranged and conducted by Ruben Perez ‘Pocho’, showcased her biggest hit, Segredo, by Herivelto Martins and Marino Pinto. (Besides, yet another arrangement of a Tolédo song appeared on another album, this time the arrangement of Raízes was reused the same year on Sambas No. 2 by tenor saxophonist Hector Costita a.k.a. Don Júnior.) Finally, A Voz do Amor also featured her spectacular recording of Samba em Prelúdio with Agostinho dos Santos.

Samba em Prelúdio, written by Baden Powell and Vinícius de Moraes, was introduced by Hebe Camargo in 1960 as a solo. After the memorable recording by Geraldo Vandré and Ana Lúcia in 1962, it became quite common to perform the song as a duet with male and female part as presented by Vandré and Lúcia. Vinícius de Moraes himself recorded the song as a duet in this fashion with Odette Lara in 1963 (see → No. 4). In the same year, Rosana Tolédo and Agostinho dos Santos recorded two versions with reversed parts: the one released on A Voz do Amor features Tolédo in the ‘male’ part, opening the song with her deepest voice, on the second recording, originally unreleased, she took the ‘female’ part in a slightly modified arrangement.

In 1964, Rosana Tolédo released her final album, Momento Nôvo, including Inútil Paisagem by Antônio Carlos Jobim and Aloysio de Oliveira, and Encanto Triste by Durval Ferreira and Pedro Camargo, once again arranged and conducted by Lindolpho Gaya.

Her live performance with Pery Ribeiro on the compilation 100 Anos de Música Popular Brasileira in 1975 was her final record release, although she continued to appear in concerts and on TV until the eighties.

Rosana Tolédo has without a doubt a most unique voice, combining a distinctive sultry and smoky timbre with matchless emotional gifts. Regardless of Moacir Portes’ statement in her beginnings – she is definitely one of Brazil’s most impressive singers.

Playlist Rosana Tolédo:
1. Não Me Diga Adeus (Paquito – Luis Soberano – João Correia da Silva) from the album E a Vida Continua (1962)
2. Melancolia (Denis Brean) from the album A Voz do Amor (1963):
3. Saudade Vem Correndo (Luiz Bonfá – Maria Helena Tolédo) from the album Sorriso e Lágrima (1961)
4. Ama (Roberto Menescal – Ronaldo Bôscoli) from the album Momento Nôvo (1964)
5. Distância (Raul Sampaio – Benil Santos) from the album A Voz do Amor (1963)
6. Samba Triste (Baden Powell – Billy Blanco) from the album A Voz Acariciante de Rosana (1960)
7. Além do Amor (Baden Powell – Vinícius de Moraes) from the album A Voz do Amor (1963)
8. Maldade (Jair Amorim – Evaldo Gouveia) from the album Sorriso e Lágrima (1961)
9. Samba em Prelúdio (Baden Powell – Vinícius de Moraes) from the album A Voz do Amor (1963) with Agostinho dos Santos
10. Samba em Prelúdio (Baden Powell – Vinícius de Moraes), originally unreleased version (1963) with Agostinho dos Santos

The covers of Rosana Tolédo’s album always target her appealing looks.

The art work for Momento Nôvo, encircling the singer with poultry, is by Paolo Brèves with photograph by Mafra.

With a voice to fill any venue, Maria Auxiliadora Freitas Galvão (*1937), better known with her stage name Dorinha Freitas, started in 1956 when she won the first prize in a talent contest at Rádio Tupi. Soon afterwards she enjoyed her first success with her debut single Esperame En El Cielo b/w Fracasso. In 1958, she scored a hit with her slowed version of Hey There, the debut single of Sammy Davis Jr. in 1954, before she had her biggest hit with her rendition of Lamento by Djalma Ferreira and Luiz Antônio. In 1961, she recorded one of the rare versions of the beautiful bolero Porque Tinha de Ser by Antônio Carlos Jobim and Vinícius de Moraes.

Although she never had a professional vocal training, Dorinha Freitas is considered as one of the best vocalists from the so-called ‘age of radio’. She recorded twelve singles, but only one solo album titled A Voz de Dorinha Freitas (1961), and one duet album with David de Castro, Dois Corações (1965).

Playlist Dorinha Freitas:
1. Porque Tinha de Ser (Antônio Carlos Jobim – Vinícius de Moraes) from the album A Voz de Dorinha Freitas (1961)
2. Descendo o Morro (Antônio Carlos Jobim – Billy Blanco) from the album A Voz de Dorinha Freitas (1961)
3. Hey There (Richard Adler – Jerry Ross) from the single Hey There b/w É Luxo Só (1958)
4. Sofro (Nelson Alves – Vera Falcão) from the album A Voz de Dorinha Freitas (1961)
5. Lamento (Djalma Ferreira– Luiz Antônio) from the album A Voz de Dorinha Freitas (1961)

The art work for A Voz de Dorinha Freitas is uncredited.

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• Izio Gross — Isto é Bossa
  (1961) Mocambo LP 40064
• Astor Silva — Samba… Só Samba!
  (1963) CBS 37310
• Ed Lincoln — Ed Lincoln Boite
  (1962) Pawal P-20.013
• Jair Rodrigues — Jair de Todos os Sambas
  (1969) Philips R 765.081 L
• Mr. Samba & Seus Skindôs Rítmicos — Mr. Samba e Seus Skindôs Rítmicos
  (1962) RGE USLP 500.001
• Chico Anísio — Chico Anísio Show
  (1962) Philips P 632.104 L
• Inezita Barroso — Vamos Falar de Brasil
  (1958) Copacabana CLP 11016
• Eliana Pittman, Booker Pittman — Eliana e Booker Pitman
  (1962) Mocambo LP 40083
• Ataulfo Alves — Ataulfo Alves e Seus Sucessos
  (1960) Sinter SLP 1788
• Trio Samba — Samba! Samba! Samba!
  (1964) Philips P 632.198 L
• Turma do Bom Balanço — A Turma do Bom Balanço
  (1965) Mocambo LP 40262
• Luely Figueiró, Nelly Martins, Jamelão, Albertinho Fortuna, Maysa, Ted Moreno, Risadinha, Os Cariocas, Radamés Gnattali, Coral de Severino Filho — Rio, Cidade Maravilhosa (Sinfonia do Rio de Janeiro)
  (1971) Latino/Chantecler SOLP.65.004
• Noite Ilustrada — Cara de Boboca
  (1960) Mocambo LP 40031

In 1954, just months before he first met his long-term partner Vinícius de Moraes, composer Antônio Carlos Jobim joined forces with lyricist Billy Blanco to write the Sinfonia do Rio de Janeiro, subtitled A Montanha – o Sol – o Mar (Sinfonia Popular em Tempo de Samba), praising the charms of Rio with voices and chorus. The Overture is followed by the compositions Hino ao Sol – Coisas do Dia – Matei-me no Trabalho – Zona Sul – Arpoador – Noites do Rio – O Mar – A Montanha – O Morro – Descendo o Morro – O Samba de Amanhã. It might not be Jobim’s most inspired work as he was still defining his style, but it’s noteworthy as his first orchestral effort.

Sinfonia do Rio de Janeiro was first recorded in 1954 with vocals by Elizeth Cardoso, Lúcio Alves, Os Cariocas, Gilberto Milfont, Emilinha Borba, Dick Farney, Dóris Monteiro, Nora Ney and Jorge Goulart, arranged and conducted by Radamés Gnattali. In 1960 Maestro Gnattali was once more in charge when the Sinfonia was recorded with a whole new line-up of singers teaming Maysa, Ted Moreno, Os Cariocas, Jamelão, Risadinha, Albertinho Fortuna, Nelly Martins, Luely Figueiró and Coral de Severino Filho.

Despite being an interesting work, almost none of the compositions gained lasting success. Although Bené Nunes recorded a shortened piano version of the Sinfonia on his 1965 album Teclado Fantástico, only Descendo o Morro survived independently as a composition with a number of versions, including some great renditions by Jorge Goulart and Dorinha Freitas.

With a duration of at least 15 minutes, the Sinfonia had to be recorded as a long-play, in 1954 in the newly invented 10-inch format, and in 1960 in the improved 12-inch format which allowed a slightly extended version.

Both albums presented different songs compiled on their b-sides. The first album features songs by Antônio Carlos Jobim and Billy Blanco such as Hino ao Sol, performed by the quintet of Radamés Gnattali on piano, Chiquinho do Acordeon under his alias Romeu Seibel on accordion, Zé Menezes on guitar, Vidal on bass and Luciano Perrone on drums. The second album features some songs penned by other composers in an orchestral setting, including a delightful version of Copacabana sung by Maysa and the Coral de Severino Filho.

Playlist Sinfonia do Rio de Janeiro:
1. Sinfonia do Rio de Janeiro (Antônio Carlos Jobim – Billy Blanco) from the album Rio de Janeiro – Sinfonia Popular em Tempo de Samba (1954) with Jorge Goulart, Nora Ney, Lúcio Alves, Gilberto Milfont, Emilinha Borba, Dick Farney, Dóris Monteiro, Elizeth Cardoso and Os Cariocas
2. Sinfonia do Rio de Janeiro  (Antônio Carlos Jobim – Billy Blanco) from the album Rio, Cidade Maravilhosa (Sinfonia do Rio de Janeiro) (1960) with Maysa, Ted Moreno, Os Cariocas, Jamelão, Risadinha, Albertinho Fortuna, Nelly Martins, Luely Figueiró and Coral de Severino Filho
3. Hino ao Sol (Antônio Carlos Jobim – Billy Blanco) from the album Rio de Janeiro – Sinfonia Popular em Tempo de Samba (1954) with Radamés Gnattali, Chiquinho do Acordeon aka Romeu Seibel, Zé Menezes, Vidal and Luciano Perrone
4. Copacabana (João de Barro – Alberto Ribeiro) from the album Rio, Cidade Maravilhosa (Sinfonia do Rio de Janeiro) (1960) with Maysa and Coral de Severino Filho

The 1971 re-release of the 1960 recording shows Copacabana beach and the Pão de Açúcar with the modernistic pride that has become kind of a caricature of itself since then. Nevertheless, it’s  appealing in its own particular way.

Izio Gross (*1943) is a classically trained pianist, arranger and band leader who seems to be almost unknown outside Brazil, though unjustifiedly. He worked with a number of renowned artists such as Paulo Moura, Zé Bodega, Sylvia Telles, João Gilberto, Bolão, Agostinho dos Santos, Raul de Souza and Cipó. In the early sixties he recorded two impressive albums with highly sophisticated arrangements and brilliant line-ups of musicians such as Édison Machado.

Playlist Izio Gross:
1. Murmúrio (Djalma Ferreira – Luis Antônio) from the album Bossa Nova in Rhythm (196?)
2. Mulher de Trinta (Luis Antônio) from the album Isto é Bossa (1961)
3. Menina Feia (Oscar Castro Neves – Luvercy Fiorini) from the album Isto é Bossa (1961)
4. Zelão (Sérgio Ricardo) from the album Bossa Nova in Rhythm (196?)
5. Samba Triste (Billy Blanco – Baden Powell) from the album Isto é Bossa (1961)
6. Quem Quizer Encontrar o Amor (Carlos Lyra – Geraldo Vandré) from the album Bossa Nova in Rhythm (196?)

The art work for Isto é Bossa is by the uncredited members of Gráfica Mocambo.

Turma do Bom Balanço is a all-star studio group teaming K-Ximbinho and Emílio Baptista on alto sax, Aurino Ferreira on baritone sax, Ed Maciel on trombone, Pedro Paulo on cornet, Dom Salvador on organ, Neco on guitar, Sérgio Barroso and Gabriel Bezerra on bass and Édison Machado on drums. with arrangements by Waltel Branco for a jazzy album of the same name.

Playlist Turma do Bom Balanço:
1. Abandono (Chico Feitosa – Marcos Vasconcellos) from the album A Turma do Bom Balanço (1964)
2. Vê (Roberto Menescal – Luis Fernando Freire) from the album A Turma do Bom Balanço (1964)

The cover by Gráfica Mocambo concisely sums up the entertaining session.

The art work for Jair de Todos os Sambas is by Claucio & Lincoln with photograph by Ramón Sanahuja.

Sometimes music acts release one album and are never heard of again afterwards. That’s what inexplicably happened to Trio Samba even though their 1964 album  Samba! Samba! Samba! is a delight. The line-up includes Wilma Camargo, Triana Romero and Marina Fernanda Gradilone, arranged and conducted by Carlos Piper. Wilma Camargo also worked as a composer, arranger and was part of the female voices of The Playing’s.

Playlist Trio Samba:
1. Rio (Roberto Menescal – Ronaldo Bôscoli) from the album Samba! Samba! Samba! (1964)
2. Por Causa de Você, Menina (Jorge Ben) from the album Samba! Samba! Samba! (1964)
3. Mas Que Nada (Jorge Ben) from the album Samba! Samba! Samba! (1964)

The art work for Samba! Samba! Samba! is by Paulo Brèves.

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