• 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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• Miltinho — Samba em Tú
  (1971) RCA Camden CALB 5326
• Miltinho — Miltinho, Samba & CIA.
  (1969) Odeon MOFB 3585
• Miltinho — Canção do Nosso Amor
  (1963) RGE XRLP 5215
• Miltinho — Eu… Miltinho
  (1963) RGE XRLP 5202
• Miltinho — Bossa & Balanço
  (1963) RGE XRLP 5221
• Miltinho — Samba + Samba = Miltinho
  (1966) Odeon MOFB 3458
• Miltinho — Miltinho é Samba
  (1961) RGE XRLP 5127
• Miltinho — Poema do Adeus
  (1961) RGE XRLP 5103
• Miltinho — Quanto Mais Samba Melhor
  (1967) Odeon MOFB 3492
• Miltinho, Sexteto Sideral — Um Nôvo Astro
  (1960) Sideral LPP 2004
• Miltinho — Poema do Olhar
  (1962) RGE XRLP 5162
• Miltinho — Poema do Fim
  (1964) Premier PRLP 1082
• Miltinho — Miltinho ao Vivo
  (1965) RGE XRLP 5281

This double-page spread of the book features the fabulous Miltinho.

Milton Santos de Almeida (*1928), enjoying an career of almost 70 years with more than 30 albums and countless singles, is one of Brazil’s most successful singers. In the forties he started performing as a percussionist and singer with popular groups like Anjos do Inferno, who supported Carmen Miranda in the U.S., and Quatro Ases e Um Coringa, which he would later join on record. In the fifties, Miltinho served as a crooner for Severino Araújo and his Orquestra Tabajara, before joining Djalma Ferreira and his Milionários do Ritmo on several albums, popularizing songs like Recado and Devaneio by Djalma Ferreira and Luis Antônio.

In 1960, Miltinho started his continuous solo career with his striking debut Um Nôvo Astro, supported by Sexteto Sideral including Jorginho (Jorge Ferreira da Silva) on alto saxophone, Celso Pereira on piano and Baden Powell on guitar. Off that album, Mulher de Trinta, written by Luis Antônio, became Miltinho’s biggest success and signature song. His second album, O Diploma de Astro, recorded with the samba schools Jaime Portela com o Ritmo da Unidos da Capela, Unidos de Vilsa Isabel, Unidos da Tijuca and Escola de Samba de Monsueto, heralded the big orchestral settings of albums to come.

In 1961, Miltinho’s landmark recording of Murmúrio was released as part of the ravishing album Miltinho, arranged and conducted by Nelsinho. The same year, Miltinho’s swinging version of Palhaçada could not top Dóris Monteiro’s recording as top song of the year, but became one his biggest hits though. In 1962, Miltinho had another remarkable success with the delightful ballad Lembranças by Raul Sampaio and Benil Santos, followed by Meu Nome é Ninguém by Luis Reis, Haroldo Barbosa and Nazareno de Brito, another song closely linked with him.

Miltinho’s solo albums with RGE from 1961 to 1965 consolidated his status as one of the top-notch samba singers in his days. In 1966, he moved to Odeon, continuously releasing albums busy as a bee. He also scored  two successful series of duet albums, first recording three albums with Elza Soares from 1967 to 1969, followed by four albums with Dóris Monteiro from 1970 to 1973.

Miltinho never really associated himself with bossa nova, sticking to all kinds of sambas, quite often loosened with wistful ballads. Then again, his pervasive voice with the nasal tone would not have been very suitable for the low-key attitude of bossa nova. The colour of his timbre is possibly not the most alluring, yet his timing, phrasing and vocalisation, backed by exquisite orchestral settings, perfectly deliver spirited performances.

Playlist Miltinho:
1. Rí (Luis Antônio) from the album Um Nôvo Astro (1960)
2. Samba com Môlho (Hélton Menezes) from the album Bossa e Balanço (1963)
3. Lembranças (Raul Sampaio – Benil Santos) from the album Miltinho é Samba (1961)
4. Sincopado Triste (Hianto de Almeida – Macedo Neto) from the album Miltinho (1961)
5. Só Vou de Balanço (João Roberto Kelly) from the album Bossa e Balanço (1963)
6. Mulher de Trinta / Recado / Menina Moça / Rí (Luis Antônio – Djalma Ferreira / Luis Antônio / Luis Antônio / Luis Antônio) from the album ao Vivo (1965)
7. Não Emplaca 61 (Monsueto – Ari Monteiro) from the album O Diploma do Astro (1960) with Escola de Samba de Monsueto
8. Meu Nome é Ninguém (Haroldo Barbosa – Luis Reis) from the album Poema do Olhar (1962)
9. Beijo na Boca / Requebre Que Eu Dou um Doce / Tem Que Ter Mulata  (Augusto Garcez – Cyro de Souza / Dorival Caymmi / Túlio Piva) from the album Elza, Miltinho e Samba (1967) with Elza Soares
10. Demais – Foi a Noite / Esquecendo Você / Ilusão a Tôa / Fotografia (Antônio Carlos Jobim – Aloysio de Oliveira / Antônio Carlos Jobim – Newton Mendonça / Antônio Carlos Jobim / Johnny Alf / Antônio Carlos Jobim) from the album Doris, Miltinho e Charme (1970) with Dóris Monteiro

The art work for Quanto Mais Samba Melhor is by Moacyr Rocha with photograph by Mafra.

The uncredited art work for Miltinho ao Vivo! was redesigned less suggestive for the 1973 reissue with a photograph first used in 1963 as inverted black and white picture for the album Bossa & Balanço.

The art work for Samba + Samba = Miltinho is by Moacyr Rocha with photograph by Mafra.

The 1971 release Samba em Tú is the reissue ofthe 1961 album Miltinho.

The art work for the Premiere issue of Poema do Fim is by Nicolau. The RGE issue shows photographs from the photo session used several times, for example for the back cover of Miltinho ao Vivo!.

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• Luiz Loy — Balanço Pra’ Frente
  (1968) London/Odeon LLB 1042
• Aristides Santos — Naquele Abanço
  (196?) Tema TM-2.002
• Luizinho — Chorando Baixinho
  (1972) AMC LP 5122
• Sebastião Tapajós — Sebastião Tapajós e Sua Guitarra Cósmica
  (1969) Forma VDL 114
• Beagá Band’s — Legal!
  (196?) Paladium PAL 204
• Samba 5 — Moderninho
  (1970) Tropicana TRO 3031
• Ed Maciel — Na Onda Vol. 3
  (1967) London/Odeon LLB 1022
• Milton Banana — Milton Banana Trio
  (1970) MOFB 3635
• Som Nove — Som Nove
  (1968) Ritmos/Codil CDL 13010
• Lincoln Olivetti — Hit Parade N^o. 1
  (1970) Musidisc Hi-Fi 7551
• Garra Brasileira — Sucessos Contagiantes em Ritmo de Samba
  (1974) Som Livre 403.6038
• Ed Maciel — Superstereo
  (1974) Copacabana COLP 11774
• J. T. Meirelles — Brazilian Beat Vol. 2
  (1967) London/Odeon LLB 1029
• J.T. Meirelles — Brazilian Beat Vol. 4
  (1969) London/Odeon LLB 1059
• Vox Populi — Vox Populi
  (1967) Musidisc Hi-Fi 2213
• Os Populares — Os Populares
  (1967) RCA Victor BBL 1410

This double-page spread from the book features one-time project Som Nove and musical all-rounder J.T. Meirelles.

Som Nove was a studio group by arranger and saxophonist Kuntz Naegele (*1931) with himself on alto saxophone, Moacyr Marques ‘Bijú’ on tenor saxophone, Alberto Viana Gonçalves on baritone saxophone, Wagner Naegele on cornet and flute, Luis Cândido da Costa ‘Pirulito’ on trumpet, Macaé on trombone, Miguel Cidrás on piano, Luis Marinho on bass and Durval dos Reis ‘Reizinho’ on drums. The nine-piece band recorded just one album, the self-titled Som Nove of 1968, featuring swinging renditions of  contemporary hits by Adylson Godoy, Moacir Santos, Chico Buarque and others.

Playlist Som Nove:
1. Sou Sem Paz (Adylson Godoy) from the album Som Nove (1968)
2. Amanhã (Walter Santos – Tereza Souza) from the album Som Nove (1968)
3. Samba Pro Pedrinho (Walter Santos) from the album Som Nove (1968)

The vibrant art work for Som Nove is by Joselito with photograph by Mafra.

The art work for Sebastião Tapajós e Sua Guitarra Cósmica is by Lincoln with photograph by Gaúcho.

The art work for Milton Banana Trio is by Moacyr Rocha with photograph by Tama Sigulda.

The art work for Os Populares is by Joselito with photograph by Mafra.

João Theodoro Meirelles (1940-2008), better known as J.T. Meirelles or simply Meirelles, was a true all-rounder playing the saxophone and the flute but also working as an arranger, an orchestra leader, a producer and a music teacher. He started his musical education at the age of eight, and later studied composition and arrangement at the Berklee School of Music in Boston. At 17, his career took off as a soloist for João Donato and Luiz Loy. In 1962, he spent some time in the U.S. recording the album Cool Samba with the alias João & His Bossa Kings. Back to Brazil in 1963, he arranged the original version of Mas Que Nada by Jorge Ben which not only became the number one song of that year in Brazil but internationally one of the most famous songs associated with Brazilian pop music. This success earned J.T. Meirelles a contract with Philips where he recorded his first solo album, entitled O Som, a landmark of samba jazz, with his group Os Copa 5 consisting of Luis Carlos Vinhas  on piano, Pedro Paulo on trumpet, Manoel Gusmão on bass and Dom Um Romão on drums. For the equally excellent follow-up in 1964, entitled O Nôvo Som, Os Copa 5 was reformed with Eumir Deodato on piano, Roberto Menescal and Waltel Branco on guitar, Manoel Gusmão on bass and Édison Machado on drums.

From 1965 to 1975 J.T. Meirelles moved to Odeon, mainly working as arranger, producer and orchestra leader. In 1969 he formed Os Copa 7 with Dom Salvador on piano, Juarez Araújo on tenor sax, Maurílio Santos on trumpet, Sérgio Barroso on bass, Robertinho Silva on drums and Chico Batera, Helcio Milito, Jorge Arena, Luna and Pedro dos Santos on percussion, recording the album Tropical.

J.T. Meirelles participated in famous outfits like Os Cobras, Os Gatos, and Waltel Branco’s project on Mancini Também é Samba. In concerts he worked as arranger, conductor and producer with countless major artists such as Sylvia Telles, Agostinho dos Santos, Leny Andrade, Tito Madi, Dóris Monteiro and Geraldo Vandré.

Playlist J.T. Meirelles:
1. Solo (João Theodoro Meirelles) from the album O Novo Som (1964) with Os Copa 5
2. Solitude (João Theodoro Meirelles) from the album O Som (1963) with Os Copa 5
3. Batucada (Luiz Bonfá) from the album Cool Samba (1962) as João & His Bossa Kings
4. Contemplação (João Theodoro Meirelles) from the album O Som (1963) with Os Copa 5
5. Fuego (Donald Byrd) from the album Tropical (1969) with Os Copa 7
6. Você (Roberto Menescal – Ronaldo Bôscoli) from the album O Novo Som (1964) with Os Copa 5
7. Quintessência (João Theodoro Meirelles) from the album O Som (1963) with Os Copa 5

The art work for Brazilian Beat Vol. 2 and Brazilian Beat Vol. 4 is uncredited.

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Credits or no credits, enjoy the cool combination of Dóris Monteiro and Walter Wanderley resulting in these songs:

01. Samba de Verão (Marcos Valle / Paulo Sergio Valle)
02. Dois Peixinhos (Durval Ferreira / Luis Fernando Freire)
03. Baiãozinho (Eumir Deodato)
04. Vou de Samba Com Você (João Mello)
05. Deus Brasileiro (Marcos Valle / Paulo Sergio Valle)
06. Diz Que Fui Por Aí (Zé Keti / Hortêncio Rocha)
07. Vivendo de Ilusão (Durval Ferreira / Orlando Henriques)
08. Falaram Tanto de Você (Durval Ferreira / Orlandivo)
09. Sambou Sambou (João Donato / João Mello)
10. E Vem o Sol (Marcos Valle / Paulo Sergio Valle)
11. Razão do Amor (Marcos Valle / Paulo Sergio Valle)
12. Verdade Em Paz (Durval Ferreira / Pedro Camargo)

LINK
or
ANOTHER ONE

01. Fiz o Bobão (Haroldo Barbosa / Luis Reis)
02. Canção de Sentir Saudade (Durval Ferreira / Orlando Henriques)
03. Em Tom de Sofrer (Armando Cavalcanti / Victor Freire)
04. Passaporte Pra Titia (João Roberto Kelly)
05. Hora de Nós Dois (Armando Cavalcanti / Victor Freire)
06. Sei Lá (James Levi)
07. Balada de Um Dia de Sol (Armando Cavalcanti / Victor Freire)
08. Palhaçada (Haroldo Barbosa / Luis Reis)
09. Coração Só Faz Bater (João Mello)
10. O Menino Desce o Morro (Vera Brasil / De Rosa)
11. Pinta de Satanás (Marília Batista)
12. Tempos Modernos (João Roberto Kelly)

TEMPOS MODERNOS
or
MÚSICA ANTIGA

Créditos: Zecalouro

Enjoy:

1. Geraldinos e Arquibaldos (Gonzaguinha)
2. Massa Falida (Jésus Rocha / Fernando Rocha)
3. Dificilmente (Paulinho Soares)
4. Malvadez (Berimbau)

BLACK & WHITE
or
BROWN & BLUE

Créditos: Zecalouro

• Caçulinha — Samba’ação
  (1965) Continental PPL 12192
• Zito Righi, Pedrinho Rodrigues, Sylvio Cézar, Toni Vestane, Francineth — Sax de Ouro
  (1961) Musidisc XPL-15
• Djalma Ferreira & Seus Milionários do Ritmo, Miltinho — Drink no Rio de Janeiro
  (1959) Discos Drink DF-LPA-13.005
• Djalma Ferreira & Seus Milionários do Ritmo, Luís Bandeira — Convite ao Drink
  (1960) Discos Drink LP-DF-13.006
• Djalma Ferreira & Seus Milionários do Ritmo, Miltinho — Drink
  (1958) Discos Drink LPP-DF-13.001
• Djalma Ferreira & Seus Milionários do Ritmo — Depois do Drink
  (1959) Discos Drink DF-LPP-13.004

This double page spread from the book features some extravagant gatefold sleeves unequalled in Brazil in their time.

Djalma Neves Ferreira (1913-2004) was a pianist and composer who disliked the theory of sheet music and staves. Nonetheless he wrote a number of very popular compositions like Cheiro de Saudade,  Samba no Perroquet, Devaneio and Lamento which rapidly became standards. His song Recado became a favourite of hepcats like Hank Mobley, the Modern Jazz Quartet and Lalo Schifrin.

He started to study piano and violin at the age of twelve. In 1936 he made his first recording, and in 1944, after years of travelling the nightclub circuit in several South American countries, he formed Os Milionários do Ritmo. The outfit with varying members was Djalma Ferreira’s backing group on all of his eleven albums from 1953 to 1960 which featured guest singers like Jair Rodrigues, Helena de Lima, Luiz Bandeira and Miltinho.

Djalma Ferreira founded his own record label Discos Drink which released all of his albums until 1960 and some for Mirian Presley and Araken Peixoto. In addition he was the owner of the nightclub Drink in Rio de Janeiro with the aptly titled house band Conjunto Drink. In 1963 Djalma Ferreira leased the nightclub to Cauby Peixoto, relocated to the U.S. to perform in Las Vegas, and started a collaboration with the composer, producer and jazz critic Leonard Feather.

Djalma Ferreira’s trademark instruments were the solovox and the Hammond B3 organ. In 1958, when Ed Lincoln was bass player with the Milionários do Ritmo, Djalma Ferreira was wounded by a gunshot caused by a business rivalry. Unexpectedly, Ed Lincoln was instructed to play the organ within a few hours to fill in for Ferreira. Prior to the accident, Ed Lincoln wasn’t even allowed to touch Ferreira’s B3 though he was interested to learn. After this, the Hammond organ became Ed Lincoln’s favourite instrument, and the one which brought him to fame.

Playlist Djalma Ferreira:
1. Devaneio (Djalma Ferreira – Luis Antônio) from the album Drink no Rio de Janeiro (1959) with Miltinho
2. Volta (Djalma Ferreira – Luiz Bandeira) from the album Convite ao Drink (1960) with Luiz Bandeira
3. Recado (Djalma Ferreira – Luis Antônio) from the album Drink no Rio de Janeiro (1959)
4. Lamento (Djalma Ferreira – Luis Antônio) from the album Drink (1958) with Miltinho
5. Samba no Perroquet (Djalma Ferreira) from the album Parada de Dança No. 1 (1953)

Among his numerous compositions, the fabulous Murmúrio is one of the most notable. Penned with Luis Antônio, the song was originally recorded on the album Convite ao Drink, featuring Luiz Bandeira crooning just two lines in front of a chorus. Murmúrio was covered more than 45 times, including versions by Maysa, Cauby Peixoto, Erlon Chaves, Elis Regina and Miltinho who scored one of his biggest hits with this tune.

Playlist Murmúrio:
1. Djalma Ferreira from the album Convite ao Drink (1960) with Luiz Bandeira
2. Miltinho from the album Miltinho (1961)
3. Izio Gross from the album Isto é Bossa (1964)

Discos Drink applied a very unique and stylish art work to its covers. Some albums were produced with lavish gatefold sleeves to open in the centre. Although the design is very consistent, the art work was created by several graphic designers.

The art work for Drink is uncredited.

The art work for Depois do Drink is by Frama with an uncredited photograph.

The art work for Convite ao Drink with various colour settings is by Joselito with photograph by Mafra.

The art work for Drink no Rio de Janeiro, issued with two different layouts, is uncredited.

Zito Righi’s biography is hardly detectable, except for the fact that he shared the alias of Bob Fleming with Moacyr Silva. Actually only the first two Bob Fleming albums can be verified as genuine Moacyr Silva recordings. It’s hard to tell who’s playing the sax on the subsequent eighteen albums with that name on the cover although it’s rumoured that all of them feature Zito Righi. Apparently neither one of the musicians ever made a contribution to clarify the guessing.

Zito Righi extensively played concert halls and nightclubs, and released four albums under his name: Sax de Ouro in 1961, The Song is You in 1962, Ribamar & Zito Righi in 1963, and Alucinolandia in 1968. A tenor sax player with a coaxing tone, Zito Righi invited singers Pedrinho Rodrigues, Sylvio Cézar, Toni Vestane and Francineth to join him on his debut album Sax de Ouro.

Playlist Zito Righi:
1. Sim Ou Não (Zito Righi) from the album Ribamar & Zito Righi (1963)
2. Não Diga Nada – Eu Não Sei Me Repetir (Carlito – Noacy de Marcenes – Jota Santos – Herondino Silva) from the album Sax de Ouro (1961)
3. Deep Purple (Peter DeRose) from the album Este é Bob Fleming (1961)
4. Toma Lá Dá Cá (Toni Vestane) from the album Sax de Ouro (1961) with Toni Vestane
5. Misty (Erroll Garner – Johnny Burke) from the album The Song is You (1962)

The art work for Sax de Ouro is uncredited.

Caçulinha is the stage name of Rubens Antônio da Silva (*1940), a multi-instrumentalist and composer. At the age of eight he started with the accordion, which remained his trademark instrument, and later completed his skills with piano and organ amongst others. Caçulinha recorded with a wide range of artists such as Elizete Cardoso, Cyro Monteiro, Dóris Monteiro and Miltinho and was an exclusive on the TV program O Fino da Bossa hosted by Elis Regina and Jair Rodrigues.

Playlist Caçulinha:
1. Vivo Sonhando (Antônio Carlos Jobim) from the album Samba’ação (1965)
2. Faceira (Ary Barroso) from the album Samba’ação (1965)

The art work for Samba’ação is by Antônio Melero ‘Antoninho’.

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• Os Empolgados — Samba de Empolgação
  (1966) Spot 33003
• Quinteto Romântico — Bastante Íntimo
  (196?) Spot 33004
• Conjunto Gemini — Na Base do Balanço
  (1965) Spot 33007
• Juarez Sant’ana — Muito Legal
  (1965) Equipe EQ 809
• Conjunto Castelinho — Os Donos da Bossa
  (1964) Spot 33002
• Conjunto Castelinho — Os Donos da Bossa Vol. 2
  (1965) Spot 33006
• Raul de Souza, Sambalanço Trio — À Vontade Mesmo
  (1965) RCA Victor BBL 1307
• Papudinho, Carlos Piper — Um Piston Bossa Nova
  (1963) Philips P 632.157 L
• Luis Carlos Vinhas — Novas Estruturas
  (1964) Forma FM-2
• Bossa 4 — Repeteco
  (1967) Equipe EQ 815
• Carlos Piper — O Som Espetacular da Orquestra de Carlos Piper
  (1965) Continental PPL 12196
• Chico Feitosa, Oscar Castro Neves — Chico Fim de Noite Apresenta Chico Feitosa
  (1965) Forma FM-7

This double page spread from the book shows some distinctive art work for albums of non-distinctive content as well as one of the finest trombonists and a fine singer-songwriter.

Apparently, aliases happened to be quite popular in Brazil, being used by a number of musicians to record different styles or repertoires. Taking it to extremes, the label Spot released a few albums in the mid-sixties which were actually re-releasses of original albums with new titles and new artist names.

Quinteto Romântico’s Bastante Íntimo is originally Duas Faces de Amor by Ribamar which was reissued as Nosso Encontro de Amor:

Os Empolgados’ Samba de Empolgação is originally Samba Nova Concepção by Eumir Deodato and Neco:

Conjunto Gemini’s Na Base do Balanço is originally Samba Na Onda by Miguel Angel:

Conjunto Castelinho’s Os Donos da Bossa is originally Impuls O! by Eumir Deodato & Os Catedráticos:

Conjunto Castelinho’s Os Donos da Bossa Vol. 2 is originally Tremendão by Eumir Deodato & Os Catedráticos:

But for all that confusion Spot consistently applied remarkable art work to its records, sometimes with various covers as for Quinteto Romântico, even though the designers are unidentified.

João José Pereira de Souza (*1934), initially known as ‘Raulzinho’ before changing his name to Raul de Souza, is critically acclaimed as one of the world’s best trombonists with a career that spans more than 50 years.

At the age of 16 he played in a band of a textile factory, and after touring the night club circuit he cut his first recording as a member of Turma da Gafieira. From 1958 to 1963 he joined the air force to become an orchestra leader there. In 1963, Raul de Souza took part in the legendary album Você Ainda Não Ouviu Nada by Sérgio Mendes with whom he toured the US. The following year Raul de Souza was part of Os Cobras (not to be confused with the 1960 outfit) on their album O LP and in 1965 he participated in Tremendão, the second album by Eumir Deodato’s Os Catedráticos. Raul de Souza was a renowned session player on numerous recordings for José Roberto Bertrami, Quarteto em Cy, Airto Moreira, Flora Purim and many others. He later went to the US to enjoy a successful international career, playing with the likes of Sarah Vaughan, Cal Tjader and Sonny Rollins. Besides he invented the ‘Souzabone’, an electric trombone with four valves.

Raul de Souza cut only two solo albums in the sixties, in 1965 his splendid debut À Vontade Mesmo with Sambalanço Trio, a true classic of Hard Bossa, and in 1969 International Hot with his own outfit Impacto 8.

Playlist Raul de Souza:
1. Primavera (Carlos Lyra – Vinícius de Moraes) from the album À Vontade Mesmo (1965)
2. Você e Eu (Carlos Lyra – Vinícius de Moraes) from the album À Vontade Mesmo (1965)
3. Samba do Avião (Antônio Carlos Jobim) from the album À Vontade Mesmo (1965)
4. À Vontade Mesmo (Raul de Souza) from the album À Vontade Mesmo (1965)
5. Boogaloo Bill Nº 2 (Bill Vogel) from the album International Hot (1969) as Raulzinho & Impacto 8

The art work for À Vontade Mesmo is by Tide Hellmeister.

The art work for Um Piston Bossa Nova is by Paulo Brèves.

The painting for Novas Estruturas is by Patrícia Tattersfield.

The art work for O Som Espetacular da Orquestra de Carlos Piper is by Paulo Brèves.

Liborio Feitosa Francisco (*1935), better known as Chico Feitosa is a guitarist, composer and vocalist. He started as a secretary for Vinícius de Moraes in 1956, for whom he also was assistant producer for the stage version of Orfeu da Conceição. While working as journalist and composer the following years, Chico Feitosa had only a few appearances as a musician including one at the famous ‘Bossa Nova at Carnegie Hall’ concert. Some of his compositions like Fim de Noite, Abandono, Complicação and O Amor Que Acabou became bossa nova standards being covered by artists such as Dóris Monteiro, Maysa, Tamba Trio, Juarez Araújo and Leny Andrade.

His 1965 album Chico Fim de Noite Apresenta Chico Feitosa, with its title referring to his nickname ‘Late Night Chico’, was his only solo effort. The somewhat limited yet appealing voice is embedded in exquisite orchestrations by Oscar Castro Neves.

Playlist Chico de Feitosa:
1. Caminho (Chico Feitosa – Marcos Vasconcellos) from the album Chico Fim de Noite Apresenta Chico Feitosa (1965)
2. O Amor Que Acabou (Chico Feitosa – Luis Fernando Freire) from the album Chico Fim de Noite Apresenta Chico Feitosa (1965)
3. Abandono (Chico Feitosa – Marcos Vasconcellos) from the album Chico Fim de Noite Apresenta Chico Feitosa (1965)

The art work for Chico Fim de Noite Apresenta Chico Feitosa is by Wadi Gebara Neto.

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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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Um grande Abraço a Doris e Ricardo Jr.

“Qual é nosso próximo candidato, miss Mary?”
“É o Roberval da Silva.”
“E de quem ele vai fazer uma cópia?”
“Roberval vai fazer uma cópia de Orlando Silva.”

Era mais ou menos assim que os calouros eram apresentados por Renato Murce e sua assistente, “miss Mary”, que nunca cheguei a saber quem era e se copiava alguém. O nome do programa era Papel Carbono, ia ao ar aos domingos de noite na PRE-8, Rádio Nacional, nos cada vez mais idos da década dos 40.

Era uma produção de Renato Murce, radialista veterano, responsável ainda por outro sucesso dominical na mesma Nacional, no mesmo domingo: Piadas do Manduca, um antecedente da Escolinha da Professor Raymundo. Renato Murce deixou registrado para sempre na história de nosso (arrã!) “sem fio” um número beirando o infindo de produções. Assim de estalo, sem googlar nada, me lembro também de Alma do Sertão. E que Renato Murce foi casado com Eliana, a nossa vedete dos filmes da Atlântida.

O nome do programa é a única implicância que eu tinha, e ainda tenho um pouco, para ser franco. Papel Carbono. Fica parecendo que os aspirantes à fama eram obrigados a imitar alguém. Nada disso. Simples bolação meio mal bolada apenas. Os calouros chegavam e mandavam sua brasa. Se é que a tinham. Para ficar num lugar-comum, pode-se dizer, sem medo de errar, que Papel Carbono foi um “celeiro de astros”. Atenção para alguns dos nomes que se apresentaram pela primeira vez no danado do programa do bom Murce. E aí, sim, eu googlei. Vamos lá. Ângela Maria, Os Cariocas, Doris Monteiro, Agnaldo Rayol, Roberto Carlos, Baden Powell e por aí afora. Só para dar uma ideia.

Leia o artigo completo clicando aqui.

1. Sábado em Copacabana – Claudette Soares
2. Canção de amor – Claudette Soares
3. Unforgettable – Cláudio Pinheiro
4. Ave Maria – Claudette Soares
5. Não tem solução – Cláudio Pinheiro
6. Três apitos / Pra que mentir / Com que roupa – Claudette Soares
7. Se você se importasse – Dóris Monteiro
8. Because of you – Cláudio Pinheiro
9. Vingança – Claudette Soares
10. Dez anos – Claudette Soares
11. Em flor (Too young) – Claudette Soares / Cláudio Pinheiro
12. Confetti / Retrato do velho / Zum zum / Sassaricando / Estrela do mar – Garganta Profunda

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3. Sei Lá (James Levi)
4. Tempos Modernos (João Roberto Kelly)

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2. Para Nao Sofrer – Angela Maria
3. Cigarro sem Baton – Doris Monteiro
4. Cançao Da Volta – Elizeth Cardoso
5. Bom Dia Tristeza – Helena de Lima
6. Poema do Coraçao – Angela Maria
7. Do-re-mi – Doris Monteiro
8. Se O Tempo Entendesse – Elizeth Cardoso
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11. Nem Sol Nem Paz Nem Voce – Doris Monteiro
12. Só você…Mais Nada – Elizeth Cardoso

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