No. 2 — Pages 130-131: Sylvia Telles | Mário Albanese

  • Mário Albanese — Insônia
    (1959) Odeon MOFB 3111
  • Carlos Monteiro de Souza — Metais em Brasa na Bossa Bossa Nova
    (1963) Philips P 632.134 L
  • Sylvia Telles — Silvia
    (1958) Odeon MOFB 3034
  • Portinho — Fogo Nos Metais
    (1963) Philips P 632.138 L


This double page spread from the book features one of the most intruiging covers, created for Sylvia Telles’ second album Silvia.

Among the singers of her time Sylvia Telles (1934-1966) was unparalleled in several ways. Enjoying a high-flying career since her debut in 1955, she successfully changed genres to become one of the iconic singers of the bossa nova movement.

She wanted to be a ballet dancer, as illustrated on the cover of her debut album Carícia (1957), but she soon discovered her talent as a singer. By the mid-fifties she had a short relationship with João Gilberto during the time he went through a depression. She left him for José Candido ‘Candinho’, and together they hosted a television program with guest musicians such as Dolores Duran, Antônio Carlos Jobim and Johnny Alf.

In 1957, she released the single Foi a Noite b/w Menina, considered a  precursor of the looming bossa nova. In 1959, after two critically acclaimed albums, her third one, Amor de Gente Moça – Músicas de Antônio Carlos Jobim, arranged and conducted by Osvaldo Borba, finally established her as one of Brazil’s major singers. The album included the ballad Dindi which was written for her by Antônio Carlos Jobim and became an instant classic. In 1961, she travelled to the US to record with Barney Kessel and Joe Mondragon. In 1963, she married Aloysio de Oliveira, the successful producer and founder of Elenco.

After a string of nine albums and 18 singles, Sylvia Telles was killed in a car accident at the age of 32 with her boyfriend Horacio de Carvalho Filho, while preparing her second journey to the US. Her album Sylvia Telles Sings the Wonderful Songs of Antônio Carlos Jobim aka The Music of Mr. Jobim, her second tribute to the composer, was released posthumously.

Sylvia Telles is considered as one of the best and most talented interpreters of modern Brazilian music, and apart from that she is definitely one of the most versatile and affective.

Playlist Sylvia Telles:
1. Quero-te Assim (Tito Madi) from the album Silvia (1958)
2. Se é Tarde Me Perdoa (Carlos Lyra – Ronaldo Bôscoli) from the album Amor em Hi-Fi (1960)
3. A Felicidade (Antônio Carlos Jobim – Vinícius de Moraes) from the album Amor de Gente Moça – Músicas de Antônio Carlos Jobim (1959)
4. Vivo Sonhando (Antônio Carlos Jobim) from the album Sylvia Telles Sings The Wonderful Songs Of Antônio Carlos Jobim a.k.a. The Music of Mr. Jobim (1965)
5. Você e Eu (Carlos Lyra – Vinícius de Moraes) from the album Reencontro (1966) with Tamba Trio
6. Ilusão a Tôa (Johnny Alf) from the album Bossa, Balanço, Balada (1963)
7. Chove Lá Fora (Tito Madi) from the album Carícia (1957)
8. Canção Que Morre no Ar (Carlos Lyra – Ronaldo Bôscoli) from the album Sylvia Telles U.S.A. (1961) with Calvin Jackson on piano
9. Sol da Meia-noite (Midnight Sun) (Lionel Hampton – Sonny Burke – Johnny Mercer) from the album Bossa, Balanço, Balada (1963)
10. Só em Teus Braços (Antônio Carlos Jobim) from the album Amor em Hi-Fi (1960)

Sylvia Telles performing Samba Torto and Samba de Uma Nota Só on the German TV show Folklore Der Welt: Bossa Nova do Brasil (1966), with Don Salvador on piano, João Theodoro Meirelles on flute, Rosinha de Valença on guitar, Sérgio Barroso on bass, Chico Batera on drums and Rubens Bassini on pandeiro

Almost all of Sylvia Telles’ original covers are very attractive. The brilliant art work for Silvia is unidentified.

Sylvia Telles — Silvia (a)

The art work for Metais em Brasa na Bossa Bossa Nova is by Paulo Brèves with photograph by Mafra.

    Carlos Monteiro de Souza — Metais em Brasa na Bossa Bossa Nova (b)

The art work for Fogo Nos Metais is by Carlos Cunha.


Mário Albanese (*1931), a pianist and composer who also worked as a journalist and lawyer, is most likely known for creating the Jequibáu. Together with Cyro Pereira, his partner on most of his compositions, Mário Albanese created this rhythm based on a 5/4 tempo influenced by Brazilian folklore, which enjoyed only temporary success in the mid-sixties, mainly outside of Brazil.

Playlist Mário Albanese:
1. No Balanço do Jequibáu (Mário Albanese – Cyro Perreira) from the album Jequibáu (1966)
2. Rimas de Ninguém (Vera Brasil) from the album Coisas de Amor (1962)
2. Tarde Quente (Mário Albanese – Cyro Perreira) from the album Jequibáu (1966)

One of his best known songs is Insônia, introduced by Elza Laranjeira in 1957 as the b-side on her single Dois Olhos Azuis. Insônia was recorded several times, sometimes in rather eccentric arrangements, by artists such as Paolo Mezzaroma, Osmar Milani, Roberto Inglez, Isaura Garcia, Cauby Peixoto and Luis Arruda Paes, before Mário Albanese took his own version in a more intimate instrumentation as the title track for his debut album. In 1962 he re-recorded the song heavily orchestrated with chorus for his second album Coisas de Amor.

Playlist Insônia:
1. Elza Laranjeira from the single Depois Olhos Azuis b/w Insônia (1957)
2. Cauby Peixoto from the album Nosso Amigo Cauby (1958)
3. Mário Albanese from the album Insônia (1959)
4. Mário Albanese from the album Coisas de Amor (1962)

Élcio Alvarez’ arrangements of Ausencia and Coisas de Amor, written by Mário Albanese and Jorge Duarte, for Mário Albanese’s 1962 album Coisas de Amor are a telling example for reutilization as the audio tracks were used again on two singles by Renato Guimarães the following year.

Playlist Coisas de Amor:
1. Mário Albanese from the album Coisas de Amor (1962)
2. Renato Guimarães from the single Coisas de Amor b/w Poema da Solidão (1963)

The art work for Insônia, splendidly illustrating the title’s meaning of sleepnessness, is by César G. Villela, who later created the state-of-the-art designs for Elenco. The photograph is by Francisco Pereira.



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