- Os Empolgados — Samba de Empolgação
(1966) Spot 33003
- Quinteto Romântico — Bastante Íntimo
(1965) 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-reissues 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 also 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 Repeteco is by Maurício.
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 (1935-2004), better known as Chico Feitosa was 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. His somewhat limited yet appealing voice is embedded in exquisite orchestrations by Oscar Castro Neves.
Playlist Chico 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 the gatefold sleeve of Chico Fim de Noite Apresenta Chico Feitosa is by Wadi Gebara Neto.