No. 8 — Pages 10–11: Édison Machado | Dom Um Romão | Orquestra Los Danseros

• Édison Machado — Édison Machado é Samba Novo
  (1964) CBS 37337
• Dom Um Romão — Dom Um
  (1964) Philips P 632.713 L
• Dom Um Romão — Dom Um Romão
  (1974) Muse Records MR 5013
• Os Catedráticos — Ataque
  (1965) Equipe EQ 810
• Os Catedráticos — Tremendão
  (1965) Equipe EQ 806
• Eumir Deodato & Neco — Samba Nova Concepção
  (1963) Equipe 803
• Orquestra Los Danseros — Los Danseros en Bolero
  (1964) Equipe 801
• Eumir Deodato — Idéias
  (1964) Odeon MOFB 3394

This double page spread of the book features artwork for two ingenious drummers whose solo albums are among the most memorable made in Brazil in the sixties.

Édison Machado (1936–1990), who invented the ‘samba no prato’, the samba using cymbals on the drum kit, was one of Brazil’s most outstanding drummers. Being also one of the most active and innovative ones, he early on embarked on the new style of samba, the bossa nova, setting new standards for drummers to come.

He was part of several one-time and recurring groups. In 1957, he took part on both albums of the highly original all-star group Turma da Gafieira with Cipó, Altamiro Carrilho, Zé Bodega, Raul de Souza, Jorge Marinho, Baden Powell and Sivuca. Machado’s excellent trio Bossa Três, formed in 1963 with Luis Carlos Vinhas on piano and Sebastião Neto on bass, was the first bossa nova combo to gain international success, recording the album Jazz Tempo, Latin Accents! with Clifford Jordan and Sonny Simmons, and appearing on the Ed Sullivan Show. The same year, Bossa Três recorded a beautiful collaboration album with French accordionist Joss Baselli aka Jo Basile, and Machado participated on the trendsetting album Você Ainda Não Ouviu Nada by Sérgio Mendes. The following year, Machado was part of the one-time outfit Turma do Bom Balanço. In 1965, he formed the memorable Rio 65 Trio with Dom Salvador on piano and Sérgio Barroso on bass. Machado’s impressive drumming can be heard on numerous albums, often supporting debut recordings of artists like Izio Gross, Luiz Henrique and Johnny Alf.

Machado recorded just one album as a soloist in the sixties, the magnificent Édison Machado é Samba Nôvo in 1964, with Tenório Jr. on piano, Paulo Moura on alto saxophone, J.T. Meirelles on tenor saxophone, Pedro Paulo on trumpet, Ed Maciel on trombone, Raul de Souza on valve trombone and Sebastião Neto on bass. After two more albums with his Édison Machado Quarteto, Obras in 1970, and Obras 2 in 1971, he seemed to be almost forgotten in Brazil during the seventies, playing Europe and the US instead.

Playlist Édison Machado:
1. Só Por Amor (Baden Powell – Vinícius de Moraes) from the album Édison Machado é Samba Nôvo (1964)
2. O Morro Não Tem Vez (Antônio Carlos Jobim – Vinícius de Moraes) from the album Em Forma (1965) by Bossa Três
3. Dançando e Balançando (Wagner Brandão Naegele) from album Isto é Bossa (1964) by Izio Gross
4. Você e Eu (Carlos Lyra – Vinícius de Moraes) from the album Bossa Três & Jo Basile (1963) by Bossa Três and Jo Basile
5. Solo (João Theodoro Meirelles) from the album Édison Machado é Samba Nôvo (1964)
6. Intenção (Onde Está Você) (Tufic Lauar – Nelson de Morais – Alcides Evangelista de Mendonça) from the album Samba em Hi-Fi (1957) by Turma da Gafieira

The artwork for Édison Machado é Samba Novo with photograph by Paulo Góes.

---

Dom Um Romão (1925–2005), another most excellent drummer, learned the drum kit from his father who was of African descent. In 1957, Romão was part of Orquestra do Sindicato dos Músicos Profissionais do Rio de Janeiro on the group’s second album Orquestra de Danças. In 1958, he was part of the influential Canção do Amor Demais by Elizeth Cardoso, considered by some as the very first album with the bossa nova tinge due to João Gilberto’s guitar play on two of the songs. In 1962, Romão was part of Sérgios Mendes’s group performing the legendary ‘Bossa Nova at Carnegie Hall’ concert. The same year, Romão recorded Cannonball’s Bossa Nova with Julian ‘Cannonball’ Adderley as part of Sérgio Mendes’ Bossa Rio Sextet.

The following years he joined Os Catedráticos and in 1965, he went to the US to work with Stan Getz and Tony Bennett. There, Romão also recorded with João Donato on his album The New Sound of Brazil, arranged and conducted by Claus Ogerman, before becoming the drummer with Sérgio Mendes’ famous Brasil ’66. In 1967, Romão set the beats on the legendary album Francis Albert Sinatra & Antônio Carlos Jobim, yet again arranged and conducted by Claus Ogerman.

Like Édison Machado, Dom Um Romão released only one album as a soloist during the sixties, the exquisite Dom Um in 1964, with an impressive cast of 20 musicians including Moacyr Marques ‘Biju’, Paulo Moura, Cipó and Juarez Araújo on tenor saxophone, Maxaceira on bass trombone, Maurílio da Silva Santos on trumpet and Rubens Bassini on percussion.

In the seventies, Romão came up with two more solo albums, Dom Um Romão in 1974 and Hotmosphere in 1976, before being noted for his expressive stylings with fusion bands. He completed his discography from the mid-nineties onwards with three more albums at the age of 70+.

Playlist Dom Um Romão:
1. Zona Sul (Luiz Henrique – A. Soares) from the album Dom Um (1964)
2. Family Talk (Berimbav – Blanchris – Dom Um Romão) from the album Dom Um Romão (1973)
3. How Insensitive (Insensatez) (Antônio Carlos Jobim – Vinícius de Moraes) from the album Francis Albert Sinatra & Antônio Carlos Jobim (1967) by Frank Sinatra and Antônio Carlos Jobim
4. Jangal (Orlandivo – Rubens Bassini) from the album Dom Um (1964)
5. Samba com Môlho (Hélton Menezes) from the abum Lição de Balanço by Lição de Balanço (1964)
6. My Manne Shelly (Henry Mancini) from the album Tremendão (1965) by Eumir Deodato & Os Catedráticos

The stellar art work for Dom Um is by Eddie Moyna with photograph by Francisco Pereira. The 1995 reissue showed the same negative image with yellow background while the 2004 reissue showed the positive image with black background.

  

   

---

The artwork for Ataque and Tremendão by Os Catedráticos and Samba Nova Concepção by Eumir Deodato and Neco is by Maurício. For the reissues with different artwork and artist names see → No. 6.

   

    

   

Eumir Deodato as a soloist is featured in → No. 37 but the uncredited artwork for Idéias has to be showcased here in its full glory as it is one of the finest.

---

However, Eumir Deodato is featured here with one of his several alias projects: Orquestra Los Danseros, a one-time studio session with Maurílio da Silva Santos and Julinho Barbosa on cornet, Geraldo Vespar and Neco on guitar, J.T. Meirelles on flute, Gabriel Bezerra on bass, Wilson das Neves on drums, and Rubens Bassini, Humberto Garin and Jorge Gomes de Resende on percussion, arranged and conducted by Eumir Deodato who is also on piano and organ.

The album was reissued twice in 1968, as Amor, Sonho e Bolero credited to Orquestra Don Camacho and as The Sound of Midnight credited to The Midnight Orchestra, the latter giving a proper impression of the mostly international repertoire served with sparkling strings and lush orchestrations.

Playlist Orquestra Los Danseros:
1. Fly Me to the Moon – Our Day Will Come (Bart Howard – Bob Hilliard – Mort Garson) from the album Los Danseros en Bolero (1964)

The low-keyed expression of the artwork by Maurício delusively understates the luscious sound of Los Danseros en Bolero.

Los Danseros en Bolero was re-released by Spot in 1968 as Amor, Sonho e Bolero credited to Orquestra Don Camacho, and in 1969 as The Sound of the Night credited to The Midnight Orchestra with artwork by Joselito.

   

top