- 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 aka 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 US, 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.
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 50th 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.