No. 27 — Pages 34-35: Pedrinho Mattar | Rio 65 Trio

  • Rio 65 Trio — Rio 65 Trio
    (1965) Philips P 632.749 L
  • João Gilberto — O Amor, O Sorriso e a Flor
    (1960) Odeon MOFB 3151
  • Pedrinho Mattar — Pedrinho Mattar Trio No. 3
    (1965) Farroupilha LPFA-405
  • Celinho — O Rapaz do Piston
    (196?) Equipe EQ 812
  • Eumir Deodato & Os Catedráticos — Impulso!
    (1964) Equipe EQ 802
  • Tamba Trio — Tamba Trio
    (1966) Philips P 632.782 L
  • Tamba Trio — Série Autógrafo de Sucessos: Tamba Trio
    (1970) Elenco ME-42
  • Tamba Trio — Tempo
    (1964) Philips P 632.716 L

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This double-page spread from the book features samba-jazz by Pedrinho Mattar and Rio 65 Trio.

Pedro Mattar (1936-2007), known as Pedrinho Mattar, was one of Brazil’s finest pianists with an impressive fifty year long career. Born from Libanese descent as the youngest child of ten, he began to play the piano at the age of eight. Later, he studied classical piano at the age of twenty at the União Cultural Brasil – Estados Unidos de São Paulo. Pedrinho Mattar began his professional career in 1953, accompanying Os Anjos do Inferno, João Gilberto and Edith Piaf at concerts. Still being underaged, his father’s attempts using the juvenile court to stop the son from performing in public were in vain. In 1959, Pedrinho Mattar joined Leny Eversong at her appearances in Las Vegas for almost one year. After that, he toured Uruguay and Argentina with Agostinho dos Santos, and in 1960, he started his ten year teamwork of performing with Claudette Soares at her nightclub appearances.

In addition to his production work for TV shows, including his own one, Pedrinho Mattar was house pianist at the João Sebastião Bar in São Paulo, appearing with artists like Marisa Gata Mansa, Hebe Camargo and Alaíde Costa. In 1962, Pedrinho Mattar joined Maysa for appearances in Portugal and Spain, before recording the first of his 18 solo albums. His 1963 debut Bossa Nova – Pedrinho Mattar e Seu Conjunto, including Ayres dos Santos on guitar, Mathias Mattos on bass and Antônio Pinheiro on drums, featured good-humoured renditions of contemporary hits like Canção dos Olhos Tristes by Tito Madi and Samba Triste by Baden Powell and Billy Blanco as well as rarities like the fabulously interpreted Play Bach by Denis Brean. This mixture was continued on the following two albums as a trio. In 1965, Pedrinho Mattar performed his interpretation of George Gerschwin’s Rhapsody in Blue with the São Paulo Symphony Orchestra which he recorded the next with Cyro Perreira’s orchestra on the album Rapsódia.

Playlist Pedrinho Mattar:
1. Play Bach (Denis Brean) from the album Bossa Nova – Pedrinho Mattar e Seu Conjunto (1963)
2. Quem é Homem Não Chora (Vera Brasil – Geraldo Vandré) from the album Pedrinho Mattar Trio Vol. 3 (1965)
3. O Bolo (Walter Santos – Tereza Souza) from the album Bossa Nova – Pedrinho Mattar e Seu Conjunto (1963)
4. Preciso Aprender a Ser Só (Denis Brean) from the album Pedrinho Mattar Trio Vol. 3 (1965)
5. Certa Vez (Mário Albanese – Cyro Perreira) from the album Rapsódia (1966)

The top-class art work for Pedrinho Mattar Trio Vol. 3 is by Franklin França.


Rio 65 Trio, formed in 1965 by Dom Salvador on piano, Sérgio Barroso on bass and Édison Machado on drums, was one of the most striking samba-jazz outfits. Salvador da Silva Filho (*1938), already well experienced in orchestra, concert and night club performances, made his debut in a recording studio with Rio 65 Trio. Sérgio Barroso Neto (*1942) started out three years as bassist for Roberto Menescal performing with singers like Maysa. Édison Machado (1936-1990), who had his debut with Turma da Gafieira in 1957, formed his own group two years before with Bossa Três, and enjoyed his first solo album Édison Machado é Samba Nôvo the previous year.

So, all three members were already well respected musicians when Armando Pittigliani, artistic director for Philips, urged them to join efforts as a trio. Unfortunately, they released only two albums, in 1965 the self-titled Rio 65 Trio, and in 1966 the follow-up A Hora e Vez da M.P.M., before carrying on with their individual careers.

Playlist Rio 65 Trio:
1. Ilusão a Toa (Johnny Alf) from the album A Hora e Vez da M.P.M. (1966)
2. Desafinado (Antônio Carlos Jobim – Newton Mendonça) from the album Rio 65 Trio (1965)
3. Minha Namorada (Carlos Lyra – Vinícius de Moraes) from the album Rio 65 Trio (1965)
4. Ponte Aérea (Zé Keti) from the album A Hora e Vez da M.P.M. (1966)
5. Azul Contente (Walter Santos – Tereza Souza) from the album Rio 65 Trio (1965)

The straight-lined art work for Rio 65 Trio is uncredited.


The art work for O Rapaz do Piston by Maurício is another brilliant one issued by Equipe. The label inverted the layout, altered with a Elenco-like red spot, for its pressing in Urugay.

   Celinho — O Rapaz do Piston (b)

The catchy art work for Impulso! is by Maurício.

    Eumir Deodato & Os Catedráticos — Impulso (b)

[For the reissue of Impulso! by Spot as Conjunto Castelinho’s Os Donos da Bossa see → No. 6]

The superb art work for O Amor, O Sorriso e a Flor, is by César G. Villela with a solarization photograph by Francisco Pereira.

The art work for Tamba Trio is by Hélio Dias.

    Tamba Trio — Tamba Trio (b)

The art work for Tempo is by Lincoln & Aldo Luiz with photograph by Francisco Pereira.

  

The art work for Série Autógrafo de Sucessos: Tamba Trio is by Lincoln & Aldo Luiz.

Tamba Trio — Série Autógrafo de Sucessos - Tamba Trio

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