- Osmar Milani, Neyde Fraga, Hebe Camargo, Sólon Sales, Norma Avian, Francisco Egydio, Norma Ardanuy, Heleninha Silveira — Carnaval de Sempre
(1955) Odeon MODB 3030
- Lamartine Babo — Carnaval de Lamartine Babo
(1955) Sinter SLP 1047
- Isaura Garcia — Atualíssima
(1963) Odeon MOFB 3318
- Paulo Bomfim, Guilherme de Almeida — Paulo Bomfim & Guilherme de Almeida
(195?) RGE XRLP200001
- Os Rouxinóis — Isto é Lamartine
(1963) Copacabana CLP 11317
- Lucas — Bom Para Ouvir e Dançar
(1959) Rádio n/a
- Jorge Goulart, Nora Ney, Jamelão, Ruy Rey, Gilberto Milfont, Emilinha Borba, Vera Lúcia, Risadinha, Bill Farr, Vagalumes do Luar — Carnaval de 56
(1955) Continental LPP 23
- Waldir Calmon — Chá Dançante No. 3
(1957) Copacabana CLP 11012
- Raul de Barros — Raul de Barros Toca Para Dançar
(1956) Odeon MODB 3041
- Dick Farney — Dick Farney e Seu Quinteto
(1954) Continental LPP 04
- Titulares do Rítmo — Homenagem ao Bando da Lua
(1958) Copacabana CLP 11038
- João Leal Brito ‘Britinho’ — Noel Rosa Sem Parceiros
(1957) Sinter SLP 1716
- Horacina Corrêa — Noel Rosa
(1956) Musidisc MV-005
- Antônio Carlos Jobim, Vinícius de Moraes, Luiz Bonfá, Roberto Paiva — Orfeu da Conceição (1956) Odeon MODB 3056
This double-page spread from the book features an influential pianist, a fine trombonist and an album that inspired a famous movie.
Farnésio Dutra de Silva (1921-1987), better known as Dick Farney, was a pianist, singer and composer whose impressive career spans over five decades. As a child, he was taught classical piano by his father and voice by his mother. He debuted as pianist with his first public appearance at the age of fourteen at Rádio Mayrink Veiga. Then he discovered swing music and founded the combo Swing Maníacos with his brother Cyll Farney, a drummer. At the age of sixteen Dick Farney gave his debut as a vocalist on Rádio Cruzeiro do Sul, singing Deep Purple (which was introduced in 1933 by Peter DeRose as a piano composition, before Mitchell Parish added lyrics in 1938 after the song’s success). Soon afterwards, Dick Farney got his own radio show presenting popular American music, and worked as a crooner with the orchestra of Carlos Machado. In 1944, The Music Stopped b/w Mairzy Doats, accompanied by the orchestra of Ferreira Filho, became Dick Farney’s debut recording with more than 50 singles and 30 original albums to come.
From 1946 to 1949, Dick Farney practically ruled Brazil’s hit parades with 19 entries among the year-end 100, topping 1947 with Copacabana by João de Barro and Alberto Ribeiro, and 1948 with A Saudade Mata a Gente by João de Barro and Antônio Almeida. Interestingly, Dick Farney spent those three years mostly in the US, performing with Bill Evans and Dave Brubeck and appearing on NBC radio shows. In spring of 1947, during one of those stays, Dick Farney allegedly made one of the very first recordings of the jazz ballad Tenderly by Walter Gross and Jack Lawrence, backed by Paul Baron’s orchestra at New York’s Majestic Records.
In 1948, Dick Farney got involved in the Sinatra-Farney Fan Club in Rio de Janeiro, founded by Johnny Alf in praise of Frank Sinatra and Dick Farney in order to exchange Brazilian and American music with members like Paulo Moura, Dóris Monteiro, Nora Ney and Luiz Bonfá. João Donato, another member of the Sinatra-Farney Fan Club, went astray and caused some confusion among the club members when he also joined the competing Haymes-Alves Fan Club, praising American crooner Dick Haymes and Brazilian crooner Lúcio Alves. Just as the rivalry in the US between fans of Sinatra and Haymes, fans of Farney and Alves were very competitive, too—unlike the singers themselves, who were friendly colleagues regardless of their rivalry of popularity.
In 1954, Dick Farney and Lúcio Alves recorded the samba Tereza da Praia by Antônio Carlos Jobim and Billy Blanco, considered as a precursor of bossa nova. Intended only to counteract the so-called rivalry between the two singers, the duet became the most popular song of the year and Jobim’s first commercial success. Also in 1954, Dick Farney released his first three solo albums, including the debut of Jobim’s classic Outra Vez on Música Romântica com Dick Farney, and participated in the first recording of the Sinfonia do Rio de Janeiro by Antônio Carlos Jobim and Billy Blanco.
In 1957, Dick Farney spent another year in the US, before touring the Caribbean extensively. During the fifties and sixties he also appeared in several movies, had two TV shows, and was the owner of the São Paulo nightclubs “Farney’s” and “Farney’s Inn”. In 1964, Dick Farney’s version of Você by Roberto Menescal and Ronaldo Bôscoli, a duet with Norma Bengell, became one of bossa nova’s most popular songs due to the enjoyable interplay between the two singers.
Dick Farney is one of the few pre-bossa stars with a career that oulasted contemporary taste due to his versatility and curiosity. His biggest achievement, however, is his coalescence of jazz harmonies and style into Brazil’s popular music.
Playlist Dick Farney:
1. Fotografia (Antônio Carlos Jobim) from the album Dick Farney (1964)
2. These Foolish Things (Remind Me of You) (Harry Link – Jack Strachey – Holt Marvell) from the album Jazz (1962)
3. Alguém Como Tu (José Maria de Abreu – Jair Amorim) from the album Atendendo a Pedidos (1958)
4. You Don’t Know What Love Is (Gene De Paul – Don Raye) from the album História do Jazz em São Paulo (1956), recorded live at the Teatro Cultura Artística
5. Tereza da Praia (Antônio Carlos Jobim – Billy Blanco) from the single Tereza da Praia b/w Casinha Pequena (1954), with Lúcio Alves
6. Um Tema em Fuga (Dick Farney) from the album 2o Concerto de Jazz de Câmera no Teatro Municipal (1960)
7. Outra Vez (Antônio Carlos Jobim) from the album Música Romântica com Dick Farney (1954)
8. Artistry in Rhythm (Stan Kenton) from the album Dick Farney Apresenta Sua Orquestra no Auditório de ‘O Globo’ (1962)
9. Some Day My Prince Will Come (Frank Churchill – Larry Morey) from the album Dick Farney: Piano – Orquestra: Gaya (1966)
The art work for Dick Farney e Seu Quinteto is by Páez Torres.
Raul de Machado de Barros (1915-2009), known as Raul de Barros, began his musical education at the age of eight with the saxophone, before switching to the trombone. In 1935, he started his career playing in clubs and dance halls in Rio de Janeiro where he met band leader Carioca who introduced him to Rádio Tupi to accompany recording sessions. In 1948, the choros O Pobre Vive De Teimoso b/w Malabarista by Donga became Raul e Barros’s debut as a solo recording artist. The following year, he released his composition Na Glória, with lyrics by Ari dos Santos, an instant choro classic which became his signature tune. From 1950 he hosted his own radio show, before forming his own orchestra the next year with a number of critically acclaimed recordings.
1955 saw the album debut Raul de Barros com o Seu Trombone Romântico, the first of a almost 50 solo albums to come, often featuring Brazilian as well as jazz songs. He played in renowned orchestras like those of Radamés Gnattali and Pixinguinha, was a regular session musician on numerous recordings for the likes of Rosana Tolédo and Fats Elpídio, and participated in groups such as Turma da Gafieira and Quatro Ases e um Coringa.
An award-winning musician, sadly forgotten by the music business in his later years, Raul de Barros made a considerable contribution to establish the trombone in Brazil’s popular music, especially in the big band samba style called gafieira.
Playlist Raul de Barros:
1. Na Glória (Raul de Barros – Ari dos Santos) from the album Hoje Tem Baile com Raul de Barros (1959)
2. Neptuno (Carlito – Orlando Trinca) from the album Ginga de Gafieira (1957)
3. Bronzes e Cristais (Alcyr Pires Vermelho – Nazareno de Brito) from the album Brasil, Trombone (1974)
4. Sarambá (J. Thomaz – Antônio Lopes de Amorim Diniz “Duque”) from the album Trombone Zangado – Raul de Barros e Dilermando Pinheiro (1955)
5. Begin the Beguine (Cole Porter) from the album Hoje Tem Baile com Raul de Barros (1959)
The art work for Raul de Barros Toca Para Dançar is uncredited:
The art work for Atualíssima is by Moacyr Rocha.
Marcus Vinícius da Cruz de Melo Morais (1913-1980), known as Vinícius de Moraes, was a poet, dramatist, journalist, diplomat, guitarist and composer. As a child he wrote his first poems and plays, played the violin and was a chorister. He studied legal and social sciences in Brazil and English language and literature in Oxford, working as as a journalist afterwards. In 1943, he started his diplomatic career as vice consul in Los Angeles, with ensuing positions in France, Uruguay, Italy and at the UNESCO. In 1953, the samba Quando Tu Passas Por Mim, with music written by Antônio Maria, became de Moraes’ first lyrics to be released on record.
In 1954, Vinícius de Moraes “began to reflect on the life of the blacks in Rio and tried to Hellenize their experience”, writing Orfeu da Conceição as a homage to Afro-Brazilian culture. The play sets the Greek myth of Orpheus and Euridice against the hillside slums of Rio de Janeiro. Despite or perhaps because Orfeu da Conceição followed the contemporary standards by embracing blackness on a cultural level while avoiding to show racial conflicts openly, it became a most influencial play. The stage version of Orfeu da Conceição premiered in 1956 at the Teatro Municipal in Rio de Janeiro with stage design by architect Oscar Niemeyer and an all-black cast.
The same year, Vinícius de Moraes commissioned Antônio Carlos Jobim to set his play to music. Actually, Jobim was not de Moraes’ premier choice as he first asked the composer Vadico. While Vadico allowed himself too much time to accept the offer, de Moraes was introduced to the relatively unknown composer Antônio Carlos Jobim. The resulting scoring of Orfeu da Conceição was the start of one of the most sucessful musical collaborations with more than 80 compositions, including all-time standards of bossa nova, samba and samba-canção such as Água de Beber, Canção do Amor Demais, Chega de Saudade, Derradeira Primavera, Ela É Carioca, Eu Não Existo Sem Você, Eu Sei Que Vou Te Amar, Garota de Ipanema, Insensatez, O Amor em Paz, O Morro Não Tem Vez and Só Danço Samba.
The album Orfeu da Conceição featured Luiz Bonfá on guitar and Roberto Paiva on vocals with orchestration by Antônio Carlos Jobim, who conducted the 35 piece orchestra of the record label Odeon. Notably Se Todos Fossem Iguais a Você and Lamento no Morro became instant classics, recorded by various artists.
A year later, french film director Marcel Camus asked Vinícius de Moraes to adapt his play for the screen. Camus was given plenty of rope, although de Moraes was not satisfied with the result. The movie Orfeu Negro, released in 1959, got particularly renowned not least because of its soundtrack although none of the original songs from Orfeu da Conceição were selected for the movie. Instead, Jobim and de Moraes composed new material such as A Felicidade and O Nosso Amor, which was featured along with Manhã de Carnaval by Luiz Bonfá and Samba de Orfeu by Antônio Maria and Luiz Bonfá.
Playlist Orfeu da Conceição:
1. Se Todos Fossem Iguais a Você (Antônio Carlos Jobim – Vinícius de Moraes) from the album Orfeu da Conceição (1956)
2. Eu e o Meu Amor (Antônio Carlos Jobim – Vinícius de Moraes) from the album Orfeu da Conceição (1956)
3. Lamento no Morro (Antônio Carlos Jobim – Vinícius de Moraes) from the album Orfeu da Conceição (1956)
The art work for Orfeu da Conceição is by Raimundo Nogueira.