- Zimbo Trio — Zimbo Trio
(1968) Premier PRLP 1022
- Os Cariocas — Arte/Vozes
(1966) Philips P 632.793 L
- Carlos Lyra — As da Bossa Nova
(1960) Philips P 630.409 L
- Trio Irakitan — Os Sambas Que Gostamos de Cantar
(1957) Odeon MOFB 3010
- Orlandivo — Samba Toff/Vem Pro Samba/Dias de Verão/Amor Vai e Vem
(1961) Musidisc LPM-12.001
- Lúcio Alves — A Bossa é Nossa
(1960) Philips P 630.418 L
This double-page spread from the book features a suave crooner and an inimitable jazz trio.
The musical life of Lúcio Ciribelli Alves (1927-1993) started not with educating his vocal skills but with learning the guitar at the age of six. Two years later, he performed on various radio shows such as Rádio Mayrink Veiga, before appearing in the title role of Alladin in a radionovela at Rádio Nacional. In 1941, at the age of fourteen, Lúcio Alves formed his own group, Namorados da Lua, which had its debut recording, Vestidinho de Iaiá b/w Té Logo Sinhá, the next year. The group lasted for six years with changing line-ups, and scored the debut recording of Eu Quero um Samba by Haroldo Barbosa and Janet de Almeida as their biggest hit. Along with Haroldo Barbosa, Lúcio Alves wrote De Conversa em Converas in 1947, the most interpreted of his numerous compositions.
A year after Namorados da Lua split, Lúcio Alves started his solo career in 1948, touring Cuba, Mexico and the United States along with the famous Anjos do Inferno. His heydey in the fifties were highlighted with by his sucessful debut interpretations of Sábado em Copacabana by Dorival Caymmi and Carlos Guinle, and Valsa de uma Cidade by Ismael Neto and Antônio Maria, both becoming huge hits in 1952 and 1954 respectively. Also in 1954, Lúcio Alves released his duet with Dick Farney, Tereza da Praia by Antônio Carlos Jobim and Billy Blanco, which became the most popular song of the year although it was only intended to counteract the alleged rivalry between the two singers.
In 1957, Serestas was Lúcio Alves debut album with ten more to follow, including Lúcio Alves, Sua Voz Íntima, Sua Bossa Nova, Interpretando Sambas em 3-D, arranged and conducted by Lindolpho Gaya in 1959, and Cantando Depois do Sol, arranged by Carlos Monteiro de Souza in 1961. A quintet including Luiz Carlos Vinhas on piano, Chiquinho do Acordeon, and Baden Powell on guitar joined Lúcio Alves in 1960 on his excellent album A Noite de Meu Bem, dedicated to the late Dolores Duran, who died of a heart attack at the age of 29 a few months before. The next year, Carlos Monteiro de Souza once again directed a Lúcio Alves’ album, this time Tio Samba, Música Americana em Bossa Nova, compiling songs from the Great American Songbook.
On the two subsequent albums, Lúcio Alves joined forces with the bossa nova movement. In 1963, Balançamba, yet again directed by Carlos Monteiro de Souza, featured compositions solely by Roberto Menescal and Ronaldo Bôscoli. In 1964, the collaboration album Bossa Nova Session, backed up by Roberto Menescal’s combo, teamed Lúcio Alves with Sylvia Telles, with whom he had already recorded the single Eu Não Existo Sem Você b/w Tu e Eu in 1958. From the mid-sixties Lúcio Alves worked mainly as a recording producer and musical director for several television broadcasters with only some sporadic recordings.
As one of the great radio stars, Lúcio Alves developed a more modern vocal style influenced by American pop and jazz singers even before bossa nova finally emerged. He himself influenced other singers like João Gilberto with his incisive phrasing and suave interpretations.
Playlist Lúcio Alves:
1. Pela Rua (Ribamar – Dolores Duran) from the album A Noite de Meu Bem (1960)
2. Lamento no Morro (Antônio Carlos Jobim – Vinícius de Moraes) from the album Cantando Depois do Sol (1961)
3. Conceição (Jair Amorim – Valdemar de Abreu “Dunga”) from the album Lúcio Alves Sua Voz Íntima, Sua Bossa Nova Interpretando Sambas em 3-D (1959)
4. Este Seu Olhar / Só Em Teus Braços (Antônio Carlos Jobim) from the album Bossa Nova Session (1964), with Sylvia Telles
5. O Amor e a Rosa (Antônio Maria – Ayres da Costa Pessoa “Pernambuco”) from the album A Bossa é Nossa (1960)
6. Chão de Estrelas (Silvio Caldas – Orestes Barbosa) from the album Seresta (1957)
7. Madrugada 3:05 (Ismael Neto – Antônio Maria – Reinaldo Dias Leme) from the album Cantando Depois do Sol (1961)
8. Rio (Roberto Menescal – Ronaldo Bôscoli) from the album Balançamba (1963)
9. Idéias Erradas (Ribamar – Dolores Duran) from the album A Noite de Meu Bem (1960)
10. Samba Triste (Baden Powell – Billy Blanco) from the album A Bossa é Nossa (1960)
The art work for A Bossa é Nossa is uncredited.
Zimbo Trio was formed in 1964 by Hamilton Teixera de Godoy aka Amilton Godoy (*1941) on piano, Luiz Chaves Oliveira da Paz (1931-2007) on bass and Rubens “Rubinho” Alberto Barsotti (*1932) on drums, and soon it became one of Brazil’s most renowned jazz trios.
Before Zimbo Trio, Luiz Chaves was as a sought-after session musician on numerous albums. Since the late fifties, he was part of the Brazilian Jazz Quartet alongside Moacyr Peixoto on piano, Casé on alto saxophone, and Rubinho Barsotti on drums. In 1963, Luiz Chaves recorded his one solo album Projeção, featuring Héctor Costita on alto saxophone amongst others.
Rubinho Barsotti started his career working with accordionist Rud Wharton, and pianists such as Robledo, Pedrinho Mattar and César Camargo Mariano, before extending his work to the US, playing with the likes of Kenny Dorham, Oscar Peterson and Stan Getz.
Amilton Godoy, brother of singer-songwriter Adylson Godoy, competed successfully in various contests such as best interpreter of Héctor Villa-Lobos. After joint work including Luiz Chaves’ album Projeção, Godoy was asked by Chaves and Barsotti to form Zimbo Trio and as such they debuted in the spring of 1964 at the nighclub “Boate Oásis” in São Paulo with Norma Bengell as featured vocalist. The same year, their self-titled debut album was released, the first of about thirty original albums to come.
The next year, the Zimbo Trio became the constant band of “O Fino da Bossa”, the influential television show hosted by Elis Regina and Jair Rodrigues. In 1967 and 1968, Zimbo Trio arranged, orchestrated and produced the albums É Tempo de Samba – Zimbo Trio + Cordas and Zimbo Trio + Cordas Vol. 2, blending their sound exquisitely with string sections. In 1969, Decisão – Zimbo Trio e Metais paired them equally fine with large horn backings.
In 1968, Zimbo Trio performed in the highly acclaimed concert at Teatro João Caetano in Rio de Janeiro, produced for the Museum of Image and Sound, along with Elizeth Cardoso, Jacob do Bandolim and Época de Ouro. The concert was issued as a two volume album set, and the mutual work with Elizeth Cardoso continued with two more albums in 1969 and 1970.
In 1973, Zimbo Trio founded their own music school to impart music without the conventional distinction between classical and modern music. After Luiz Chaves’ passing, Zimbo Trio continued with several line-ups to this day as one of the longest-living groups with a career of almost fifty years.
Zimbo Trio in its original line-up is one of the most compelling and versatile bands ensuring a lasting legacy.
Playlist Zimbo Trio:
1. Zomba (Luiz Bonfá – Maria Helena Tolédo) from the album Zimbo Trio – Vol. 2 (1965)
2. Ela Desatinou (Chico Buarque) from the album Decisão – Zimbo Trio e Metais (1969)
3. Sou Sem Paz (Adylson Godoy) from the album Zimbo Trio (1964)
4. Anoiteceu (Francis Hime – Vinícius de Moraes) from the album É Tempo de Samba – Zimbo Trio + Cordas (1967)
5. Insolação (Adylson Godoy) from the album Zimbo Trio – Vol. 2 (1965)
6. Roda Viva (Chico Buarque) from the album Zimbo Trio + Cordas Vol. 2 (1968)
7. Canção de Amor (Chocolate – Elano de Paula) from the album Ao Vivo No Teatro João Caetano Vol. 2 (1968), with Elizeth Cardoso
8. Só Por Amor (Baden Powell – Vinícius de Morase) from the album Zimbo Trio (1964)
9. (They Long to Be) Close to You (Burt Bacharach – Hal David) from the album Strings and Brass Plays the Hits (1971)
10. Cidade Vazia (Baden Powell – Luis Fernando Freire) from the album É Tempo de Samba – Zimbo Trio + Cordas (1967)
Interestingly, the uncredited art work of the 1968 reissue of Zimbo Trio is less modern than the original one four years earlier by Cosentini with photographs by José Pinto.