- Roberto Máspoli — Boleros Para Dois
(1957) Musidisc Hi-Fi 2026
- Carlos José — A Poesia Caymmi na Voz de Carlos José
(1963) Continental PPL 12053
- Lucienne Franco — A Notável
(1959) Copacabana CLP 11108
- Carlos Lyra — Carlos Lyra
(1960) Philips P 630.430 L
- Rosana Tolédo — E a Vida Continúa
(1962) RGE XRLP 5160
- Roberto Luna — Molambo/Caminha/Conselho/Alucinação
(1957) Odeon BWB-1086
- Sérgio Ricardo — Dançante No. 1
(1959) Todamérica LPP-TA-332
- Sylvia Telles — Carícia
(1957) Odeon MODB 3076
- Sérgio Ricardo — Depois do Amor
(1961) Odeon MOFB 3239
- Myriam Ribeiro — Apresentando Myriam Ribeiro
(1961) Philips P 630.446 L
This double-page spread from the book features three very fine singers.
Valdemar Farias (*1929), better known as Roberto Luna, started his artistic life in the theatre, working as a ticket seller and studying with actor Zbigniew Marian Ziembiński. In the late forties, Roberto Luna started to sing and played the nightclub circuit of Rio de Janeiro. It was then, when he adopted his stage name, early enough for his radio debut in 1951. The next year, the single Por quanto tempo b/w Linda became his recording debut, followed by almost 40 singles until the mid-sixties. In 1957, his debut album Uma Voz Para Milhões, arranged and conducted by Luis Arruda Paes and Héctor Lagna Fietta, established him as a top crooner.
In 1958, Roberto Luna’s exquisite version of Serenata do Adeus was one of four recordings in that year which introduced this classic ballad by Vinícius de Moraes to the public. The same year, Luna’s rendition of Castigo by Dolores Duran became his biggest commercial success.
Roberto Luna released six more original albums until 1965, including Luna Canta Para Você in 1958, arranged and conducted by Henrique Simonetti, Quando Canta um Coração in 1959, and Tangos Famosos in 1963, both arranged and conducte by Ruben Perez ‘Pocho’. In 1968, Roberto Luna finally enjoyed an appearance as an actor in the movie O Bandido da Luz Vermelha. After that, he began to perform almost exclusively in nightclubs, before he finally got one himself. In 1972, the self-titled Roberto Luna became the eighth and final album of his career.
Regardless of his rather short career, Roberto Luna’s soulful voice and his distinctive interpretations make him a singer of a very special kind.
Playlist Roberto Luna:
1. Serenata do Adeus (Vinícius de Moraes) from the album Luna Canta Para Você (1958)
2. Pequena Flor (Petite Fleur) (Sidney Bechet – Fred Jorge) from the single Pequena Flor (Petite Fleur) b/w Aquece-me Esta Noite (Regalame Esta Noche) (1959)
3. Molambo (Jaime Florence ‘Meira’ – Augusto Mesquita) from the EP Molambo/Caminha/Conselho/Alucinação (1957) and the album Uma Voz Para Milhões (1957)
4. O Céu Perdoa (Fernando César – A. Carlos Nobre) from the album Luna Canta Para Você (1958)
5. Confissão (Raul Sampaio – Benil Santos) from the album Quando Canta um Coração (1961)
The art work for the EP Molambo is unidentified.
The art work for Boleros Para Dois is by Joselito with photograph by Mafra.
Luciene Habib Franco Freitas Câmara (*1939) started her artistic life in 1957 performing at Rádio Carioca. The same year, she met Ary Barroso who introduced her to Ernâni Filho with whom she performed three seasons at the nightclub “Fred’s” in Rio de Janeiro. In 1959, Lucienne Franco’s debut album A Notável, arranged and conducted by Severino Filho, included one of the first recordings of Conversa by Evaldo Gouveia and Jair Amorim, a ballad introduced earlier that year by Alaíde Costa.
In 1960, Lucienne Franco enjoyed her biggest artistic success introducing the haunting Ternura Antiga, Ribamar’s composition for an unfinished poem by the late Dolores Duran, at the Festival das Dez Mais Lindas Canções de Amor at TV Rio (→ No. 12 — Pages 146-147).
Only three years later, Lucienne é Amor became her second album release, introducing Rosa Flor by Geraldo Vandré and Baden Powell, who also arranged the album. Also in 1962, she scored her biggest commercial hit with Gente Maldosa by Glauco Pereira and Fernando Pereira. Already in 1963, Pelos Caminhos do Mundo, arranged and conducted by Ayres da Costa Pessoa aka Pernambuco and including a french version of Ternura Antiga, became her third and final album. Lucienne Franco recorded some more singles until she finally retired from the music business in 1968.
Lucienne Franco’s sultry voice and her emotive performances made her not only one of Ary Barroso’s favourite interpreters but a unique singer in her day.
Playlist Lucienne Franco:
1. Vieille Tendresse (Ternura Antiga) (Ribamar – Dolores Duran) from the album Pelos Caminhos do Mundo (1963)
2. Não Foi a Saudade (Alberto Paz – Severino Filho) from the album A Notável (1959)
3. Da Rosa Que Nasceu Nosso Amor (Baden Powell – Heloísa Setta) from the album Lucienne é Amor (1962)
4. Conversa (Evaldo Gouveia – Jair Amorim) from the album A Notável (1959)
5. Céu Cor de Rosa (Pernambuco – Marino Pinto) from the album Pelos Caminhos do Mundo (1963)
The art work for A Notável is uncredited. Strangely, the track listing on the back shows the songs in wrong order as well as partly with wrong titles.
João Mansur Lutfi (*1932), better known as Sérgio Ricardo, is a multi-faceted composer, singer, instrumentalist, film-maker and sculptor of Lebanese descent. He began his musical education at the age of eight, when he registered at the Conservatório de Música de Marília, São Paulo, to study piano and music theory. At 18, he moved to Rio de Janeiro where he worked as a disc-jockey, announcer and pianist. In 1952, Sérgio Ricardo began to compose and sing while working as pianist in nightclubs. In the mid-fifties, he extended his work for radio and television, continued studying music, gained also first experiences as an actor and finally changed his name to Sérgio Ricardo.
In 1957, he made his recording debut with Vai Jangada by Geraldo Serafim and Newton Castro. The next year, Rosa do Mato, with lyrics by Geraldo Serafim, was the first self-composed song to be released, before in 1959, Ausência de Você b/w O Nosso Olhar became Sérgio Ricardo’s first single with his words and music on both tracks.
The 1959 debut album Dançante No. 1 presented him as a solo pianist in front of a seven-piece band with hardly no vocal performances. Soon after, Sérgio Ricardo got close with the emerging bossa nova circle, chose the guitar as his second instrument and devoted himself to the new sound.
The breakthrough was achieved in early 1960 with Zelão, a song written by Sérgio Ricardo after witnessing a landslide burying parts of a favela. Although released as the b-side to the second issue of O Nosso Olhar, the bittersweet Zelão was an instant success with the public and became Sérgio Ricardo’s biggest hit.
From then on, his own compostions came to the forefront as on the subsequent album A Bossa Romântica de Sérgio Ricardo, arranged and conducted by Lindolpho Gaya. In 1962, he spent some months in the US, taking part in the legendary bossa nova concert at Carnegie Hall, and performing with Herbie Mann at the Village Vanguard. In 1964, after he wrote the soundtrack for the movie Deus e o Diabo na Terra do Sol, Sérgio Ricardo scored his own movie, Esse Mundo é Meu, as screenwriter, director and composer of the soundtrack arranged and conducted by Lindolpho Gaya. Later that year, his album Um Sr. Talento introduced two of his most notable songs, Enquanto a Tristeza Não Vem and Folha de Papel. From the mid-sixties on, Sérgio Ricardo participated in numerous festivals and television and theatre shows. Moreover, he kept on his extensive film and recording work despite the recurring difficulties as a result of his political attitude during the dictatorship.
Sérgio Ricardo is a truly dedicated yet self-willed musician and a singer with an unmistakable timbre, who contributed some of the most memorable songs to bossa nova.
Playlist Sérgio Ricardo:
1. Zelão (Sérgio Ricardo) from the album A Bossa Romântica de Sérgio Ricardo (1960)
2. Foi a Noite (Antônio Carlos Jobim – Newton Mendonça) from the album Depois do Amor (1961)
3. Enquanto a Tristeza Não Vem (Sérgio Ricardo) from the album Um Sr. Talento (1964)
4. Maxima Culpa (Sérgio Ricardo) from the album Dançante No. 1 (1959)
5. Rosa do Mato (Sérgio Ricardo – Geraldo Serafim) from the single Rosa do Mato b/w Cafezinho (1958)
The art work for Dançante No. 1 is uncredited.