Song No. 201 — O Que Eu Gosto de Você | Sylvio Cézar (1962)

O Que Eu Gosto de Você was introduced in December 1962 by Sylvio Rodrigues Silva, better known as Sylvio Cézar (or Silvio César), as the B-side of the single Preciso Dar um Jeito. Arranged by Ed Lincoln, O Que Eu Gosto de Você also appeared on Cezar’s 1963 debut album Amor Demais.

Although it was only released as a B-side by Cézar himself and also by Pery Ribeiro, O Que Eu Gosto de Você quickly became one of the most popular songs by Cézar.

Dóris Monteiro’s recording, under the artistic direction of Armando Pittigliani, was accompanied by Walter Wanderley, whose own recording, like Pery Ribeiro’s, was arranged by Lyrio Panicali.

The identity of the other two musicians in the trio is not revealed on the cover of Bossa G, the only album by pianist José Geraldo. However, there is a rumour that Kenny Burrell’s guitar can be heard on at least some of the tracks.

Selected recordings of O Que Eu Gosto de Você:

1. Sylvio Cézar from the single Preciso Dar um Jeito b/w O Que Eu Gosto de Você (1962, Musidisc M-78-013) and the album Amor Demais (1963, Musidisc Hi-Fi 2074)

   
Artwork for Amor Demais by Joselito with photograph by Mafra

2. Os Farroupilhas from the album Os Farroupilhas (1963, Farroupilha LPFR-601)

   

3. Ely Arcoverde from the album O Órgão Que Canta Sambas Vol. 2 (1963, RGE XRLP 5212)

   

4. Dóris Monteiro from the album Gostoso é Sambar (1963, Philips P 632.130 L)

   
Artwork for Gostoso é Sambar by Paulo Brèves with photograph by Mafra

5. Walter Gonçalves aka Waltinho from the album Magi Ritmo (1963, Magisom GMLP 1010)

   

6. Sebastião Tapajós featuring Luiz Olavo from the album Apresentando Sebastião Tapajós (1963, Entré/CBS 4025)

   

7. Geraldo Trio from the album Bossa G (1963, Chantecler CMG 2246)

   

8. Pery Ribeiro from the album Pery é Todo Bossa (1963, Odeon MOFB 3314)

   
Artwork for Pery é Todo Bossa with photograph by Mafra

9. Walter Wanderley from the album Samba no Esquema de Walter Wanderley (1963, Odeon MOFB 3358)

Artwork for Samba no Esquema de Walter Wanderley by Moacyr Rocha witg photograph by Klaus Werner

10. Orquestra Os Modernistas from the album Baile Moderno (1964, Chantecler CMG 2271)

   

11. Manfredo Fest from the album Evolução (1964, RGE XRLP 5236)

   

12. Os Velhinhos Transviados from the album Embalados (1965, RCA Victor BBL 1319)

   

13. Agnaldo Rayol from the album As Minhas Preferida (1968, Copacabana CLP 11523)

   

Selected medleys including O Que Eu Gosto de Você:

1. Conjunto Boa Bossa from the EP Só Danço Bossa Nova (1963, Odeon 7BD-1069)

   

O QUE EU GOSTO DE VOCÊ

O que eu gosto de você • É esse seu jeitinho de falar • É esse seu jeitinho de sorrir • Esse sorriso lindo como que!

O que eu não gosto de você • É esse seu olhar indiferente • Que machuca tanto a gente • Quando a gente fala com você

Eu não sei bem porque • Fui gostar mesmo assim • Sem saber se você • Vai gostar de mim

Mas o que eu sinto por você • Já é definitivo, não tem jeito • Já não vivo satisfeito • Esperando sempre por você • Adoro esse seu jeito • De pensar e de ser • Será que não há jeito • De você compreender • Que no meu dicionário • Só existe uma palavra: Você!

Song No. 199 — Enquanto a Tristeza Não Vem | Sérgio Ricardo (1963)

Enquanto a Tristeza Não Vem was released in 1963 as the B-side of Fôlha de Papel by João Lutfi, better known as Sérgio Ricardo. Arranged by Carlos Monteiro de Souza under the artistic direction of José Delphino Filho aka Zézinho, it was the second single on the Elenco label founded by Aloysio de Oliveira. Both songs follow a similar structure with a long introduction followed by a chorus, although Enquanto a Tristeza Não Vem became more popular and is one of Ricardo’s best-known compositions. The song was included on his fourth album, Um Sr. Talento, in the same year.

Enquanto a Tristeza Não Vem was recorded a further 14 times, four of them as part of a medley. One of the first recordings was by Quarteto em Cy with the Luiz Carlos Vinhas Trio, arranged by Eumir Deodato, with strings by Irany Pinto and Paulo Moura on alto saxophone and Meirelles on flute. The last recordings were made in 1965 by Laércio de Freitas with his one-time group Pierre, and finally in 1966 by Dois & Ela, the trio named like a duo, made up of Maria Inês Correia de Oliveira, one of the few female pianists in samba jazz, Francisco Esteves ‘Chiquinho’ on bass and João Rodrigues Ariza ‘Chumbinho’ on drums.

Selected recordings of Enquanto a Tristeza Não Vem:

1. Sérgio Ricardo from the single Fôlha de Papel b/w Enquanto a Tristeza Não Vem (1963, Elenco CE-2) and the album Um Sr. Talento (1963, Elenco ME-7)

   
Artwork for Um Sr. Talento by Francisco Pereira

2. Quarteto em Cy from the album Quarteto em Cy (1964, Forma FM-4), compiled on the album Forma ’65 (1965, Forma FM-11)

Artwork for Quarteto em Cy with illustration by Patrícia Tattersfield

3. Sérgio Carvalho from the album Pra Frente (1964, Continental PPL 12130)

   

4. Pery Ribeiro with Milton Banana Trio from the EP Pery Ribeiro com Milton Banana Trio (1965, Odeon 7BD-1112)

   

5. Pierre from the album Pierre 2 + 2 (1965, Chantecler CMG 2348)

6. Eduardo Costa from the album Apresentando Eduardo Costa e Seu Conjunto (1965, CBS 37399)

   

7. Manfredo Fest from the album Manfredo Fest Trio (1965, RGE XRLP 5272)

   
Artwork for Manfredo Fest Trio by Urano Dornelles Lima

8. Sérgio Augusto from the album Barquinho Diferente (1965, Continental PPL 12219)

   

9. Dois & Ela from the album Dois & Ela (1966, Farroupilha LPFA-416)

   
Artwork for Dois & Ela by Antônio Melero

Selected medleys including Enquanto a Tristeza Não Vem:

1. Leny Andrade from the album Estamos Aí (1965, Odeon MOFB 3428)

   
Artwork for Estamos Aí by Moacyr Rcoha with photograph by Mafra

2. Tempo Trio from the album Tempo Trio (1965, London/Odeon LLB 1007)

   

ENQUANTO A TRISTEZA NÃO VEM

Tristeza mora na favela • Às vezes ela sai por aí • Felicidade então • Que era saudade sorri • Brinca um pouquinho • Enquanto a tristeza não vem

Canta • Canta • Nasceu uma rosa • Na favela

Song No. 192 — Recado ao Pé do Berço | Luiz Carlos Vinhas & Ronaldo Bôscoli (1966)

Recado ao Pé do Berço was introduced in 1966 by Bossa Três on their album O Reis do Ritmo, arranged by Luís Carlos Vinhas and directed by Lyrio Panicali. While the song is titled Recado ao Pé do Berço on the label, it appears on the cover as Canção Ao Pé Do Berço.

Formed in 1963 by Luís Carlos Vinhas on piano with Sebasão “Tião” Neto on bass and Édison Machado on drums, Bossa Três recorded their widely acclaimed self-titled debut album as well as one with French accordionist Joseph Octave Basile né Giuseppe Ottaviano Basile, better known as Jo Basile. In 1964 Vinhas recast the trio with Octávio Bailly Júnior on bass and Ronnie Mesquita on drums. In this formation, Bossa Três recorded three more albums of their own until 1967, as well as three with Pery Ribeiro and Leny Andrade.

Recado ao Pé do Berço was recorded only once more, also in 1966 and also by Bossa Três, on their album Encontro with Pery Ribeiro, this time arranged by João Theodoro Meirelles, who shared the musical direction of the album with Lyrio Panicali.

Recordings of Recado ao Pé do Berço:

1. Bossa Três from the album O Reis do Ritmo (1966, Odeon MOFB 3449)

   
Art work for O Reis do Ritmo by Moacyr Rocha with photograph by Raul Brandão

2. Pery Ribeiro e Bossa Três from the album Encontro – Pery Ribeiro + Bossa Três (1966, MOFB 3454)

   
Art work for Encontro – Pery Ribeiro + Bossa Três by Moacyr Rocha with photographs by Paulo Garcez

Song No. 182 — Vem | Marcos Valle & Luiz ‘Lula’ Fernando Freire (1965)

Vem was introduced in 1965 by Marcos Valle on his second album O Compositor e o Cantor, arranged by Eumir Deodato and conducted by Lyrio Panicali.

Before Marcos Valle himself recorded a new version in 2005, Vem had only been recorded three more times, first immediately after Valle’s release by Pery Ribeiro, arranged and conducted by Lyrio Panicali. The following year, César Camargo Mariano and his octet recorded an instrumental version, and Agostinho dos Santos recorded a version arranged by Paulo Moura for his self-titled album on Elenco, on which the song is incorrectly credited as co-written by Paulo Sérgio Valle.

Selected recordings of Vem:

1. Marcos Valle from the album O Compositor e o Cantor (1965, Odeon MOFB 3413)

   
Artwork for O Compositor e o Cantor by Moacyr Rocha with photograph by Mafra

2. Pery Ribeiro from the album Pery (1965, Odeon MOFB 3418)

Artwork for Pery by Moacyr Rocha with photograph by Mafra

3. Octeto de César Camargo Mariano from the album Octeto de César Camargo Mariano (1966, Som Maior SMLP 1516)

   

4. Agostinho dos Santos from the album Agostinho dos Santos (1966, Elenco ME-26)

   
Artwork for Agostinho dos Santos by Eddie Moyna with illustration by J.C. Mello Menezes and photographs by Paulo Lorgus

VEM

Vem • Não adianta nada esperar • Já tenho tanto para contar

Tanto andei • Tão cansado estou • Esperei • Já nem sei quem sou • Mil canções • Hão de nascer

E tudo espera só por você • Vem • Olha que a vida é para valer

O que foi • Tudo que passou • Já não é • Tudo se acabou • Outra vez, vamos • Nós dois

Não adianta nada esperar • Vem que temos • Tanto para falar

Song No. 177 — Último Canto | Francis Hime & Ruy Guerra (1965)

Último Canto was introduced in 1965 by Elis Regina, arranged and conducted by Lindolpho Gaya, on her album Samba – Eu Canto Assim.

The song was only recorded six times at the time, first in 1966 by Agostinho dos Santos, arranged by Paulo Moura, and released on his self-titled album and as the B-side to Das Rosas.

Francis Hime recorded his song on his self-titled debut album in 1973.

Selected recordings of Último Canto:

1. Elis Regina from the album Samba – Eu Canto Assim (1965, PhilipsP 632.742 L)

   

2. Agostinho dos Santos from the single Das Rosas b/w Último Canto (Elenco CE-19) and the album Agostinho dos Santos (1966, Elenco ME-26)

   
Artwork for Agostinho dos Santosby Eddie Moyna with illustration by J. C. Mello Menezes and photographs by Paulo Lorgus

3. Quarteto em Cy from the album Quarteto em Cy (1966, Elenco ME-33)

  
Artwork for Quarteto em Cy by Estudio ID with photograph by Francisco Pereira

4. Francis Hime from the album Francis Hime (1973, Odeon SMOFB 3816)

Selected medleys including Último Canto:

1. Luiz Carlos Vinhas from the album Luis Carlos Vinhas no Flag (1970, Odeon MOFB 3630)

Selected recordings of Último Canto originally not issued in Brazil:

1. Pery Ribeiro e Bossa Três from the album Gemini V en Mexico – Pery Ribeiro, Leny Andrade e Bossa Três (1967, Odeon [MEX] LOM 10053)

   

ÚLTIMO CANTO

Vou acender uma vela • Vou só cantar o meu canto • E vou cantar da maneira, a mais singela • E só depois vou te esquecer • E só depois vou te esquecer

Vou acender uma vela • Vou só chorar o meu pranto • E vou chorar da maneira, a mais singela • E só depois quero esquecer

Quando um amor acaba em pranto • É o mesmo que alguém morrer • Vou acender essa vela • Que é por mim e é por ela

Song No. 161 — Samba de Orfeu | Luiz Bonfá & Antônio Maria (1959)

Samba de Orfeu was introduced in June 1959 in Marcel Camus’s movie Orfeu Negro, performed in the final scene when the children play the song to make the sun rise just like Orfeu used to do.

Orfeu Negro was based on the play Orfeu da Conceição, written by Vinícius de Moraes in 1954 and premiered in 1956, setting the greek legend of Orpheus and Euridice into a favela in Rio de Janeiro against the background of Carnival. Samba de Orfeu was not part of the musical setting of Orfeu da Conceição by Antônio Carlos Jobim and Vinícius de Moraes which was recorded in 1956 with Luiz Bonfá and singer Roberto Paiva. Just like Manhã de Carnaval and A Felicidade, Samba do Orfeu was only written in 1958 for the motion picture score.

In Brazil, Samba de Orfeu was introduced on record either by Lucienne Franco or Pery Ribeiro. Franco released the song as A-side to Manhã de Carnaval while all other single relases featured the song as B-side to Manhã de Carnaval. Although not quite as popular as Manhã de Carnaval and A Felicidade, the song enjoyed numerous recordings until today and is definitely one of Brazil’s iconic sambas. However, it appears that in its day Samba de Orfeu was recorded more often internationally. Englisch lyrics titled Sweet Happy Life were written by Norman Gimble, and introduced in 1966 either by Wanda Sá or Peggy Lee.

Interestingly, it seems that the soundtrack of Orfeu Negro was not issued in Brazil until 1990. In 1959, soundtrack albums were issued only in Europe and the US.

   

Selected recordings of Samba de Orfeu:

1. Lucienne Franco from the single Samba de Orfeu b/w Manhã de Carnaval (1959, Copacabana 6.046), the EP Lucienne Franco (1959, Copacabana CEP-4573)

2. Pery Ribeiro from the single Manhã de Carnaval b/w Samba de Orfeu (1959, Odeon 14.502) and the album Eu Gosto da Vida (1961, Odeon MOFB 3213)

3. Edu da Gaita from the album Uma Gaita Para Milhões (1959, Copacabana CLP 11114)

   

4. Luiz Bonfá from the album A Voz e a Violão – Luiz Bonfá e Norma Suely (1960, Odeon MOFB 3144)

  
Artwork for A Voz e a Violão – Luiz Bonfá e Norma Suely by César G. Villela with photograph by Francisco Pereira

5. Gerson Flinkas from the album Sua Majestade, O Baile (1960, Polydor LPNG 4058)

  

6. Quarteto Excelsior from the album Coquetel Dançante Vol. 3 (1960, RCA Victor BBL 1063)

  

7. Joe Hammond from the album Solovox Espetacular! (1962, Philips P 630.490 L)

  
Artwork for Solovox Espetacular! by Paulo Brèves with photograph by Mafra

8. Mr. Samba & Seus Skindôs Rítmicos from the albumMr. Samba’s Authentic Brazilian Bossa Nova (1963, RGE XRLP-5.197) aka This Is Bossa Nova  (1963, RGE LP3-1090)

   

9. João Donato from the album The New Sound of Brazil (1965, RCA Victor ‎LSP-3473)

   

10. Rogério Duprat from the album Dedicado a Você (1967, Penthon РРLРD-104)

   

11. Agostinho dos Santos from the album Agostinho dos Santos (1969, Continental PPL 12415)

   

12. Agostinho dos Santos from the album Agostinho dos Santos (1970, London/Odeon LLB 1062)

13. Paulo Moura from the album Fibra (1971, Equipe EQC 800.003)

Artwork for Fibra by Joselito

Selected medleys including Samba de Orfeu:

1. Moacyr Silva from the album Dançando com Você N^o. 4 (1959, Copacabana CLP 11117)

   

2. Luiz Henrique from the album Barra Limpa (1967, Verve Records ‎[USA] V6-8697)

   

3. Agostinho dos Santos from the album Agostinho dos Santos (1973, Continental SLP 10.118)

  

Selected recordings of Samba de Orfeu originally not issued in Brazil:

1. Hélio Motta from the EP Chansons Originales du Film ‘Orfeu Negro’ (1959, Vega ‎[FRA] V 45 P 2002)

  

2. Jerry Mengo from the EP Orfeu Negro (1959, La Voz de Su Amo [SPA] 7EPL 13.352)

  

3. Gérard La Viny from the EP 4 Chansons du Film “Orfeu Negro” (1960, Fontana [FRA] 460.646 ME)

  

4. Fernand Verstraete aka Trumpet Boy from the EP Trumpet Boy Joue Orfeu Negro (1960, Philips ‎[FRA] 424152 PE)

  

5. The Rocky Boyd Quintet from the album Ease it (1961, Jazztime ‎[USA] JT001), also reissued under Kenny Dorham’s name (1974, Muse Records ‎[USA] MR 5053)

  
Artwork for Ease it by Gary Gladstone

  

6. Bob Brookmeyer from the album Trombone Jazz Samba (1962, Verve Records [USA] V6-8498)

Artwork for Trombone Jazz Samba by John Morello with cover photograph by Carl Fisher

7. Vince Guaraldi Trio from the album Jazz Impressions of Black Orpheus (1962, Fantasy ‎[USA] 8089)

   

8. Pat Thomas from the album Desafinado (1962, MGM Records ‎[USA] SE 4103)

   

9. Paul Desmond from the album Take Ten (1963, RCA Victor ‎[USA] LSP-2569)

  

10. Bill Perkins from the album Bossa Nova with Strings Attached – The Tenor Sax of Bill Perkins (1963, Liberty [USA] LRP-3293)

  

11. Charlie Rouse from the album Bossa Nova Bacchanal (1963, Blue Note [USA] BLP 4119)

  

12. Bola Sete from the album Tour de Force (1964, Fantasy [USA] F-8358)

13. Baja Marimba Band from the album Baja Marimba Band (1964, A&M Records ‎[USA] SP-104)

  

14. Luiz Bonfá from the album Braziliana (1965, Philips [USA] PHS-200-199)

15. Cal Tjader from the album Soul Bird Whiffenpoof (1965, Verve Records ‎[USA] SW-91139)

   

16. Eddie Harris from the album For Birds and Bags (1966, Exodus Records [USA] EXS-6002)

17. Oscar Peterson from the album Soul Español (1966, Limelight ‎[USA] LM 82044)

   

18. The Brass Ring from the album Lara’s Theme (1966, Dunhill [USA] DS 50012)

  

19. Wanda Sá from the album Softly (1966, Capitol [USA] T 2325)

20. Peggy Lee from the album Guitars a Là Lee (1966, Capitol Records [USA] T 2469)

21. Doc Severinsen from the album Doc Severinsen & Strings (1968, Command ‎[USA] RS 937 SD)

Artwork for Doc Severinsen & Strings by Daniel Pezza with photograph by Norman Trigg

22. Artie Kane from the album Artie Kane ‎– Playing The Swinging Screen Scene (1972, RCA Victor [USA] LSP-4693)

  

Final scene of Orfeu Negro with Jorge Dos Santos and Aurino Cassiano, joined by an uncredited girl, playing Samba de Orfeu to make the sun rise just like Orfeu used to do.

SAMBA DE ORFEU

Quero viver, quero sambar • Até sentir a essência da vida me faltar • Quero sambar, quero viver • Depois do samba tá bem meu amor • Posso morrer

Quero viver, quero sambar • Até sentir a essência da vida me faltar • Quero sambar, quero viver • Depois do samba tá bem meu amor • Posso morrer

Quem quiser gostar de mim • Se quiser vai ser assim

Vamos viver, vamos sambar • Se a fantasia rasgar, meu amor • Eu compro outra • Vamos sambar, vamos viver • O samba é livre, e eu sou livre também • Até morrer

Song No. 43 — Giramundo | Luiz Carlos Sá (1965)

Giramundo was introduced in late 1965 by Pery Ribeiro as the featured song on his EP with the Milton Banana Trio.

Following Luli’s issue of Baleiro earlier that year, Giramundo was the second song by singer and composer Luiz Carlos Sá to be recorded, and it arguably became his best known.

Giramundo finished at number 33 of Brazil’s biggest hits of 1966, turning out to be Ribeiro’s second most successful single release after Garota de Ipanama in 1963. However, the song enjoyed a short-lived success with only seven recordings in three years.

Selected recordings of Giramundo:

1. Pery Ribeiro & Milton Banana Trio from the EP Pery Ribeiro com Milton Banan Trio (1965, Odeon 7BD-1112) and the album P.S. Parada de Sucessos (1965, Odeon MOFB 3440)

   

2. Conjunto Copacabana Bossa from the albums 14 Maiorais Nº 9 (1965, Copacabana CLP 11452) and Bossa (1966, Copacabana CLP 11459)

3. Embalo Trio from the album Embalo Trio (1965, RCA Victor BBL 1352)

  
Art work for Embalo Trio by Tebaldo with photographs by Nicanor

4. Walter Wanderley aka Mike Falcão from the album No Embalo do Samba (1966, Imperial/Odeon IMP 30.086)

  

5. João Peixoto Primo from the album Pinta o Sete (1966, Musidisc XPL-43)

6. Jaime da Conceição from the album As Revelações da Grande Chance N^o 2 (1968, Ritmos Codil CDL 13012)

  
Art work for As Revelações da Grande Chance N^o 2 by Joselito with photographs by Mafra

Song No. 28 — Caminho | Chico Feitosa & Marcos Vasconcellos (1965)

Caminho was introduced in 1965 on three almost concurrent recordings which is why the original cannot be identified. After that, the song has apparently never been recorded again.

Francisco Libório Feitosa aka Chico Feitosa featured Caminho, grandly orchestrated by Oscar Castro Neves, on his sole album with its title referring to his nickname ‘Late Night Chico’.

Myrzo Barroso’s version was also issued as a single with Melhor Que Tudo Mais Que Existe on the flip side, taken from his sole album Myrzo, arranged by Cipó and directed by Zaccarias.

Pery Ribeiro included his version on the compacto duplo featuring his joint work with Milton Banana on drums, Wanderley on piano and Guará on bass.

Selected recordings of Caminho:

1. Chico Feitosa from the album Chico Fim de Noite Apresenta Chico Feitosa (1965, Forma FM-7)

Art work for Chico Fim de Noite Apresenta Chico Feitosa by Wadi Gebara Netto with photograph by Pedro Morais

2. Myrzo Barroso from the album Myrzo (1965, RCA Victor BBL 1313)

   
Art work for Myrzo by J. Moreira with photograph by Mafra

3. Pery Ribeiro & Milton Banana Trio from the EP Pery Ribeiro com Milton Banana Trio (1965, Odeon 7BD-1112)

No. 41 — Pages 170-171: Leny Andrade | Pery Ribeiro | José Batista da Silva Júnior aka Zézinho

• Conjunto Som 4 — Conjunto Som 4
  (1965) Continental PPL 12194
• Raul de Barros — Brasil, Trombone
  (1974) Marcus Pereira MPL 9304
• Zézinho — Zézinho e Seu Sombalanço
  (1965) Chantecler CMG 2364
• Baden Powell — Ao Vivo no Teatro Santa Rosa
  (1966) Elenco ME-30
• Os 7 Velhinhos — Bossa Nova
  (196?) Musidisc XPL-42
• Conjunto Flamingo — Conjunto Flamingo Vol. 3
  (1963) Áudio Fidelity AFLP 1996
• Lyrio Panicali — Nova Dimensão
  (1965) Odeon MOFB 3445
• Aécio Flávio, Berimbau Trio, Quinteto Sambatida — Música Popular Brasileira em Expansão
  (1965) Festival FLP-2
• Leny Andrade, Pery Ribeiro, Bossa Três — Gemini V – Show na Boite Porão 73
  (1965) Odeon MOFB 3445
• Quarteto 004, Antônio Carlos Jobim, As Meninas — Retrato em Branco e Preto
  (1968) Ritmos/Codil CDL 13011

This double-page spread from the book features Leny Andrade and Pery Ribeiro, two of the finest bossa nova singers, and one of the numerous Zézinhos.

In 1965, Leny Andrade, Pery Ribeiro and Bossa Três performed the show ‘Gemini V’, created by Ronaldo Bôscoli and Carlos Mieli with musical direction by Luiz Carlos Vinhas. It became one of the most popular anthological bossa nova shows, running one and a half years in Rio de Janeiro at the nightclub Boate Porão 73 and at Teatro Princesa Isabel. As a result of the huge success the album Gemini V – Show na Boate Porão 73 led to a trilogy of live albums by the two singers. In 1967, ‘Gemini V’ enjoyed a six-month stint at the club El Señorial in Mexico City which was documented on the album Gemini V en Mexico. In 1972, oddly enough with uncredited accompaniment and venue, Leny Andrade and Pery Ribeiro finally released Gemini Cinco Anos Depois.

Playlist Leny Andrade & Pery Ribeiro:
1. Vivo Sonhando (Antônio Carlos Jobim) from the album Gemini V – Show na Boate Porão 73 (1965)

Leny de Andrade Lima (*1943) enjoys an international career, spanning now more than five decades, as one of Brazil’s most renowned samba-jazz singers. She took classical piano lessons at the age of six, appeared in talent shows on Rio de Janeiro’s Rádio Tupi at the age of nine, and received a scholarship at the Conservatório Brasileiro de Música at eleven.

In 1958, she served as a singer for Permínio Gonçalves and his orchestra, before playing the nightclub circuit of Rio de Janeiro, performing with the trio of Sérgio Mendes amongst others. In 1961, the vigorous A Sensação became her debut album with about thirty more original albums to follow. In 1962, she became Dick Farney‘s only guest vocalist ever on an album, performing three jazz standards on Dick Farney Apresenta Sua Orquestra no Auditório de O Globo.

Backed by Tenório Jr. on piano, José Carlos ‘Zezinho’ on bass and Milton Banana on drums, she released A Arte Maior de Leny Andrade in 1964, a live recording at the nighclub Baccarat in Rio de Janeiro which finally settled her as a top-notch vocalist. The next year, the title song by Durval Ferreira and Maurício Einhorn from her striking album Estamos Aí, arranged by Eumir Deodato, gave her her biggest commercial hit.

From 1966 to 1970, Leny Andrade lived in Mexico, recording the highly notable album Leny Andrade with Breno Sauer on vibraphone, Adão Pinheiro on piano, Erneo Eger on bass, and Portinho on drums, as well as performing ‘Gemini V’ with Pery Ribeiro. In her later years, Leny Andrade spent a lot of time in USA and Europe, performing at the Birdland and numerous jazz festivals.

Although Leny Andrade has not enjoyed the commcercial success she deserves, she is critically acclaimed as one of the finest singers of samba-jazz and bossa nova. Known for her skills to improvise and scat, Tony Bennett once called her the “Ella Fitzgerald of Brazil”. Her dynamic yet subtle vocal style makes her a true musician’s singer.

Playlist Leny Andrade:
1. Banzo (Marcos Valle – Odilon Olyntho) from the album Estamos Aí (1965)
2. Samba da Bênção (Baden Powell – Vinícius de Moraes) from the album Leny Andrade (1966)
3. Meu Amor Foi Embora (Durval Ferreira) from the album A Sensação (1961)
4. Olhando o Mar (Arthur Verocai – Ronaldo Soares) from the album Estamos Aí (1965)
5. Vivo Sonhando (Antônio Carlos Jobim) from the album A Arte Maior de Leny Andrade (1964)
6. O Amor Que Acabou (Chico Feitosa – Luis Fernando Freire) from the EP Leny Andrade & Tamba Trio (1963)
7. Não Dá Pé (Hianto de Almeida – Otávio Teixeira) from the album A Sensação (1961)
8. Samba de Rei (Pingarilho – Marcos Vasconcellos) from the album Estamos Aí (1965)
9. Estamos Aí (Durval Ferreira – Maurício Einhorn – Regina Werneck) from the album Estamos Aí (1965)

Peri de Oliveira Martins (1937-2012), better known as Pery Ribeiro, was the son of singer Dalva de Oliveira and composer/singer Herivelto Martins. At the age of three, Pery Ribeiro dubbed the voice of the Bashful Dwarf in the Brazilian version of Walt Dinsey’s Snow White and the Seven Dwarfs, alongside his mother dubbing the main character. Also as a child, he appeared in the unfinished Orson Welles movie It’s All True.

While working as a camera operator for television, Pery Ribeiro’s musical career started in 1959 when he was invited to participate in a program on Rádio Nacional. From then on, Pery Ribeiro released several singles, which were inlcuded on his 1961 debut album Eu Gosto da Vida. The follow-up Pery Ribeiro e Seu Mundo de Canções Românticas presented the singer with solo accompaniment by Luiz Bonfá on guitar. In 1963, the album Pery É Todo Bossa introduced the very first version of Garota de Ipanema by Antônio Carlos Jobim and Vinícius des Moraes, the song which perhaps became the most popular international incarnation of bossa nova. Commercially, Garota de Ipanema became also Pery Ribeiro’s biggest hit, followed by Primavera and Giramundo in 1965.

With the success of Pery É Todo Bossa and the follow-up Pery Muito Mais Bossa, Pery Ribeiro finally established himself as a top-notch bossa nova singer. The mid-sixties in particular was a successful period with the album Pery, lushly arranged and conducted by Lyrio Panicali, the splendid EP Pery Ribeiro with the Milton Banana Trio, the success of ‘Gemini V’ alongside Leny Andrade and Bossa Três, and the album Encontro with Bossa Três. He also made some movie appearances in Brazil as well as the US, including playing opposite Richard Widmark in Vanish.

After the success of ‘Gemini V’ at the club El Señorial in Mexico City, Pery Ribeiro stayed abroad for another year, before following an invitation by Sérgio Mendes to the United States. There, after a successful solo career, Pery Ribeiro became part of Sérgio Mendes’ group Bossa Rio (not to be confused with his Bossa Rio Sextet) alongside Gracinha Leporace on vocals, Manfredo Fest on piano and organ, Osmar Milito on piano, Octávio Bailly Jr. on bass, and Ronnie Mesquita on drums, releasing three albums and touring the US and Europe.

After his return to Brazil in 1971, Pery Ribeiro continued a busy schedule with a total of more than thirty albums and worldwide appearances. Pery Ribeiro is definitely one of  the key vocalists of bossa nova.

Playlist Pery Ribeiro:
1. Vem (Marcos Valle – Luis Fernando Freire) from the album Pery (1965)
2. Recado ao Pé do Berço (Luis Carlos Vinhas – Ronaldo Bôscoli) from the album Encontro (1966), with Bossa Três
3. Giramundo (Luiz Carlos Sá) from the EP Pery Ribeiro (1965), with Milton Banana Trio
4. Meu Nome é Ninguém (Haroldo Barbosa – Luis Reis) from the album Pery Ribeiro e Seu Mundo de Canções Românticas (1962)
5. Garota de Ipanema (Antônio Carlos Jobim – Vinícius des Moraes) from the album Pery É Todo Bossa (1963)
6. Canto Negro (Durval Ferreira – Luis Fernando Freire) from the album Pery Muito Mais Bossa (1964)
7. Até Quando (Vadico – Marino Pinto) from the album Eu Gosto da Vida (1961)
8. Mulher Sem Alma (Nelson Cavaquinho – Guilherme de Brito) from the album Abre Alas (1974)
9. Saiupa (Por Causa de Você, Menina) (Jorge Ben) from the album Bossa Rio (1969), by Bossa Rio

The artwork for Gemini V – Show na Boate Porão 73 is by Moacyr Rocha with photographs by Mafra.

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The artwork for Ao Vivo no Teatro Santa Rosa is by Eddie Moyna with photographs by Francisco Pereira and Paula Lorgus.

   

The artwork for Conjunto Som 4 is by Israel Sancovsky and Coliso Castejón with photographs by Hilde Passos.

   

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Among the numerous musicians known simply as ‘Zézinho’, José Batista da Silva Júnior (1932-2010) stands out as a multi-talented pianist, arranger, conductor and vocalist. However, information is very limited, except that he started his career in the early fifties working at parties and nightclubs. Soon, he was hired by radio stations as a concert master, disc-jockey and arranger. In the mid-seventies, Zézinho became the long-lasting musical director of the TV show “Qual é a música?”, the Brazilian version of “Name That Tune”.

Playlist Zézinho:
1. Não Me Diga Adeus (Paquito – Luis Soberano – João Correia da Silva) from the album Zezinho e Seu Sombalanço (1965)
2. Melancolia (Denis Brean) from the album Zezinho e Seu Sombalanço (1965)

The artwork for Zezinho e Seu Sombalanço, excellently adapting the famous Elenco look, is by Tebaldo Simionato.

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The artwork for Retrato em Branco e Preto is by Millor Fernandez.

   

The art work for Brasil, Trombone is by Antônio Maioral and Ernesto Cerri Neto.