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A Birth of Jazz

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Modern Jazz 7

Latin Recording - Latin Jazz

This page is not updated. Better to view Latin: The CaribbeanLatin: Europe - Latin: South America.

Group & Last Name Index to Full History:


Tracks are listed in chronological order by year, then alphabetically.

Listings do not reflect proper order by month or day: later oft precedes earlier.

Not on this page? See history tree below.



Amalia Aguilar    Johnny Alf    Aracy de Almeida    Laurindo Almeida    Carmen Amaya    Victoria de los Angeles    Desi Arnaz    Francisco Alves

Jacob do Bandolim    Gato Barbieri    Ray Barretto    Ary Barroso    Mario Bauzá    Jorge Ben Jor    Maria Bethânia    Luiz Bonfá    Chico Buarque
Candeia    Candido Camero    Elizete Cardoso    Carnival (Brazil)    Cartola    Oscar Castro-Neves    Dorival Caymmi    Nana Caymmi    Franco Cerri    Antonio Chacón    Alaíde Costa    Gal Costa    Jack Costanzo    Xavier Cugat    José Curbelo
Eusebio Delfín    Eumir Deodato    João Donato    Dolores Duran
Mario Escudero
Cheo Feliciano    Jose Feliciano    Ibrahim Ferrer    Flamenco
Isaurinha Garcia    Garoto    Gilberto Gil    Joao Gilberto    Eddie Gómez   Luiz Gonzaga    Jorge Goulart
Elsie Houston
Inti-Illimani    Enrico Intra    Camarón de la Isla
Víctor Jara    Clementina de Jesus    Antônio Carlos (Tom) Jobim
Libertad Lamarque   Nara Leão    Fafa Lemos    Edu Lobo   Cachao López    Paco de Lucía    Carlos Lyra
Machito    Antonio Mairena    Pepe Marchena    César Camargo Mariano    Sabu Martinez    Bruno Martino    Maysa Matarazzo    Sérgio Mendes    Roberto Menescal    Carolina Cardoso de Menezes    Carmen Miranda    Rita Montaner    Tete Montoliuu    Carlos Montoya    Ramon Montoya    Vinicius de Moraes    Beny Moré    Airto Moreira    Enrique Morente    The Mutants
Nora Ney
Chico O'Farrill    Os Mutantes
Johnny Pacheco    Charlie Palmieri    Isabel Parra    Violeta Parra    Hermeto Pascoal    Lino Patruno    La Niña de los Peines    Paco Pena    Ignacio Piñeiro    Manitas de Plata    Omara Portuondo    Baden Powell    Chano Pozo    Pérez Prado    Tito Puente    Flora Purim
Quarteto em Cy    Quilapayú
Enrico Rava    Elis Regina    Francisco Repilado    Arsenio Rodríguez    Tito Rodríguez    Aldo Romano    Edmundo Ros    Noel Rosa
Sabicas    Henri Salvador    Manolo Sanlúcar    Mongo Santamaria    Anibal Augusto Sardinha    Lalo Schifrin    Compay Segundo    Ninón Sevilla    Wilson Simonal    Sivuca
Sylvia Telles    Toquinho
Bebo Valdés    Miguelito Valdés    Carlos Patato Valdés    Marcos Valle    Caetano Veloso    María Teresa Vera    Paulinho da Viola
Tom Zé



Featured on this page loosely in order of first recording if not record release (as possible).

Names are alphabetical, not chronological, per year:


1901 Antonio Chacón
1910 La Niña de los Peines

María Teresa Vera

1919 Francisco Alves
1921 Eusebio Delfín
1923 Rita Montaner    Ramon Montoya
1924 Pepe Marchena
1925 Mario Bauzá    Xavier Cugat
1926 Libertad Lamarque    Ignacio Piñeiro
1927 Elsie Houston
1928 Ary Barroso
1929 Cartola    Noel Rosa
1930 Garoto (Sardinha)    Carmen Miranda    Sabicas
1931 Carolina Cardoso de Menezes
1934 Aracy de Almeida
1936 Compay Segundo (Repilado)
1937 Miguelito Valdés
1938 Laurindo Almeida    José Curbelo    Machito    Edmundo Ros
1939 Desi Arnaz    Dorival Caymmi    Arsenio Rodríguez
1940 Cachao López
1941 Carmen Amaya    Isaurinha Garcia    Luiz Gonzaga    Antonio Mairena    Carlos Montoya    Tito Rodríguez
1942 Henri Salvador
1944 Bebo Valdés    Carlos Patato Valdés
1945 Franco Cerri    Jorge Goulart    Beny Moré
1946 Amalia Aguilar    Luiz Bonfá    Mario Escudero    Bruno Martino    Ninón Sevilla
1947 Jack Costanzo    Victoria de los Angeles    Jacob do Bandolim    Charlie Palmieri    Chano Pozo
1948 Sabu Martinez    Pérez Prado
1949 João Donato    Chico O'Farrill    Tito Puente
1950 Candido Camero    Elizete Cardoso
1951 Joao Gilberto    Fafa Lemos    Violeta Parra    Mongo Santamaria    Sivuca
1952 Johnny Alf    Dolores Duran    Nora Ney
1953 Lalo Schifrin
1954 Enrico Intra    Antônio Carlos Jobim    Isabel Parra
1955 Ibrahim Ferrer    Sylvia Telles
1956 Gato Barbieri    Oscar Castro-Neves    Maysa Matarazzo    Tete Montoliuu    Hermeto Pascoal
1957 Candeia    Alaíde Costa    Cheo Feliciano    Omara Portuondo
1958 Ray Barretto    Johnny Pacheco
1959 Roberto Menescal
1960 Carlos Lyra    Lino Patruno    Manitas de Plata    Baden Powell
1961 Nana Caymmi    Paco de Lucía    Sérgio Mendes    Vinicius de Moraes    Elis Regina
1962 Gilberto Gil    Wilson Simonal
1963 Jorge Ben Jor    Nara Leão
1964 Eumir Deodato    Jose Feliciano    César Camargo Mariano    Flora Purim    Quarteto em Cy    Marcos Valle
1965 Maria Bethânia    Gal Costa    Paulinho da Viola    Clementina de Jesus    Eddie Gómez    Edu Lobo    Enrico Rava   Caetano Veloso    Tom Zé
1966 Chico Buarque    Víctor Jara    Paco Pena    Quilapayún    Toquinho
1967 Airto Moreira    Enrique Morente
1968 Camarón de la Isla    Os Mutantes    Manolo Sanlúcar
1969 Inti-Illimani


  This page combines the overall map of Latin recording in the Caribbean (such as the rumba), Europe (such as flamenco) and South America (such as the tango, samba, bossa nova and MPB) onto one global page. As a natural extension of early modern jazz, particularly guitar and  percussion, Latin tempos so distinctive in modern jazz are of a long heritage all to themselves important in the history of music. This page thus situates jazz into the longer history and wider spectrum of Latin recording of which jazz in the United States is an important, but overall minor, portion. Bands, bandleaders and musicians are indexed to who released their first recordings before 1970. Latin recording quite precedes fusion with jazz back to such as flamenco, the tango, the rumba, etc.. What we call Latin is simple: south of the border, whether in the Americas (Cuba, Mexico, Brazil) or in Europe (Iberian Peninsula, Italy). Romantic as le français may be, and independent as Catalonia may wish to be, France is treated north, Spain south. As the emphasis on this page is whereof the emphasis arose, the Caribbean is well-represented, largely due Cuba prior to Castro. Among the more obvious contributions of Latin jazz was Afro-Cuban percussion, such as maracas, bongos, congas and timbales. Latin percussion was also distinguished in Spanish flamenco (clapping, knocking, stamping). Though flamenco is a genre distinctly to itself we include it here and there on this page toward addressing Latin recording. If Latin rhythms on the other side of the Atlantic eagerly embraced collaboration with and influence by jazz musicians in the States, flamenco, the folk music of Spain, has resisted blending with other forms. Though remarkable results in classical or jazz environments have occurred, flamenco remains, as decidedly as necessarily, flamenco. Not all Latin jazz is on this page. Such as bossa nova, etc., are sprinkled elsewhere. Speaking of Brazil, the bossa nova and samba would develop into MPB or, Brazilian Popular Music, with its spark in the democratic movement opposed to Brazil's military regime of 1964-85. Like popular music in the States, MPB isn't jazz; it's aligned with Brazilian folk music and Brazilian recording prior to the military coup of '64. But there's no absolute or proper barrier between. Brazil is a big place with a music industry highly populated with prominent names. But as early Brazilian artists and MPB are highly relevant to Latin recording we've listed at least several among the more significant. Also to note is Modern Jazz Percussion including musicians of Latin heritage important to the rise of the Latin beat in jazz though they were born in the United States. As for Latin Classical composers, they figure prominently in such as Italy throughout the Classical section of these histories. Classical composition on the Iberian Peninsula (such as Spain), however, didn't come to prominence until the latter 19th century due to the centuries-long contest there between Christianity and Islam.

Early Latin Recording

The merging of Latin music with American jazz is as significant in the history of jazz as was swing, and a major cultural phenomenon in history. Dominating the rise of Latin jazz were musicians from Cuba, followed by Brazil and Puerto Rico. Pre-Revolution Havana was the place to be while Mexico City, though far from silent, remained largely isolated. Latin Jazz began to occur as Latin performers made their way to New York City, largely to record, as recording studios down south were as sparse as technologically arear. Nor was there the capability to distribute records (anywhere, much less in the United States) as was enjoyed by record companies in the States. One important example of the interweaving of Latin music and American jazz was Dizzy Gillespie's collaborations with Afro-Cuban musicians, Mario Bauza and Chano Pozo, as of the forties. However, like other pages in these histories, we like to start at the roots. The first tango composition is generally given as 'Dame La Lata (Give Me My Tin)', circa 1880, by Juan Pérez. The earliest reference to the rumba on record was in 1899 on an Edison cylinder, 'Los Rumberos' by Arturo B. Adamini. The first tango sheet music published, though not recorded, was 'El Entrerriano' by Rosendo Mendizabal in 1897. (A much later recording of 'El Entrerriano' below.) The first tango recorded is said to be 'El Choclo' in 1905 by Angel Villoldo. (That recording isn't found, the much later rendition below by an unknown artist on a date unknown.) The first use of the word "rumba" on a record label was in 1905: 'La Rumba', credited to the Orquesta Típica Velázquez for Victor. The first appearance of the word "guaguancó" (rumba subgenre) is 'Guaguancó', by the Orquesta Reverón in 1918. The initial rumba to feature vocals is said to be 'Se Acabó la Rumba' by the Orquesta Felipe Valdéz in 1920. The first traditional rumba recorded is said to be 'El Yambú Guaguancó', circa 1920, by Manuel Corona & María Teresa Vera. Above information thanks to Vamos a Guarachar.

Rosendo Mendizabal   Composition: 1897

   El Entrerriano

      Early tango

      Arrangement and piano: Jorge Rodolfo Altmann 2012

Angel Villoldo   Composition: 1905

   El Choclo

      Early tango

      Later rendition by unknown artist on unknown date

Juan Pacho Maglio   1912

   Causi Nada

      Early tango

Victor Military Band   1913

   La Rumba

      Early rumba   Listed as tango

Roberto Firpo   1916

   Nueve de Julio

      Early tango

Francisco Canaro   1919

   El Africano

      Early tango

Manuel Corona/María Teresa Vera   1920?

   El Yambú Guaguancó

      Early rumba

Osvaldo Fresedo   1927

   Bésame en la Boca

      Early tango


Birth of Modern Jazz: Andalusia

Andalusia   Birthplace of Flamenco

Map: lardbucket
Flamenco was and remains a distinct genre in and of itself, quite apart from classical or jazz, though it fits comfortably under Romantic. It had its origins around 1850 with the emergence of the cafe cantata. arising out of Andalusia, the southernmost region of Spain, the term "flamenco" had come into usage in the latter 18th century. Uncertain in origin, it is possibly derived from "gypsy," 'fire," "flame" and/or "fellah mengu," meaning "expelled peasant" in reference to the Moors. Flamenco's heydays were around the turn of the century before recording could disseminate it about the globe. It has since developed into numerous palos (styles). The flamenco guitar is also constructed differently from the classical guitar, having developed differently to its peculiar usage, such as accompaniment to stamping baile flamenco (flamenco dance) or the cante flamenco (flamenco singing). Later flamenco musicians would naturally associate with others in the classical or jazz fields. But no matter how you fuse it, flamenco is fundamentally flamenco. The first recordings made in Spain are thought as of late 1899 by Fred Gaisberg, an American recording engineer said to have produced 128 tracks in Madrid. There exists a discography published in 1900 listing among its titles, 'Malaguenas' by Sr. Garcia, as well as several by Mochuelo: 'Soleares', 'Guajiras' and Malaguenas' among them. Those were among 64 tracks played at a public gramophone demonstration costing 10 centimos to attend. A magazine dated 1901 mentions cylinder recordings (invented 1889) by Antonio Chacón. A quantity were made by El Mochuelo in 1901 as well, together with a host of others having recorded by then. The first recorded discs appeared in 1901 or '02, one-sided and slightly over seven inches in diameter. Among Spanish musicians found on such are El Canario Chico, El Mochuelo, La Rubia, Niño de Cabra, Niño de la Hera and Sebastian Scottta (sic). As mentioned, singer, Antonio Chacón, is thought to have recorded on cylinder by 1901, those titles not presently known. Chacon avoided recording for much of his earlier career, presumably finding them pointless due their poor audio quality, as did many other musicians of the period. Born in 1869 in Jerez de la Frontera , Cadiz, Chacon is a leading figure in the flamenco orthodoxy. He began performing publicly in 1884, touring about Andalusia. Among the better known guitarists with whom he performed were Ramon Montoya, later Sabicas. Chacon died in 1929 in Madrid.

Antonio Chacón   1922

   Rosa si yo no te cogí

      Guitarra: Perico el del Lunar

Antonio Chacón   1925

   Si preguntan por quién doblan

      Guitarra: Ramon Montoya

Antonio Chacón   1928

   Los Campanilleros

      Guitarra: Perico el del Lunar


Birth of Modern Jazz: Antonio Chacón

Antonio Chacón

Source: Fernando Barros
Birth of Modern Jazz: La Niña de los Peines

La Niña de los Peines

Source: America Pink
La Niña de los Peines (The Girl of the Combs) was born Pastora Pavón Cruz in 1890 in Seville, Spain. Never learning to read nor write, nor learning to sign her name until an adult, La Niña de los Peines began performing at the theatre, Taberna de Ceferino in Seville, toward supporting her family. She picked up the name, the Girl of the Combs, due to a tango she often sang as to her combs made of cinnamon. After touring Spain a bit she made her initial recordings in 1910. She married flamenco singer, Pepe Pinto, in 1931. She retired thirty years later in 1961, dying November 1969.

La Niña de los Peines   1910

   Acabara De Una Vez

      Guitarra: Ramon Montoya

   Un Día Era Yo El Rey

      Guitarra: Ramon Montoya

   Malagueñas Estilo Chacón

      Guitarra: Ramon Montoya

   A Mí Mi Mare Me Bendijo

      Guitarra: Ramon Montoya

La Niña de los Peines   1929

   Salomón con ser tan sabio

      'Solomon To Be So Wise'

      Tiento (fantasia)

La Niña de los Peines   1932

   Que los besos de una madre

      Guitarra: Nino Ricardo

La Niña de los Peines   1946

   Al Gurugu

La Niña de los Peines   1949

   Cielito Lindo

      With Pepe Pinto

La Niña de los Peines   1961



  Among the more important early Latin musicians was guitarist and vocalist María Teresa Vera. She may have been able to escape confinement to linear time as well, as such as dates, discographies, etc., are largely missing from what information can be gleaned about her. Born in Guanajay, Cuba, in 1895, Vera was a highly popular trova musician. (Trova: song, by a trovador, an itinerate musician, usually a singing guitarist. The trovador in Cuba was something the equivalent of busking, especially by blues musicians, in the States.) She began singing in an Havana theatre in 1911. She learned guitar fundamentals from Manuel Corona before forming a partnership with Rafael Zequeira in 1916, the year she also first recorded. The pair recorded more than a hundred sessions together before  Zequeira's death in 1964. Vera then began working with Carlos Godinez. In 1925 she formed the Sexteto Occidente with Miguel García. She began partnering with Lorenzo Hierrezuelo in 1935. Vera died in Havana in December of 1965. The major portion of Vera's recordings haven't survived. Of what is left, a couple of CDs have been compiled by Tumbao, one featuring her recordings with Zequeira from 1916 to 1924, another her recordings in 1926 with the Sexteto Occidente.

María Teresa Vera   1920?

   El Yambú Guaguancó

      With Manuel Corona

María Teresa Vera   1921

   Veinte Años

      With Rafael Zequeira

María Teresa Vera   1926


      With the Sexteto Occidente

María Teresa Vera   1956?

   Sobre una Tumba una Rumba


Birth of Modern Jazz: Maria Teresa Vera

Maria Teresa Vera

Source: Artemiseno

Birth of Modern Jazz: Francisco Alves

Francisco Alves

Source:  Ubiritan Lustoso

Born in 1898 in Rio de Janeiro, Brazil, Portuguese samba guitarist and singer, Francisco Alves, is one a few other vocalists on this page whose recording was directly tied to Carnival. His father ran a bar. A tenor and baritone, Alves was twenty when he began singing professionally with the theatre companies, John of God and Martins Chaves. Among the titles he recorded in 1919 were 'O Pé de Anjo' (march) , 'Fala Meu Louro' (samba), 'Alivia Estes Olhos' (samba) and 'Pelo Telefone' (samba), for the new label, Popular. 'O Pé de Anjo' won Carnival the next year. He worked in theatre the next several years before recording again in 1924. Between 1928 and 1932 he recorded as Chico Viola. Alves began performing for a number of radio stations in 1929, eventually to settle with Rádio Nacional in 1941 with which he would remain until 1952. In 1934 Alves saw his music used in film for the first time per 'Voz do Carnaval'. He himself first appeared on film per 'Alô, Alô' in 1935. He continued with film into the forties as he recorded prolifically, nearly a thousand titles on 78s until his death in an auto accident in September 1952. Of the 132 compositions originally credited to him, some number of them seem to have been purchased, or so it was later discovered. Howsoever, during the three decades of his career Alves became one of the most important names in early Latin recording.

Francisco Alves   1919

   Allivia Estes Olhos

   Falla Meu Louro

   O Pé de Anjo

Francisco Alves   1928


Francisco Alves   1934

   Meu Natal

   Não Sei

Francisco Alves   1935

   Foi Ela

      'It Was Her'

   Na Virada da Montanha

Francisco Alves   1936


Francisco Alves   1937

   Misterioso Amor

   Serra da Boa Esperança

Francisco Alves   1939

   Aquarela do Brasil

   Solteiro é Melhor

Francisco Alves   1941


Francisco Alves   1943

   A Dama de Vermelho


Francisco Alves   1945


Francisco Alves   1946


   Minha Terra

Francisco Alves   1947




Francisco Alves   1949

   A Lapa

Francisco Alves   1951


      Carnival march

   Convite ao Samba

      'Invitation to Samba'

   Pra Que Sofrer

   Que Saudade

Francisco Alves   1952

   Pálida Morena

      Singing baritone



Birth of Modern Jazz: Eusebio Delfin

Eusebio Delfin

Source: DAHR

Born in 1893 in Palmira, Cuba, guitarist and singer Eusebio Delfín was a trova musician alike Vera (above). He was a Creole born into an aristocratic family in financial distress, he thus persuaded to study accounting, as he did violin, flute and guitar. His first public performance was in 1916 at the Terry Theatre in Cienfuegos. There was something of an irony as to Delfin's performances of the songs of the trovador (traveling musician) in that he was a bank director married into Bacardi wealth. His first recordings occurred in 1921. He also sang duets with Rita Montaner. Delfin wasn't to rise to Vera's stature as a musician, as music wasn't so much his profession as a study to be indulged by performing boleros at private social gatherings. He nevertheless lends aspect to early Latin recording. Delfin died in 1965 in Havana.

Eusebio Delfin   1927

   Abrazos de Fuego


   Aquella Boca


Eusebio Delfin   1928

   El Azul Encantador

      Duet with Luisa Maria Morales


  Born Rita Aurelia Fulcida Montaner y Facenda in 1900  in Guanabacoa, Cuba, spicy pianist and vocalist Rita Montaner had a pharmacist for a father who sent her at age ten to study music at the Peyrellade Conservatory in Havana, from which she graduated with a gold medal. Montaner wasn't a jazz vocalist, but as both an opera and cabaret singer, as well as a recording, radio, theatre, film and television star. She largely put Cuba on the international map of music. Montaner began her professional career in 1922, and is said to have sung on Cuba's first radio broadcast in October that year. Her initial recordings were made in March 1923 for Victor, in catalog order: 'Amar, eso es todo', 'Por tus ojos', 'Presentimiento', 'Linda cubana', and 'Vivir sin tus caricias' (none found). Montaner pursued opera and toured internationally until she began working in theatre, her style transforming about that time. She began recording for Columbia in 1927. (The three largest recording companies in the world during that era were RCA Victor, Columbia and Decca.) About that time Montaner went to Paris to work with Josephine Baker, her style to further transform of that experience. She continued recording for Columbia and further toured Europe until she headed for Broadway in 1931 to work with Al Jolson on the musical, 'Wonder Bar'. During those years she regularly returned to Cuba to perform, also traveling to Mexico City in 1933. The next year she began appearing in films, also emphasizing radio into the forties. In 1946 she began working at the Tropicana nightclub in Habana for the next four years. (The Tropicana first opened as a theatre and restaurant in 1939, closed during World War II, being dependent on tourism, then reopened in 1945.) She died yet working in 1958 in Habana, several years into Castro's Cuban Revolution.

Rita Montaner   1928

   El Manisero (The Peanut Vendor)

      Recorded November 1927


   Lamento Esclavo


   Quiero Besarte

Rita Montaner   1948



Rita Montaner   1951




Birth of Modern Jazz: Rita Montaner

Rita Montaner

Source: El Mirador Nocturno


Birth of Modern Jazz: Ramon Montoya

Ramon Montoya

Source: Flamenco Guitars

Born in Madrid in 1879, flamenco guitarist, Ramon Montoya, continues our interest in Latin recording and Latin music on this page. Flamenco wasn't by any distance related to jazz, though unusual fusings would occur not a few decades later by such as Camarón de la Isla and Paco de Lucía with John McLaughlin. Flamenco's roots were in gypsy Andalusia, highly characteristic to itself with an emphasis on maintaining integrity to tradition. Its origins were in dance with voice added. Guitar's role in flamenco had for centuries been that of backup to the main show otherwise, until just such as Ramon Montoya. The folk music of Andalusia that flamenco is came about through a mesh of gypsies, Jews, Moors and the indiginous. The term "flamenco" appears on records by travelers in Andalusia during the 18th century, quite a while before the emergence of the cafe cantante in the mid 19th century via which flamenco began spreading to increasing popularity. By Montoya's time dancers at cafes cantante were sharing stage with virtuosic tricks on guitar. Montoya happened to be one of those artists, arriving at just the right place at just the right time to make some of flamenco's earliest recordings as of 1923. Montoya didn't make flamenco famous, but he prepared the path for his nephew, Carlos Montoya, who would. Montoya died in Madrid in 1949. A host of his early recordings are available on the CD. 'Ramon Montoya: El Genio de la Guitarra Flamenca - Grabaciones Historicas 1923-1936'. More Montoya per 1924 under Pepe Marchena.

Ramon Montoya   1923


Ramon Montoya   1924

   Yo Ya No Vuelvo a Querer

      'I Won't Be Back Alive'

      With Nino de Marchena (Pepe Marhena)

Ramon Montoya   1925

   La Rosa


   Si preguntan por quién doblan

      With Antonio Chacón

Ramon Montoya   1928


      With Aurelio Selles

   Soleares en Mi

Ramon Montoya   1936



  Born José Tejada Marín in Marchena, Seville, in 1903, flamenco vocalist, Pepe Marchena, sang in taverns as a boy. He performed as Niño de Marchena during the earlier days of his career. As he became more professional he began touring the cafes and theatres of Andalusia. Arriving in Madrid in 1921, the next year he bagged employment at Teatro La Latina. Paid 200 pesetas daily, he must have been a valued performer, earning more than the going rate. Sources state that Marchena first recorded in 1922 but we can find no documentation of such. 1922 nevertheless saw him performing for the King and Queen of Italy upon their visit to the Kingdom of Spain that June. His earliest determinable recordings were in 1924, per the sixteen-volume release of 'Niño De Marchena: Obra Completa en 78 Rpm 1924-1946'. The twenties and thirties were spent touring Spain, filling roles in opera flamenco in the twenties, moving onward to films in the thirties. Marchena had become enormously popular by the time of the Spanish Civil War (1936-39). Reflecting that, he dressed too well for the period, getting arrested by Republicans for being wealthy, albeit his release was arranged by the Minister of the Frente Popular. Marchena continued in opera flamenco and films (such as 'La Dolores' and 'Martingala') after the war with high success. The fifties saw Marchena touring South America, Paris, Morocco and Algieria. He took flamenco so far away as Pakistan in 1961. Marchena passed away in December of 1986 in Marchena.

Niño de Marchena   1924

  A Ningún Hombre Quería

      Guitar: Ramón Montoya

  Lucero de la Mañana

      Guitar: Ramón Montoya

  Si Yo No Puedo Quererte

      Guitar: Ramón Montoya

Niño de Marchena   1925

   Estoy Más Cerca de la Muerte

      Guitar: Manuel Bonet

   A Mí Me Tiró en la Carrera

      Guitar: Manuel Bonet

   La Rosa

      Likely recorded in 1929

Pepe Marchena   1935

   Granaina de la película Paloma de mis amores

      Guitar: Ramon Montoya

   Taranta de la Película/Paloma de mis Amores

      Guitar: Ramon Montoya

Pepe Marchena   1955

   Copita de Plata

      Film: 'La Reina Mora'


      Film: 'La Reina Mora'


Birth of Modern Jazz: Pepe Marchena

Pepe Marchena

Source: La Flamenca

Birth of Modern Jazz: Mario Bauza

Mario Bauzá

Source: About Entertainment


Born in Cuba in 1911, alto saxophonist and trumpeter Mario Bauzá began performing professionally at perhaps age nine, playing clarinet for three years in the Havana Philharmonic Orchestra. He was fourteen when he went to New York City to play clarinet in the charanga (Cuban dance) band of Antonio María Romeu. Bauzá also first recorded in 1925 with Romeu. (Of the ten recordings Romeu made for Victor that year, none are found.) He then returned to Cuba, later moving to NYC in 1930. It was 1933 when Bauzá began playing trumpet for Chick Webb. He recorded eight tracks with Webb in two separate sessions of four each in September 1934, in catalogue order: 'That Rhythm Man', 'On The Sunny Side Of The Street', 'Lona', 'Blue Minor', 'It’s Over Because We’re Through', 'Don’t Be That Way', 'What A Shuffle' and 'Blue Lou'. (Bauzá is thought first trumpet, Bobby Stark second, in samples below.) Bauza stuck to Webb until August 18 of 1938 for 'Who Ya Hunchin'?' and 'I Let a Tear Fall in the River'. He joined the Don Redman Orchestra for a session in December before signing up with Cab Calloway, first recording with Calloway's organization at Liederkranz Hall in NYC on July 17, 1939: 'Trylon Swing', 'Crescendo in Drums', etc.. Bauza's last session with Calloway is thought to have been January 16, 1941, for such as 'Run, Little Rabbit' and 'Willow Weep for Me'. Working with Calloway had meant numerous sessions with Dizzy Gillespie, the latter hiring on with Calloway for such as 'Twee-Twee-Tweet' and 'I Ain't Gettin Nowhere Fast' on August 30 of 1939. Bauza had first met Gillespie during his days with Webb. Together with such as Chano Pozo, Machito, Art Blakey, et al, they would became prime movers of what was to be called cubop. Bauza would support Gillespie and Machito much later in 1975 on 'Afro-Cuban Jazz Moods'. Bauzá had become musical director for Machito in 1941 beginning a lifelong collaboration during which he distinguished himself as an arranger. Among their numerous sessions was one held for Jazz at the Philharmonic at Carnegie Hall on January 11, 1949, resulting in 'Blen Blen', 'No Noise' et al. Saxophonist, Charlie Parker, was in on that, having joined Machito in latter 1948 to remain into 1950. Working with Machito also meant an important relationship with bandleader, Chico O'Farrill, who arranged and conducted for Machito since late 1949. Albums issued by Bauza were 'La Botánica' ('77 with vocalist, Graciela), 'Afro-Cuban Jazz' ('86), 'Tanga' ('92), 'My Time Is Now' ('93) and '944 Columbus' ('94). The last was released posthumously: Recorded in latter May of '93, Bauza died a couple weeks later on July 11, 1993.

Mario Bauzá   1934


      With Chick Webb

   That Rhythm Man

      With Chick Webb

Mario Bauzá   1953

   Mambo Inn

Mario Bauzá   1975


      With Dizzy Gillespie & Machito

Mario Bauzá   1987

   Mambo Inn

Mario Bauzá   1992


      Concert filmed live

Mario Bauzá   1993

   Jack the Knife

   Mambo Rincon

Mario Bauzá   1999


      Filmed live in Japan


  Xavier Cugat   See Xavier Cugat.

Birth of Modern Jazz: Libertad Lamarque

Libertad Lamarque

Photo: Archivo/El Universal

Source: Cultura Ya

Born in Rosario, Santa Fe, Argentina in 1908, tango and popular vocalist, Libertad Lamarque, was among the biggest names in Latin film and television, also releasing a firm number of recordings. She was named Libertad because her father was an imprisoned anarchist at the time of her her birth. Having won a stage competition at age seven, she later joined a group of street singers to tour regionally. Her first professional role was in the stage show, 'Madre Tierra' in 1923. She was such a popular local performer that she gained the attention of a journalist who recommended her to the National Theatre in Buenos Aires. Her family didn't only support her career. They moved to Buenos Aires to be with her even before she'd been hired, which she was, her debut in 'La Muchacha de Montmartre' as a choir singer. She was soon singing for Radio Prieto, then to release 'Chilenito' and 'Gaucho Sol' in latter 1926. She signed on to some thousand performances of 'El Conventillo de la Paloma ('The Tenement of the Dove')' in 1929, then toured Argentina and Paraguay as a singer accompanied by a trio of guitarists. Her first appearance in film is thought to have been 'Adiós, Argentina' released in 1930. That was a silent film with a soundtrack. Her next film, released in 1932, was '¡Tango!'. Its significance to recording was that it was the first sound motion picture in Argentina. But the most significant thing to Lamarque was her want to die in 1935 upon jumping from a hotel window in Chile, her fall broken by awning. Grinding onward, she decided to tour Cuba in 1946. Hugely popular there, she performed at the Municipal Amphitheatre in Havana for 20,000 fans, then appeared at Carnegie Hall in New York City the next year. Perhaps that tour presented language problems, for it's said she turned down film offers from Hollywood for inability to speak English. Mexico, on the other hand, was a melting pot like the United States when it came to absorbing Latin musicians. Lemarque made two films that were released in 1947 in Mexico, 'Gran Casino' and 'Soledad', then decided to stay there. One reason may have been that Mexico's film industry was technologically advanced beyond Argentina's. After a string of films Lemargue toured about the Caribbean and South America in the fifties, also recording a number of albums in Cuba. The sixties found her back in Argentina making films. Her first role in a soap opera was in Venezuela in 1972 on the program, 'Esmeralda'. (Soap operas, incidentally, began to appear on radio in the States in the early thirties. They were sponsored by soap manufacturers like Colgate-Palmolive, Lever Brothers and Procter & Gamble.) From the latter seventies through the nineties Lemarque added various awards to her resume before dying in Mexico City in December 2000. Together with numerous appearances in theatre, Lemarque made 21 films in Argentina, 45 in Mexico and one in Spain. She starred in six soap operas and recorded more than 800 songs. Most of the earlier recordings below are tangos.

Libertad Lamarque   1926


Libertad Lamarque   1928

   La Chica del 17

Libertad Lamarque   1929

   La Chica del 17

   Lagrimas de Arrabal

Libertad Lamarque   1930

   El Niño de las Monjas

Libertad Lamarque   1931

   La Paloma

Libertad Lamarque   1934

   Dimelo al Oido

Libertad Lamarque   1938


Libertad Lamarque   1943


      Film: 'El Fin de la Noche'

Libertad Lamarque   1955

   El Dia Que Me Quieras

      "The Day You Love Me'

      Film: 'Musica de Siempre'

Libertad Lamarque   1956

   ¡Ay! Mama Ines

      Film: 'Bodas de Oro' ('Golden Weddings')

Libertad Lamarque   1969


      Film: 'El Hijo Pródigo'



Birth of Modern Jazz: Ignacio Pineiro

Ignacio Piñeiro

Source: Ciber Cuba


Born Ignacio Piñeiro Martínez in Havana in 1888, bandleader and composer Ignacio Piñeiro is thought to have begun his career as a vocalist in 1903. The first of his 327 compositions is thought to have been his 1916 tango, 'Lo Típico de Cuba'. Listed as rumba, it was recorded by the group, Terceto Nano that year. In November 1926 Piñeiro made his first determinable recordings in New York upon being taught to play the double bass by guitarist and vocalist, Maria Teresa Vera. Piñeiro joined Vera's group, the Sexteto Occidente, to record: 'Meniet Suave', 'Cabo de Guardia', 'Aurora', 'Tienes Que Llorar', 'La Sangre Me Liama', 'Adriana', 'Tus Ojos' and 'Perdonala Señor' (none found). Later that month he made his first name recording apart from Vera, titled 'El Genio de la Fiesta' (unfound). In 1927 Piñeiro put together the band by which he would become known, the Septeto Nacional. Piñeiro is credited with the first mention of "salsa" on a recording, 'Echale Salsita' in 1933. It's thought that Piñeiro's use of "salsita" translated to "danceable". It's said that Piñeiro sometimes shouted "Salsa!" to indicate increase of tempo. Vocalist, Beny Moré, shouted the term to appreciate a certain performance or describe some facet of Latin American culture. It's thought the term came into wide usage thanks, in part, to Venezuelan DJ, Phidias Danilo Escalona. It later came to generally describe Cuban music mixed with whatever else, such as jazz, popular or rock. Piñeiro quit the Septeto Nacional in 1935, said for insufficient profit. (Leadership passed to trumpeter, Lázaro Herrera, until the band dissolved in 1937.) Piñeiro later became leader of the rumba group, Los Roncos. He died in March of 1969.

Ignacio Piñeiro   1927

   Mamá, !Se quema la Maya!

   Mentira Salomé

Ignacio Piñeiro   1929

   A la Loma de Belen

Ignacio Piñeiro   1933

   Echale Salsita



Birth of Modern Jazz: Ignacio Pineiro

Elsie Houston

Photo: Carl Van Vechten

Source: Famosos Que Partiram


An apt example of early Brazilian recording is Elsie Houston. The first Brazilian musician to perform abroad was flautist, Pixinguiha, with the band, Os Oito Batutas, venturing to Paris in 1922. But not until Houston did Brazilian music really acquire international status. Born in Rio de Janeiro in 1902, Houston came from a family of plantation owners who had traded the United States for Brazil after the Civil War (confederados). Her father, however, was a dentist. Houston studied voice internationally, first in Germany, then Argentina, then Paris. Being something financially advantaged, Houston kept artistic society with such as composer, Heitor Villa-Lobos, and various painters, her husband for a brief period the poet, Benjamin Péret. Houston's first performance was in 1926 at a Paris solon hosted by Marguerite and Raoul d'Harcourt. Her first public engagement was a year later, also in Paris, at the Salle Gaveau, with pianist, Villa-Lobos. Houston made her first recordings with Villa-Lobos in 1928 for French HMV (His Master's Voice), four short tunes titled 'Desejo', 'Na paz do outono', 'Realejo' and 'Estrela do céu é lua nova'. (Those are available as the initial four tracks on the album, 'Elsie Houston: Queen of Brazilian Song'.) Her next recordings were for Columbia in Brazil in 1931. Upon her husband, Péret, being expelled from Brazil, she followed him back to Paris where she laid more tracks for French HMV in 1933. Back in Brazil in 1935, she returned to Paris, now separated from Péret (never divorced), before migrating to New York City in 1937. There she remained to the end of her career, appearing in all variety of venues from cabarets to private gatherings to stadiums, as well as radio. Howsoever, disappointment as to her career, financial difficulties and romantic complications are all mentioned as possibilities in the equation to her suicide in 1943 at age forty.

Elsie Houston   1930


   Puxa o Melao Sabia


   Morena cor de canela

   O Bario da Bahia

Elsie Houston   1941

   Cancao do Carreiro


  Ary Barroso was a samba composer and pianist born in 1903 in Rio de Janeiro, Brazil. He began training at the keyboard at age 10 and began his career in theaters, playing piano for silent films. He had completed law school the year after his first compositions were issued in December 1928. The one was the samba, 'Vou à Penha', issued by Odeon and performed by another major name in Latin recording, Mario Reis, with the Orchestra Pan American. The other was the samba, 'Tu Queres Muito', issued by Parlaphon and performed by Artur Castro with the Simão Nacional Orquestra. In 1930 Barroso won Carnival with 'Dá Nela'. Barroso began working in radio in 1933 and would move onward to film scores, notably for Disney in the forties, to become a close friend of dancer, Carmen Miranda, in Hollywood. Barroso had a second career as a soccer commentator. He passed away of liver cirrhosis in February 1964.

Ary Barroso   1928

   Vou à Penha

      Mário Reis

   Tu Queres Muito

      Arthur Castro

Ary Barroso   1929


      Francisco Alves

   Vamos Deixar de Intimidade

      Mário Reis

Ary Barroso   1930

   Dá Nela

      Carnival suite by various 1930

Ary Barroso   1939

   Aquarela do Brasil

      'Watercolor of Brazil'

      Francisco Alves

   Faceira/Foi Ela/Terra de Iaiá

      Piano: Ary Barroso

Ary Barroso   1941

   A Batucada Começou

      Odete Amaral

   Brasil Moreno

      Cândido Botelho

      Lyrics: Luiz Peixoto

   Canta Maria

      Cândido Botelho

Ary Barroso   1944

   Na Baixa do Sapateiro (Bahia)

      Nestor Amaral

Ary Barroso   1952


      Aurora Miranda

Ary Barroso   1958

   Folha Morta

      Ary Barroso e Sua Orquestra


Birth of Modern Jazz: Ary Barroso

Ary Barroso

Source: Radio Music Star

Birth of Modern Jazz: Cartola


Source: Geledes

Cartola (Top Hat), became important to early Latin recording and samba music in relation to the samba school, some 200 of which now compete at Carnival each year. Top Hat was born Angenor de Oliveira in Rio de Janeiro, Brazil, in 1908. Upon the death of his mother he dropped out of school, age fifteen. It's told he picked up the name, Top Hat (Cartola), because he wore a bowler to keep his hair clean as a construction worker. In 1928 he helped form the street band, Arengueiros Carnival Bloco, the malandragem elemental in some of the sambas they performed. Malandragem is the theme of the anti-hero in Brazilian film, literature and music. That band would soon evolve into the Grêmio Recreativo Escola de Samba Mangueira, an important samba school that would win Carnival sixteen times. (The first competition between schools was in 1929.) Their first parade in 1928 saw the first performance of a Cartola composition, 'Chega de Demanda' ('Enough Fighting'). In 1929 Cartola recorded 'Que Infeliz Sorte' ('Unhappy that Lucky') with Francisco Alves. In 1998 the CD, 'O Sol Nascera' was released, containing that track along with a relatively short catalogue of Cartola to 1978. Cartola came to great popularity in the thirties, due much to his daughter, Creusa, singing his sambas for radio. His first recordings as a vocalist were released in 1942 on a box set of 78s titled, 'Columbia Presents: Native Brazilian Music by Leopold Stokowski'. He then became a ghost, leaving the music business. It isn't known why, but grieving the death of his wife, Deolinda, coupled with a case of meningitis, present themselves. He was rediscovered working at a car wash, if not as a doorman, in 1956 by journalist, Sérgio Porto. He then resumed his career by radio at Rádio Mayrink Veiga. In 1963 Cartola opened the Zicartola bar/restaurant in Rio de Janeiro with Eugênio Agostine and wife Dona Zica, a major hub for samba and bossa nova. Not until 1974 did Cartola issue his first album, 'Cartola'. He was enjoying a successful career when he died in Rio de Janeiro in November 1980.

Cartola   1929

   Que Infeliz Sorte

      With Francisco Alves

Cartola   1933

   Divina Dama

      With Francisco Alves

Cartola   1941

   Nao Posso Viver Sem Ela

      With Ataulpho Alves

Cartola   1974

   Cartola (I)


Cartola   1976

   Cartola (II)


Cartola   1982

   Ao Vivo

      Album   Posthumous


  Noel Rosa was born in Rio de Janeiro in 1910 to a pair of forceps that disfigured his chin. He began playing mandolin at age thirteen, then guitar, as a teenager. While preparing to study medicine Rosa hung out in bars with other samba musicians, forming the group, Bando de Tangarás, with Almirante (Admiral) in 1929. Rosa and his group recorded 'Mulher Exigente', 'Galo Garnizé' and 'Anedotas' in May that year. Those were all compositions by Almirante, one of the members of his band, Rosa presented his own first composition, 'Minha Viola', the next July while playing at the Tijuca Tenis Clube where his band, not yet professional, performed for free as elsewhere. Rosa recorded his second composition, 'Festa No Céu?', in 1930. He entered medical school in 1931 but that wouldn't last long, Rosa releasing more than twenty titles in 1930 which quickly distinguished him, especially as a lyracist. Among those titles that year were ''Com que roupa?'/'Malandro medroso' and 'Festa no céu'/'Minha viola' ('What Clothes?'/'Fearful Trickster' and 'Party in the Sky'/'My Viola'). He began working in radio in 1932. Rosa's health began notably deteriorating of tuberculosis in the early thirties. But when he was supposed to be resting he was out at nightclubs instead. He married in 1934, weighed less than a hundred pounds in 1935. Rosa's compositions began appearing in film in 1936, such as the movies 'Alô, Alô, Carnaval' and 'Cidade Mulher'. But tuberculosis laid Rosa down in May of 1937. During a career not a decade long he yet managed to become one of Brazil's most important musicians with a prolific catalogue. A rather pricy ($200) box set of 14 CD discs titled 'Noel Pela Primeira Vez' was released in 2007 containing 229 Rosa recordings.

Bando de Tangarás   1929

   Galo Garnizé

      Composition/Vocal: Almirante (Admiral)

   Mulher Exigente

      'Demanding Woman'

      Composition/Vocal: Almirante (Admiral)

Noel Rosa   1930

   Com que roupa?

      'What Clothes?'

      With the Bando Regional

   Gago Apaixonado

   Malandro Medroso

      'Fearful Trickster'

Noel Rosa   1931

   Cordiais Saudações

      'Best Regards'

      With the Bando de Tangarás

Noel Rosa   1932

   Mulher Indigesta

      'Indigestible Woman'

      With the Seven Devils

Noel Rosa   1935

   Conversa de Botequim

   João Ninguém


Birth of Modern Jazz: Noel Rosa

Noel Rosa

Source: Radio Batuta

  Garoto was born Anibal Augusto Sardinha in 1915 in Sau Paulo. He was eleven when his violinist brother gave him the first of a variety of strings he would play, a banjo. His brother also christened him with Molech de Banjo for a stage name, but he settled for Boy (Garoto). His first recordings in 1929, were with his mentor, the singer, Paraguassu, not thought to have been released. The next year he began working in radio and recorded 'Bichinho-de-queijo' with 'Driblando'. Among his compositions in the thirties were 'Sore' and 'Moreninha' in 1936, and 'Sobre o Mar' and 'Quinze de Julho' two years later. Not until 1938 did Garoto move from Sao Paulo to Rio de Janeiro, the greater musical hub some 270 miles up the coast. He there formed a duet, Cordas Quentes (Hot Strings), to record with Laurindo Almeida. In 1939 he headed for Uruguay, then joined Carmen Miranda in the United States. He worked with Miranda for eight months, including an engagement at the White House for President Roosevelt, then returned to Rio de Janeiro where, preceding bossa nova, he became master of the choro and chorinho (little choro). The choro (cry or lament) was the tropical metropolitan sound in Brazil until jazz came along to fuse with samba, creating bossa nova. Garoto spent the last fifteen years of his life in Rio, dying just as bossa nova was being developed in 1955 Garoto recorded six albums with his contemporary, pianist, Carolina Cardoso de Menezes.

Garoto   1936

   Dolente (Sore)


Garoto   1938

   Sobre o Mar

Garoto   1942

   Abismo de Rosas (Abyss of Roses)

Garoto   1945

   Sonhador (Dreamer)

Garoto   1946

   Meu Cavaquinho

Garoto   1950


   Esperança (Hope)



   Jorge do Fusa

   Lamentos do Morro


   Nosso Choro (Our Cry)

   Um Rosto de Mulher

   Vivo Sonhando

   Voltarei (I Will Come Back)

Garoto   1951

   Baião Caçula

   Choro Triste #1

   Choro Triste #2


Birth of Modern Jazz: Garoto


Source: Zonacurva

Carmen Miranda was born Maria do Carmo Miranda da Cunha in 1909 in Marco de Canaveses, Portugal, to bring samba to the world, though largely via the United States. She was a close contemporary of Mexican film star, Dolores del Rio, who also did some dancing in film ('Bird of Paradise', 'In Caliente'), and whose career was built in the States. As for Miranda, she got transported to Brazil as a young child with her family, her father in the produce business, later to run a barbershop. Miranda herself learned to make hats at a boutique where she worked, and owned her own business selling hats while young, said to be successful. Her father was an opera fan emphatically against his daughter pursuing a career in show business. Miranda nevertheless sang at such as parties and festivals, then came to the attention of composer and guitarist, Josué de Barros, who helped her acquire her first record contract with the German label, Brunswick, in 1929. Brunswick, however, delayed issuing those recordings, Miranda meanwhile signing up with RCA, again with Barros' assistance. (De Barros, born in 1888, had recorded the polka, 'Explorer', for Columbia in 1910, he well-seasoned in the early music industry by the time he met Miranda.) Her earliest recordings were therefore released by both labels, those by RCA first (January 1930), and getting the attention, those by Brunswick briefly afterward, going largely wayside. Miranda then began singing for Rádio Mayrink Veiga in her home city of Rio de Janeiro. Her film debut occurred in 1933 with 'A Voz Do Carnaval', a documentary. Her first feature film, 'Alô, Alô Brasil', followed two years later. Miranda's love affair with hats was initially portrayed in the 1939 film, 'Banana-da-Terra'. It was also 1939 when Miranda visited Broadway, the Brazilian government (President Vargas at the that time) paying the fares for her band. In addition to starring on Broadway ('The Streets of Paris'), she met President Franklin Roosevelt and sang for radio. (Government was a big factor in Miranda's early success, due President Roosevelt's Good Neighbor Policy concerning Latin American nations. Miranda was received as a cultural ambassador.) Miranda's first Hollywood contract followed the next year, with 20th Century Fox, she appearing in 'Down Argentine Way'. Upon returning to Brazil that year Miranda was booed from the stage as an Americanized sellout. She left Brazil for fourteen years after that. The film, 'Down Argentine Way' was banned from Argentina for being everything but Argentine. She received much the same treatment in Cuba upon release of the film, 'Weekend in Havana', the next year, the press finding little Cuban about the film. Howsoever, by 1945 she was both the highest paid entertainer and highest taxed female in America, earning over $200,000 that year. In 1947 she herself produced the film, 'Copacabana', in which she starred with Groucho Marx. During the latter forties she also continued to work in nightclubs, recording with the Andrew Sisters as well. By 1953 Miranda was exhausted to degree of collapse. She sought electroshock treatment due to depression. As that failed she returned to Brazil in 1954 to recuperate. Back in the States in 1955, she worked in Las Vegas, then toured in Cuba. Her final performance was in August that year with Jimmy Durante on 'The Jimmy Durante Show'. She was ill to at one point be knelt to gather herself, but performed anyway, then died of heart attack the next day at her home in Beverly Hills. About 60,000 people attended her funeral in Rio de Janeiro. Altogether, Miranda was no purist, her music much embellished beyond tangos and such. Mixing musical styles, she also more represented Latin in general than Brazil. Her great flamboyance (salsa, if you like) was another of the things Latin press found distasteful, but which, with her flaring energy, Americans loved, particularly Chiquita, as, to quote one of Miranda's songs, 'Bananas Is My Business'.

Carmen Miranda   1930

   Dona Balbina

      Likely recorded in 1929

   Eu gosto da Minha Terra

   Eu quero casar com você

   Pra Você Gostar de Mim

   Ta-hi (Taí)

   Yáyá, Yôyô

Carmen Miranda   1939

   O que e que a baiana tem

      Film: 'Banana-da-Terra'

Carmen Miranda   1940

   Eu Dei

      Film: 'Down Argentine Way'

   Mamãe Eu Quero

      Film: 'Down Argentine Way'   With Garoto

Carmen Miranda   1941

   Cai Cai

      Film: 'That Night In Rio'

   Chica Chica Boom Chic

      Film: 'That Night In Rio'

   I, Yi, Yi, Yi, Yi (I Like You Very Much)

      Film: 'That Night In Rio'

   Rebola a Bola

      Film: 'Weekend In Havana'

Carmen Miranda   1942

   Chattanooga Choo Choo

   Tic-Tac Do Meu Coração

Carmen Miranda   1943

   The Lady In the Tutti Frutti Hat

      Film: 'The Gang's All Here'

Carmen Miranda   1944

   Give Me a Band and a Bandana

      Film: 'Greenwich Village'

Carmen Miranda   1947

   Tico Tico

      Film: 'Copacabana'


      Film: 'Slick Hare'

Carmen Miranda   1948

   Cooking With Glass

      Film: 'A Date With Judy'

   Cuanto la Gusta

      Film: 'A Date With Judy'

Carmen Miranda   1955

   The Jimmy Durante Show

      Television broadcast   Last performance


Birth of Modern Jazz: Carmen Miranda

Carmen Miranda

Source: Versos de Fogo

Birth of Modern Jazz: Ramon Montoya

Ramon Montoya

Source: Shine Music School

Birth of Modern Jazz: Carmen Amaya

Carmen Amaya

Source: Carlos Olalla

Traditional flamenco had emphasized song and dance over instruments, relegating guitar to a supporting role. That was changed by Ramon Montoya (1879-1949), a major name in the history of flamenco who yet did little recording on his own. It was with Montoya that flamenco guitar began to be appreciated in itself, solos performed without lyric or stamping heels. One rare example of Montoya performing solo (even rarer in that it apparently has a date, early Latin recordings not well documented) is this solea flamenco from 1936. Taking Spanish recording forward, then, was guitarist, Sabicas, who fairly took up where Montoya left off, to such mastery that Chet Atkins, another world-class guitarist, thought his technique the finest on the globe. Born Agustín Castellón Campos in 1912 in Pamplona, Spain, Sabicas began guitar at age four, performing publicly two years later. But Sabicas is another of those musicians concerning whom sources vary widely. He is also said to have given his first performance in Madrid at age nine. Howsoever, he is known to have gone by El Niño de las Habicas early in his career, he having a taste for green beans. Sabicas' first recordings are given as 1930 only tentatively. Sources range his first recordings from the latter twenties in Barcelona to the thirties to 1942 with flamenco singer, Anita Sevilla. We give 1930 due an import issued in 1993 by Fonografica Del Sur, claiming a compilation from 1930 to 1940. The title of that release is 'Sabicas – Recital de guitarra flamenca Vol 1', the first of three. Other sources, however, doubt the authenticity of that collection. Be as may, upon the outbreak of the Spanish Civil War in 1936 he left Spain for South America. The forties found him living and married in Mexico City. Later moving to New York City, he returned to Spain in 1967. As a virtuoso Sabicas made a major contribution to the international renown of flamenco. Among the flamenco dancers with whom his collaborations were well-known was Carmen Amaya. Sabicas died of pneumonia in a Manhattan hospital upon multiple strokes in April 1990. Per 1945 below, later sources credit Sabicas with an uncredited appearance in the film, 'Los Amores de un Torero'.

Sabicas   1939


     Film: 'Martingala'

Sabicas   1942


     1: 'El Sentío'

    2: 'Que Tu Me Quieres Yo lo Se'

    3: 'Que le Mande a Decir'

    4: 'Las Cristianas

     2011 compilation: 'Cantes, Cantos y Músicas de la Segunda República Española'

Sabicas   1945?


     Film: 'Los Amores de un Torero'

     Dance & vocal: Carmen Amaya

Sabicas   1957

   Las dos puntas/Entre Mendoza y San Juan

     With Carmen Amaya

Sabicas   1959

   Bordones Granadinos

     Duet with Mario Escudero

   Bulerias del Terremoto

     With Dolores Vargas

   Flamenco Puro


   La Zarzamora

     Album: 'The Fabulous Sabicas'

Sabicas   1960

   Flamenco Fantasy


Sabicas   1963

   La Malagueña

Sabicas   1972


     Television broadcast


     1: 'Duquelas de Triana'

    2: 'Mi Solea'

    3: 'Embruyo Sevillano'

    Television broadcast

Sabicas   1986

   Live in Seville

     Television broadcast

Sabicas   1988

   Live in Arles

     Filmed concert


Birth of Modern Jazz: Sabicas


Source: grapewrath

Birth of Modern Jazz: Carolina de Menezes

Carolina Cardoso de Menezes
Born in Rio de Janeiro, Brazil, in 1916, pianist, Carolina Cardoso de Menezes, was the contemporary of Garoto, recording six albums with him. Along with samba, de Menezes was a choro performer, the tropical metropolitan beat in Brazil that preceded the bossa nova. She trained with several teachers before graduating from the National Institute of Music to work in radio in 1930. De Menezes issued her first 78 records in 1931 for Parlophon, compositions her own and by others: 'Good Bye', 'I Spend' ('Eu Passo'), 'It Was a Dream' ('Foi Um Sonho'), 'She Treats Me Well' ('Ela Me Trata Bem'), 'With Myself' ('Comigo Mesma') and 'Times Gone' ('Tempos Que Se Foram'). De Menezes switched to Odeon Records for releases in '33 and '34. The labels, Victor, Columbia and Sinter followed, though the larger portion of her issues were with Odeon in the coming decades. De Menezes backed other artists in the studio during her career in addition to a large number of her own name recordings. De Menezes last studio release is thought to have been the album, 'Preludiando', released in 1997. She died of natural causes that year in Méier, a northern bairro of Rio de Janeiro. Per 1986 below, the full title of 'The Smiling Woman' is 'The Smiling Woman Born of Flowers' ('Do Sorriso da Mulher Nasceram as Flores').

Carolina de Menezes   1936

   Gibi Bacurau

      With Jorge Fernandes

Carolina de Menezes   1942

   Amoroso (Loving)

      With Garoto

Carolina de Menezes   1944

   Rato, Rato

      With Garoto

Carolina de Menezes   1951


   Luar de Paquetá

      'Moonlight Paqueta'

Carolina de Menezes   1953


Carolina de Menezes   1986

   Sete Coroas (Seven Crowns)

      Album: 'Os Pianeiros'

   The Smiling Woman

      Album: 'Os Pianeiros'

Carolina de Menezes   1989

   No Rancho Fundo

      Album: 'Fafa & Carolina'

      With Fafá Lemos

   Pedacinhos do Céu

      'Little Pieces of Heaven'

      Album: 'Fafa & Carolina'

      With Fafá Lemos

Carolina de Menezes   1997

   Despertar da Montanha

      Album: 'Preludiando'

      Final LP


Birth of Modern Jazz: Aracy de Almeida

Aracy de Almeida

Source: Lira Paulistana

Born in Rio de Janeiro, Brazil, in 1914, Aracy de Almeida wasn't a jazz singer, but well represents popular Latin recording in Brazil itself, meaning samba, and in de Almeida's case, for Carnival, disc and film. Her father was chief of trains at Brazil Central, her mother a housewife. She is thought to have begun her professional career circa 1933 singing for radio, which is how she met Noel Rosa, instrumental as an early mentor who would supply her with compositions. De Almeida released her first titles on 78 in January of 1934 for Columbia with Pixinguinha and his Orchestra: 'In the Midst Folia' (Carnival march) and 'Wrong Stroke'. 'Laughing Child' (samba) and 'My Longing for Santa' (Carnival march) followed later in December. De Almeida continued working with Rosa until his death in 1937, but she would continue with his sambas on radio and disc through the forties, a champion of his work amidst her repertoire. De Almeida also appeared in the first of several films in the forties. She is thought to have been performing at the Vogue nightclub in Rio de Janeiro when she recorded her first LP for release in 1950 by the Continental label, titled, 'Noel Rosa', in his honor. It was about the time of that release that de Almeida moved to Sao Paulo for the next twelve years. Her next album in '54 was also in Rosa's honor, though basically a reissue of her prior with the same title, a couple tracks added. De Almeida put her own name in big letters below Rosa's on her 1955 issue of 'Cançoes de Noel Rosa con Aracy De Almeida' ("cancoes" equals "songs"). 1958 saw the release of her album, 'O Samba Em Pessôa'. She completed the fifties with the release of a couple 45 rpm extended plays in 1959, the first featuring the sambas, 'See You There!', 'Santo Forte', 'I Tried' and 'Domingo'; the second containing Rosa sambas: 'Where Is the Honesty?', 'Sigh', 'You ARE a Colossus' and 'In the Baile de Lis'. De Almeida began working in television in the sixties as she divided her concert career between Sao Paulo and Rio de Janeiro. In 1971 she issued another album of Rosa compositions, 'Noel Rosa Na Voz de Araci De Almeida'. She couldn't but remain highly popular until hospitalized from a  pulmonary edema in 1988. In a coma for two months, she revived, but for only two days, dying that June in Rio de Janeiro.

Aracy de Almeida   1934

   Golpe Errado

      'Wrong Stroke'

   Riso de Crianca

      'Child Laughing'

Aracy de Almeida   1935

   Triste Cuíca

      'Sad Cuíca'

Aracy de Almeida   1936

   Palpite Infeliz

      'Unhappy Guess'

Aracy de Almeida   1937

   Último Desejo

      'Last Wish'

Aracy de Almeida   1938

   Século do Progresso

Aracy de Almeida   1939

   Camisa Amarela

      'Yellow Ribbon'

Aracy de Almeida   1941

   Eu Não Sou Daqui

      'I Am Not Here'

Aracy de Almeida   1947

   Não Me Diga Adeus

      'Do Not Tell Me Goodbye'

Aracy de Almeida   1948

   Nasci Para Bailar

      'I Was Born to Bailar'

Aracy de Almeida   1951

   Três Apitos

      'Three Whistles'

Aracy de Almeida   1955

   Fita Amarela

      'Yellow Ribbon'

Aracy de Almeida   1966

   Feitiço da Vila

      'Spell of the Vila'

      Album: 'Samba Asks Passage'

Aracy de Almeida   1972

   MPB Especial

Aracy de Almeida   1975

   Não Me Diga Adeus

      'Do Not Tell Me Goodbye'

      Television broadcast


Birth of Modern Jazz: Compay Segundo

Compay Segundo

Photo: Javier-Salas

Source: All Music

Born Máximo Francisco Repilado Muñoz in 1907 in Siboney, Cuba, vocalist, Compay Segundo, performed as Francisco Repilado during the earliest years of his career. He is thought to have begun composing in 1922. Segundo's significance in Latin recording is that of being one of the earliest Cuban musicians who romped through Havana's golden years before Castro's assumption to power in '59 and, like other Cuban musicians, Segundo's later comeback in the latter nineties. He also examples the Son, originating in the first decade of the century as a meeting between two different styles of rumba, Afro-Cuban and traditional Cuban. "Son" translates to "rhythm" in English. Segundo was raised in Santiago after age nine, where his first performances were in the Municipal Band of Santiago de Cuba prior to 1934, the year he moved to Havana, there also to perform in the Municipal Band. Segundo variously played clarinet, guitar and tres (six-string Cuban guitar) during different periods of his career. One source has him inventing his armónico, a seven-string guitar, by that time. In 1936 he traveled to  Mexico City as a member of the Hatuey Quartet and made his first recordings, though we can find no documentation of them. (Sources wildly differ with Segundo. We throw up our hands and surrender per 121 Music Blog.) He did, however, make at least one film in Mexico, 'Tierra Brava', that in theaters in 1938. Segundo was meanwhile recording with the Trio Cuba for RCA Victor in Havana about that time. 'Billboard' newspaper has Segundo releasing between 45 to 50 records in the forties, little known about most. Segundo formed a duo with Lorenzo Hierrezuelo in 1942 called Los Compadres. Much later albums contain their early recordings: 'Cantando Enel Llano' bears tracks from 1949 to '51. 'Sentimiento Guajiro' carries songs from 1949 to '55, the year Segundo was replaced by Lorenzo's brother, Reinaldo. It was with Los Compadres that Repilado changed his name to Compay Segundo (Second Friend), Hierrezuelo being Compay Primo (First Friend). After his partnership in Los Compadres came to a break, Segundo formed Los Muchachos. Again, a much later album, 'Balcon De Santiago', holds Segundo recordings from 1956 to '57. That is, it contains the twelve tracks on Segundo's '57 album, 'Son Oriental', + three more. Upon Castro's assumption to power in 1959 music in Cuba went into limbo. Segundo returned to his old job at the H. Upman cigar factory. He retired from that in 1970, having put in a total of 18 years with the company. He continued, though, playing music, with an ever-present cigar. Segundo performed in groups in hotels in the early eighties and toured to the United States in 1989. In 1994 and '95 he took the Son to Spain to play aside Flamenco. The album, 'Yo Vengo Aquí' was released in 1996, followed the next year by 'Musique Traditionelle Cubaine'. Segundo's resurrection in the latter nineties was largely due to the 1997 release of 'Buena Vista Social Club', an album to which Ry Cooder was instrumental, winning a Grammy. Segundo performed only one track on that LP ('Chan Chan") but it traveled well. 'Lo Mejor de la Vida' saw release in '98, after which several more albums would follow during the several years left to him. Segundo performed 'Chan Chan' for Pope John Paul II in February 2000 at the Vatican. He remarked that his longevity was due to mutton and rum before dying at age ninety-five of kidney failure in Havana in July 2003.

Compay Segundo   1957

   Son Oriental


Compay Segundo   1997

   Chan Chan

      Album: 'Buena Vista Social Club'

Compay Segundo   1998

   Live at Olympia Paris


Compay Segundo   1999

   Cien Años de Son


Compay Segundo   2003

   Las Flores de la Vida




Birth of Modern Jazz: Miguelito Valdez

Miguelito Valdés

Source: Worldwide Cuban Music

Born in 1912 in Havana, Latin crooner, Miguelito Valdés (aka Mr. Babalú), was more a charanga musician than a jazz vocalist. Valdés was born to a Spanish father and Mexican mother. A successful amateur boxer in his youth, Valdés began his professional career as a teenager with the Sexteto Habanero Infantil, moving onward to various Cuban ensembles and orchestras until joining the Orquesta Casino de la Playa in 1937, with which he is thought to have first recorded. Among those first tracks that year were 'Bruca Manigua', 'Ven Acá Tomas' and 'Fuñfuñando'. Valdés emigrated to New York City in 1940, where he played with a number of leading Latin bands before his recording debut as a band leader in 1949. Also a composer, Valdés died in 1978 while on tour to Bogotá, Colombia.

Miguelito Valdés   1937

   Bruca Manigua

      With the Orquesta Casino de la Playa

Miguelito Valdés   1939

   Se va el caramelero

      With the Orquesta Casino de la Playa

Miguelito Valdés   1942

   Chiu, Chiu

      With Lina Romay

Miguelito Valdés   1948


Miguelito Valdés   1950

   Rumba Rumbero

Miguelito Valdés   1951


      Álbum: Mr.Babalú

   Arroz con Manteca

Miguelito Valdés   1953

   Te han mentido


  Laurindo Almeida   See Laurindo Almeida.


Birth of Modern Jazz: Jose Curbelo

José Curbelo

Source: America Pink

Born in 1917 in Havana, pianist José Curbelo graduated from the Molinas Conservatory at age 15. He played with various Havana orchestras before visiting New York City to record with Xavier Cugat for American (Victor) in April 1938: 'Perdon'. Briefly before or after that, in 1938, he became an original member of the Orquesta Havana Riverside, directed by Enrique González Mantici. Curbelo participated in at least three recordings with that orchestra in 1939: 'Perfidia', 'Naufragio' and 'Desconfianza de Amor'. Curbelo then moved to New York in May of 1939, where he worked again with Xavier Cugat, among others. In June of 1939 he recorded 'Nana' with Cugat, again for American in new York City. During the fifties Curbelo ventured into cha-cha. Curbelo folded his band in 1959 to found the Alpha Artists agency for Latin musicians, managing the majority of notable bands in New York. He later involved himself in real estate, eventually moving to Miami where he died in September 2012.

José Curbelo   1946

   Botamos la Pelota

      Album: 'Live at the China Doll'

   El Rey del Mambo

      Album: 'Live at the China Doll'

   El Jibarito

      Vocal: Tito Rodríguez


      Vocal: Tito Rodríguez


      Vocal: Tito Rodríguez

   Rumba Bomba

      Vocal: Tito Rodríguez

   La Ruñidera

      Vocal: Tito Rodríguez

José Curbelo   1951

   Midnight Mambo


José Curbelo   1952

   Sun Sun Babae

José Curbelo   1954

   Guaguanco en New York

      Vocal: Tony Molina

   La La La

      Vocal: Tony Molina

José Curbelo   1955

   Equé tumbao

      Álbum: 'Wine, women and Cha Cha'

   Sun Sun Babae

      Álbum: 'Wine, women and Cha Cha'

José Curbelo   1958

   The Hissing Cha Cha

José Curbelo   2012

   Live at Xichú Festival

      Filmed live



Birth of Modern Jazz: Machito


Source: All About Jazz

Hailing from Havana, Cuba, Machito (Francisco Raúl Gutiérrez Grillo) was a swing era jazz and salsa vocalist and band leader with a fondness for maracas. Born circa 1908 in either Tampa, Florida, or Havana, Machito arrived to NYC in 1937 to first record with the Conjunto Moderno the next year among its chorus. He is said to have recorded with pianist, Noro Morales, Xavier Cugat and the Orquesta Hatuey in 1938 as well. But we find Machito in no discography for 1938 except six titles with the Cuarteto Caney on April 18 for such as 'Veinte Anos-Bolero Son' and 'Guajira Guantanamera', issues assumed. Those were backing vocalist, Alfredito Valdez. (Ethnic Music on Records Vol 4 by Richard Spottswood.) We find Machito in no discography with Xavier Cugat until September 27 of 1939 for 'La Cumparsita', 'Negro a Resa', 'Calientito' and 'Auto-Conga'. (American Dance Band Discography 1917-1942 Vol 1 by Brian Rust.) 1939 also occasioned Machito's first attempt to form a band with his brother-in-law, Mario Bauzá. That formation didn't fly, finding Machito in the Orchestra Siboney. The next year he and Bauzá formed the Afro-Cubans. Bauzá was a trumpeter who would arrange and direct for Machito for decades to come. After a session with Cugat in January of 1941 for 'Cachita' Machito's Afro-Cubans held a session on June 27 to lay out such as 'Intermezzo' and 'Yambu' for Decca. July of 1941 witnessed 'Llora Tmbero' with Cugat, again for Columbia. March 23 of 1942 saw Machito recording such as 'Chacumbele' and 'Sopa de Pischon' for Decca. Come July of 1942 it was 'Bim Bam Bum' with Cugat again. Machito was drafted into the United States Army in 1943, but returned to his band in a few months, discharged for a leg injury during training. In 1947 he played maracas in Stan Kenton's orchestra, leading to an engagement at the Town Hall in NYC of both his and Kenton's bands side by side. Dizzy Gillespie was collaborating with Chano Pozo the same year in NYC with what was quickly getting christened Cubop. (See 'Machito and His Afro-Cubans: Selected Transcriptions' by Paul Austerlitz and Jere Laukkanen for Machito in relation to Cubop. Another good biography at Amoeba.) A good example of the mixing of American jazz with Cuban music at that time was Machito's rendition of Mario Bauzá's 'Tanga' (1942), changing its title to 'Cubop City' (1948). Machito's work with Kenton brought collaborations with other big names such as Charlie Parker, leading to Carnegie Hall in 1949, billed side by side with such as Duke Ellington. By 1950 Machito's was a major name itself, he often touring Europe during the remainder of his career. Notable in the fifties was his 1957 release of the album, 'Kenya'. He issued 'Afro-Cuban Jazz Moods' with Gillespie in 1975. In April 1984 Machito took a stroke while waiting to appear on stage in London, dying four days later. He had recorded the album, 'Machito!!!', with his Salsa Big Band as recently as July 16, 1983, in Holland. Unfortunately, what few recordings that could be found by Machito between 1938 and 1940 at YouTube have been removed. But per 1939 below, Machito is the vocalist in the Xavier Cugat Orchestra.

Machito   1939

   Auto Conga

Machito   1941

   Bim Bam Bum

Machito   1943

   Noche De Ronda

      Vocalist: Graciela

Machito   1948

   Asia Minor

   Cubop City

   El Sapon

   Tumba El Quinto

Machito   1949

   Tea For Two

Machito   1957


    Album: 'Kenya' 

Machito   1958

   Cha Cha Loco

Machito   1968

   Hold On, I'm Comin'

    Album: 'Machito Goes Memphis' 


  Aldo Romano   See Aldo Romano.


Born in Trinidad in 1910, bandleader Edmundo Ros, master of the cha-cha-cha and samba, was relocated to Venezuela as a child. It was there that he was awarded a music scholarship, by the Venezuelan government, to study at the Royal Academy of Music in England. Which is how he came to meet Fats Waller who, in 1938, was visiting London. Ross first recorded as a sideman to Waller on August 22 for HMV, titles like 'Don't Try Your Jive on Me' and 'Ain't Misbehavin''. In 1940 Ross formed his first rumba band in London, recording a tune called 'Los Hijos de Buda' the next year among other tracks for Parlophone. As Queen Elizabeth II took a liking to Ros when she was a princess he and his band often played at Buckingham Palace (home to royalty and royal affairs) during the early forties. In 1944 he signed with Decca Records, to the result of above 800 sessions in the next thirty years with that label. With his early successes he rapidly began a number of business ventures, owning a nightclub, dance school, record company and artist agency in 1946. In 1949 his 'Wedding Samba' sold three million 78s. The fifties saw the addition of a casino in London and radio appearances on BBC. During the sixties he collaborated with Ted Heath, releasing 'Heath versus Ros' in 1964. He permanently dismantled his orchestra in 1975. His final concert was in 1994 at Queen Elizabeth Hall. Having retired to Xàbia, Spain, he there died in October of 2011, nigh 101 years old. There are a few cha chas below with a couple of sambas. Per 1941 below, it's not impossible that 'Los Hijos De Buda' could be a later recording.

Edmundo Ros   1941

   Los Hijos De Buda

Edmundo Ros   1945

   Chico Chico

Edmundo Ros   1949

   Wedding Samba

Edmundo Ros   1950

   Take Her to Jamaica

Edmundo Ros   1954

   Moulin Rouge

Edmundo Ros   1958

   I Talk to the Trees

Edmundo Ros   1959

   I've Grown Accustomed To Her Face

Edmundo Ros   1963

   Samba de la Boda

Edmundo Ros   1964

   The Peanut Vendor

Edmundo Ros   1965

   The Girl From Ipanema

Edmundo Ros   1966

   A Banda


Edmundo Ros   1967

   Light My Fire

      Doors cover 



Birth of Modern Jazz: Edmundo Ros

Edmundo Ros

Source: The Telegraph


Rumba master, Desi Arnaz (Sr.), was most famous as Lucille Ball's husband on the television comedy, 'I Love Lucy'. Born in 1917, he was a teenager when his family fled Cuba upon the revolution led by Batista in 1933. His family was of Bacardi wealth, all confiscated while he was jailed for half a year. Though Arnaz sang and played guitar he is better known as a bandleader and conga player. If we're reading the BIG BAND LIBRARY right we presume issue of his first 78s in 1939 for Columbia with his first rhumba orchestra in NYC, titles like 'La Conga en Nueva York' and 'Vereda Tropical' put down on July 21. He had actually earlier recorded transcriptions in 1937 with Xavier Cugat: 'Cachita', 'Piensa en Mi', et al. Arnaz also starred in the Broadway musical, 'Too Many Girls', in 1939, he to repeat his role in Hollywood in 1940. Thus Arnaz met and married Lucille Ball that year. Due to the draft and military service during World War II it would be seven years before Arnaz released another record with his second orchestra. In the meantime he Americanized, working Broadway and in films. He and Ball (not the idiot she personified on her show) founded Desilu Productions in 1950, responsible for such as 'I Love Lucy', 'Star Trek' and 'The Untouchables'). The 'I Love Lucy' television series premiered October 1951 to run nine seasons. Arnaz'  divorce from Ball in 1960 was a parting of friends. Remaining active in television into the seventies, he eventually entered into semi-retirement in California to breed and race thoroughbreds. He also taught acting and television production at San Diego State University. Arnaz died on December 2 of 1986 of lung cancer in Del Mar, CA. Though not a major Latin musician, Arnaz brought such to the attention of a much wider audience than only records could. Among others with whom he had recorded were Tex Beneke and Peggy Lee. 1956 below is an instance of how diversified Arnaz became upon being in America for several years.

Desi Arnaz   1946


   Cuban Pete


Desi Arnaz   1956

   Forever Darling


Birth of Modern Jazz: Desi Arnaz

Desi Arnaz

Source: Bio


  Born in 1914 in Salvador, Bahia, guitarist and vocalist, Dorival Caymmi, was another contributor to Brazilian bossa nova, and later to MPB (Brazilian Popular Music). He started teaching himself guitar in the latter twenties and began playing on Bahia radio circa 1930. His first recognition was at age sixteen as a composer, writing 'O Que É Que A Baiana Tem?' ('What Is It About Bahian Women?') for Carmen Miranda. The glory was even greater when he later won a pink satin lampshade for a composition at Carnival. In 1938 he moved to Rio de Janeiro to work for the newspaper, 'Diários Associados', as a journalist, also appearing regularly on the radio show, 'Dragão da Rua Larga'. It was Miranda's performance of 'O Que É Que A Baiana Tem?' in the 1939 film, 'Banana-da-Terra', that saw Caymmi in demand to compose for film. It was also 1939 that Caymmi began to appear on records: 'Rainha do Mar'/'Promessa de Pescador' ('Queen of the Sea'/'Promise of the Fisherman'), 'Roda Pião' ('Top Wheel') and 'O Que É Que a Baiana Tem?'/'A Preta do Acarajé' ('What Is It About Bahian Women'/'The Dark Woman from Acarajé'). He continued with radio, working with Radio Nacional into the forties, recording 'Samba da Minha Terra' ('Samba of My Homeland') in 1940 and 'A Jangada Voltou Só' ('The Raft Returned Alone') the next year. Beyond music, Caymmi had been a painter all his life. He practiced the Candomblé religion brought to Brazil by African slaves. Having composed about a hundred songs and recorded some twenty albums Caymmi died of kidney cancer and multiple organ failure in August 2008. Caymmi was father to musicians Danilo Caymmi, Dori Caymmi and MPB vocalist, Nana Caymmi.

Dorival Caymmi   1939

   A Preta do Acarajé

   Roda Pião

Dorival Caymmi   1954

   Canções Praieiras


Dorival Caymmi   1955



Dorival Caymmi   1957

   Eu Vou Pra Maracangalha


Dorival Caymmi   1958

   Um Interpreta o Outro

      Album with Ary Barroso

Dorival Caymmi   1959

   Caymmi E Seu Violão


Dorival Caymmi   1960

   Eu Não Tenho Onde Morar


Dorival Caymmi   1972

   MPB Especial

Dorival Caymmi   1973

   Caymmi Também é de Rancho



Birth of Modern Jazz: Dorival Caymmi

Dorival Caymmi

Source: Blog do Gutemberg

Birth of Modern Jazz: Arsenio Rodriguez

Arsenio Rodríguez

Source: La Salsa Vive NY

Born in 1911 in Cuba, bandleader and composer, Arsenio Rodríguez, played the tres (Cuban guitar) and tumbadora (Cuban conga). Rodríguez wasn't a jazz musician, but a popular developer of son montuno, a subgenre of son Cubano (Cuban music), itself having arisen of mixing Spanish guitar with Afro-Cuban percussion and rhythms. Rodríguez had been blinded as a child by a kick to the head by a horse or mule. His earliest known professional work was with El Sexteto Boston in 1936. The first recordings of his compositions followed the next year by vocalist, Miguelito Valdés: 'Bruca Manigua', 'Ven Acá Tomas' and 'Fuñfuñando'. His own debut recording followed two years later with Valdés: 'Se va el caramelero'. On the earliest recording found at YouTube for Rodríguez he plays tres, backing vocalist René Scull. Rodríguez left Cuba for New York in 1953. He issued his last album, 'Arsenio Dice', in 1968. In 1970 he flew to Los Angeles to begin another phase in his career, but died one week later, his corpse returned to New York for burial.

Arsenio Rodríguez   1939

   Se va el caramelero

Arsenio Rodríguez   1940

   La Yuca

Arsenio Rodríguez   1941

   No hace na' la mujer

Arsenio Rodríguez   1943


Arsenio Rodríguez   1946

   El Reloj de Pastora

Arsenio Rodríguez   1948

   Fuego en el 23

Arsenio Rodríguez   1953

   Ahora Carpetillo

   Como Se Goza en el Barrio

   Esclavo Triste

   La Gente del Bronx

   Meta y Guaguanco


   Oye Mi Cantar

   Pa Que Gocen

Arsenio Rodríguez   1955


Arsenio Rodríguez   1957

   El Cumbanchero

Arsenio Rodríguez   1963

   Lo Que Dice Justi

   Que Mala Suerte

   Rumba Guajira

Arsenio Rodríguez   1970

   Ahora Carpetillo


Born Israel López Valdés in 1918 in Habana, double bassist and composer Cachao López was a charanga rather than jazz musician. (Charanga: smaller ensemble usually playing traditional Cuban dance music.) Be as may, if Lopez didn't jazz then no one did. Like other important Latin musicians, there is little documentation concerning him. (Some few are yet missing from these histories for that reason.) López may have recorded earlier than 1940 with the Havana Philharmonic: that's the earliest year determinable. Be as may, López was classically trained both at home and at a conservatory as a child. His brother was Macho (Orestes López), with whom he composed danzones numbering in the thousands. He began playing for the Orquesta Filarmónica de La Habana in 1930, age 13 at most. Per above, López likely recorded with that orchestra in the thirties, and played with it as late as 1960. In 1937 López, his brother, Macho, and Antonio Arcaño formed the Maravillas, with which band he performed while also with the Havana Philharmonic. Cachao is credited with having composed the first mambo, a danzón titled 'Mambo', with his brother in 1938, apparently not recorded. He is said to have recorded the first mambo, 'Rarezas', in 1940 (unfound). An album titled, 'Danzon Mambo 1944-1951', compiles Cachau's recordings with Arcaño during those years. Notable in the fifties was his 1957 album, 'Cuban Jam Sessions in Miniature: 'Descargas'', for its improvisational approach to Cuban music during a late night recording session. In 1961 Cachao left his brother, Macho, in Havana to travel to Madrid. Touring Spain until 1963, he then moved to the United States where he freelanced with various salsa musicians, also performing in the outfits of Machito and Cándido Camero. Notable in the nineties were his 'Master Sessions' albums of 1994 and '95, both produced by actor, Andy Garcia. Garcia also produced a couple documentaries concerning Cachao: 'With A Rhythm Like No Other' (1993) and 'Uno Más' (2008). López died in 2008 in Coral Gables, Florida, of complications due to kidney failure.

Cachao López   1945

   Caballeros Coman Vianda

      Orquesta Arcaño y Su Maravillas

Cachao López   1947

   Centro La Libertad

      Orquesta Arcaño y Su Maravillas

   Nace Una Estrella

      Orquesta Arcaño y Su Maravillas

Cachao López   1957

   Como Mi Ritmo No Hay Dos

   Trombon Criollo

Cachao López   1994

   A Gozar con Mi Combo


Cachao López   2004

   Guajira Clásica

Cachao López   2006

   Live at the Berklee Performance Center

Cachao López   2011

   Moises Salsa Salsa

      Album: 'The Last Mambo'


Birth of Modern Jazz: Cachao Lopez

Cachao Lopez

Photo: Getty/AFP

Source: The Telegraph

  No account however abbreviated of Latin music in the twentieth century would complete without mention of flamenco dancer, Carmen Amaya. Born with a passion in 1913 in Barcelona, there was a cave near Granada where she like to dance as a child. She later danced with her father on guitar in waterfront bars in Barcelona, appearing at the Bar de Maquet at age ten. Amaya was a vocalist, though that hardly at all in comparison to gypsy dance for which she's a major figure in Spain's cultural history. Amaya is thought to have appeared in film at age 16 in the 1929 production of 'La Bodega' ('The Winery'). Soon afterward she was touring internationally, beginning with Buenos Aires in Argentina, other destinations in South America, then Mexico City. After filming 'La Hija de Juan Simón' (1935) she moved to the United States in '36 where she began making movies. That was the year of the Spanish Civil War, resulting in dictator, Francisco Franco, assuming his position as Caudillo (Head of State). Amaya released the short film, made in Cuba, 'El Embrajo del Fandango', in 1941. Her first starring role was 'Maria de la O' as Maria de la O. Filming and issue dates differ (1936, 1939) but IMDb gives a release date of 1942. Amaya is on record to have recorded four tracks for Decca in 1941; 'Tondero', 'La Tana', 'Corazone de Acero' and 'Fiesta Jerenzana'. No release information is available. In 1944 she performed for Franklin Roosevelt at the White House. Amaya returned to Spain in 1947 (Franco declaring Spain a monarchy that year). By that time she was commanding $2,000 a week in NYC, $14,000 in Rio de Janeiro. She visited the White House again to dance for Harry Truman in 1953. Though compilations abound, Amaya did very little recording. Among her albums were 'Flamencan Songs and Dances' (1950), 'Flamenco!' with Sabicas (1958) and her final, 'Furia!' (1965 posthumous). Her last film was 'Los Tarantos', which release (1964) she didn't live to see, dying in Barcelona of kidney failure in November 1963. Per 1954 below, the zambra ("party") is a style of flamenco dance often performed at weddings. Per 1961 and 1963, the buleria is another type of flamenco dance.

Carmen Amaya   1929


      Film: 'La Bodega' (The Winery)

Carmen Amaya   1935


      Film: 'La Hija de Juan Simón'

Carmen Amaya   1941

   El Embrujo del Fandango

      'The Bewitching Fandango'

      Film: 'El Embrujo del Fandango'

Carmen Amaya   1942


      Film: 'Maria de la O'

Carmen Amaya   1945

   Embrujo del Fandango

     'The Bewitching Fandango'

      Film version 1: 'Los Amores de un Torero'

      Film version 2: 'Passion Gitana'

Carmen Amaya   1954


      Film: 'Dringue, Castrito y la Lámpara de Aladino'

Carmen Amaya   1958

   Alegrias (Joys)

      Film: 'Musica en la noche'

Carmen Amaya   1961



Carmen Amaya   1962

   Fiesta Jerezana

      Album: 'Cantos y Bailes Flamencos'

Carmen Amaya   1963


      Film: 'Los Tarantos'

Carmen Amaya   1964

   Colombiana Flamenca

      Album: '¡Inolvidable Carmen Amaya!'


      Album: '¡Inolvidable Carmen Amaya!'


Birth of Modern Jazz: Carmen Amaya

Carmen Amaya

Source: Gypsy Heart

  Born in Sao Paulo, Brazil in 1923, Isaurinha Garcia, was born to a father who ran a tavern. Her first experience in the music industry was singing for Radio Cultura as a child, likewise beginning her career in radio in 1938 at age fifteen. Garcia is known to have recorded several titles in 1941: 'A Baratinha' ('The Cockroach'), 'Chega de Tanto Amor' ('No More Tango Amor'), 'Aproveita Beleléu' ('Enjoy Beleléu'), 'O Telefone Está Chamando' ('The Phone Is Calling') and 'Pode Ser' ('Can It Be?) in 1941. She was a popular musician in Brazil much as one would have been in the States, excepting that in Brazil the popular genre meant samba. Garcia recorded her first LP, 'Sempre Personalíssima', in 1959. Garcia recorded more than 300 titles found on above fifty 78s and ten LPs (not all her own, she issuing only a few in her name). She died in 1993 in Sao Paulo upon a career of appearances in concert in Brazil and on Brazilian television.

Isaurinha Garcia   1941

   Pode Ser?


Isaurinha Garcia   1946



Isaurinha Garcia   1950

   Pé de Manacá

      With Hervê Cordovil

Isaurinha Garcia   1951


Isaurinha Garcia   1959

   Aperto de Mão


      Album: 'Sempre Personalíssima'

   E Daí?


      Album: 'Sempre Personalíssima'



      Album: 'Sempre Personalíssima'

Isaurinha Garcia   1961

   Chora, Coração

Isaurinha Garcia   1961


Isaurinha Garcia   1963


      Composer: Tom Jobim

      Album: 'Festival da Bossa Nova'

   Illusao A Toa

   Nos E O Mar

   Samba de Creoulo

   Samba de Madrugada

   Só Em Teus Braços

      'Only In Your Arms'

      Album: 'Festival da Bossa Nova'

   Tem Bobo Pra Tudo

Isaurinha Garcia   1971

   Pra você

Isaurinha Garcia   1972

   MPB Especial

Isaurinha Garcia   1976



      Filmed live with Roberto Carlos

Isaurinha Garcia   1978


      Filmed live

Isaurinha Garcia   1983


      Filmed live with Nora Ney


Birth of Modern Jazz: Isaurinha Garcia

Isaurinha Garcia

Source: Radio Em Revista

  The accordion, high tech concertina or squeezebox, if not laborious keyboard with confusing buttons, had never been an especially popular instrument in the United States. One US blues musician who played the accordion was Clifton Chenier, King of Zydeco, but his wasn't the major name that singer, Luiz Gonzaga's, would come to be in Brazil. The squeezebox was used by skiffle bands in the UK as well as country and rock bands. Then there was British musician, Pete Townshend's, accordion on 'Squeeze Box' in 1975. Whatever, the bellows, however they came, weren't nearly so popular in North America as south of the border and on down where highly regarded musicians made their fame with it. A good acordeón player, with or without keys, was and remains a prize. The instrument in its varieties had been important in Continental Europe as well. Gonzaga owns the distinction of being one of the few accordion players listed in all of these histories. Another Latin accordion player was Brazilian guitarist, Sivuca, as well as Hermeto Pascoal in his earlier days. Gonzaga, was among the earliest and foremost to make accordion a big deal. Born in 1912 to a farmer. He played accordion as a youth at such as parties and religious events. He learned to play cornet while in the Army. Stationed in Rio de Janeiro when released from service, Gonzaga there remained to play in bars. He moved into radio, then issued his first five records of ten titles for Victor in 1941. He became hugely popular from the start, introducing the various styles of folk music in northeastern Brazil to the populace. Gonzaga died in 1989 of natural causes. He managed to weather the rise of bossa nova and MPB (Brazilian Popular Music) in Brazil by being one of Brazil's first popular musicians at all. Indeed, after these years he yet has a very strong fan base.

Luiz Gonzaga   1941

   Arrancando Caroá

   Nós Queremos uma Valsa

   Numa Serenata

   Saudade de São

   Vira e Mexe

Luiz Gonzaga   1949



Luiz Gonzaga   1950

   Assum Preto

Luiz Gonzaga   1956


Luiz Gonzaga   1964

   Numa Sala de Reboco

Luiz Gonzaga   1979

   Eu e Meu Pai


Luiz Gonzaga   1986

   Forró de cabo a rabo


Luiz Gonzaga   1987

   O Xote das Meninas

      Television broadcast


Birth of Modern Jazz: Luiz Gonzaga

Luiz Gonzaga

Source: Jornal de Paraiba

Birth of Modern Jazz: Antonio Mairena

Antonio Mairena

Source: Iniciacion al Flamenco

Born Antonio Cruz García in Mairena del Alcor, Seville, in 1907, flamenco singer, Antonio Mairena, was in no way a jazz musician but for a waver in his voice. But he helps fill out the Latin concern of this page as a vocalist who emphasized traditional gypsy flamenco, a purist who didn't participate in opera flamenco. Nor did he care to subject song to flamenco dance, Carmen Amaya said to be the only dancer with whom he liked to sing. In 1941 Mairena recorded his first batch of eight bulerias and fandangos with guitarist, Esteban Sanlúcar, at the Studio of La Voz de Su Amo in Barcelona. 'Disco Tangier' appeared in 1944. He didn't enter the studio again until 1950, recording another batch of eight for Columbia in Madrid. During the early fifties Mairena joined a dance company run by one, Antonio, with which he toured in America, Europe and Asia for the next decade. 'Disco London' appeared in 1954. As Mairena's health began to wane in the seventies so did his career. He died in September of 1983. Mairena's great draw for some was his integrity per the earliest flamenco which, however, made him unpopular with others, finding him reactionary and rigid.

Antonio Mairena   1941

   Las Llaves de Tetuan

      Album: 'Fiesta por bulerías y fandangos'

Antonio Mairena   1954

   Alegrías y Cantiñas

      Album: 'Disco de Londres'

      Guitarra: Manuel Morao

   Toná de Triana

      Palo: Martinete

      Album: 'Disco de Londres'

   Vestía de Nazareno

      Tiento (fantasia)

      Album: 'Disco de Londres'

      Guitarra: Manuel Morao

Antonio Mairena   1959


Antonio Mairena   1964

   Al llegar a tu puerta

      Palo: Fandango

      Guitarra: Melchor de Marchena

Antonio Mairena   1966

   Si las piedras de tu calle

      Palo: Solea

      Album: 'La gran historia del cante gitano-andaluz'

      Guitarra: Niño Ricardo

Antonio Mairena   1976


      Palo: Siguiriyas

      Album: 'Esquema histórico del cante por siguiriyas y soleares'

Antonio Mairena   1979

   Tengo mi corazon

      Guitar: Enrique de Melchor

Antonio Mairena   1981


      Guitar: Juan Habichuela

Antonio Mairena   1983

   Dichosa hora

      Album: 'El calor de mis recuerdos'

      Guitars: Enrique de Melchor & Pedro Pena

   Soleá de Charamusco

      Album: 'El calor de mis recuerdos'


  Born in Madrid in 1903, flamenco guitarist, Carlos Montoya, was nephew to Ramon Montoya. He began playing flamenco guitar in cafes at about age fourteen. Montoya probably wasn't presuming the international fame to which he would arrive when he joined his first dancing troupe in 1928, run by Antonia Merce with dancer, La Argentina. Moving onward to other companies after three years with Merce, Montoya first saw the United States with dancer, La Teresina, in the mid thirties, the Far East as well. In 1938 he performed guitar in the film, 'Carmen, la de Triana' (starring Imperio Argentina), alongside his uncle, Ramon. World War II saw Montoya move his base of operations to the United States, eventually to become a citizen. He also married American dancer, Sally MacLean, in 1940, the couple to settle in Manhattan. The earliest recordings of which we know for Montoya were in 1941 for Decca under his own name: 'Bulerias', 'Fandanguillos', 'Alegrias', 'Farruca', 'Solea Rosa' and 'Sevillanas'. He had been working with dancer, La Argentinita (Encarnacion Lopez), since 1938 and continued with her until her death in 1945. In 1946 Montoya recorded several titles with his Argentinians: 'Cafe Chinitas', 'Tango Del Negrito', 'Malaguena', 'Variociones Por Bulerias', 'Zambrilla' and 'Folias Canarias'. Montoya was of major significance to flamenco for a number of reasons beyond his virtuosic skill. He was instrumental in bringing forth flamenco guitar for its own sake, minus its traditional dancing and singing. He also brought flamenco guitar into collaboration with, not only orchestra, but symphony. He meanwhile took flamenco guitar throughout the world, touring so extensively that at one point in the seventies (he in his seventies as well) he was delivering three concerts a day for a total of 390 performances in 1979. Having recorded more than forty albums, Montoya died on Long Island (Wainscott), New York in March 1993. None of Montoya's recordings in the forties exist at YouTube, at least not any determinable. Per 1938 below, Montoya appears with his uncle, Ramon, neither featured, in the 1938 film, 'Carmen, de la Triana', directed by Florian Rey in Germany.

Carlos Montoya   1938


      Film: 'Carmen, de la Triana'

      Vocal: Imperio Argentina

Carlos Montoya   1953

   The Daughter of Juan Alba

      Vocal: Lydia Ibarrondo

   Trifles of Love

      Vocal: Lydia Ibarrondo

Carlos Montoya   1954


      With José Moreno

Carlos Montoya   1956

   Alorno y Verdial

Carlos Montoya   1957


      Filmed live

Carlos Montoya   1958


      Album: 'Recital di Chitarra Spagnola'

   St Louis Blues


Carlos Montoya   1959



Carlos Montoya   1961

   Temas en Farruca

Carlos Montoya   1962

   Alegria Rosa


Birth of Modern Jazz: Carlos Montoya

Carlos Montoya

Source: Unique Guitar

  Born Pablo Rodríguez Lozada in Santurce, Puerto Rico, in 1923, popular singer Tito Rodríguez was the younger brother of Johnny Rodriguez, also a popular singer. Rodriguez began playing in the band of Ladislao Martínez at age thirteen. He is said to have first recorded at age 16 (1939) with Cuarteto Mayarí while yet in Puerto Rico (no documentation found). Upon both his parents dying in 1940 Rodriguez traveled to New York City where his brother, Johnny, had been performing for the last five years. Recordings with Eric Madriguera occurred in 1941, more with Xavier Cugat in 1942 before he joined the Army. Upon release from service he returned to New York City to play in the band of José Curbelo. In 1947 Rodriguez formed his first band, Los Diablos del Mambo, before matriculating into Julliard in 1950. (He studied percussion, including vibraphone and xylophone.) He soon after named his band the Tito Rodríguez Orchestra. It was with Rodríguez' orchestra that Cheo Feliciano got his big break in 1953. During the sixties Rodríguez' favored boleros (slow tempo Cuban dance music). He worked as a record producer before returning to Puerto Rico in 1970 where he hosted 'El Show de Tito Rodríguez' television program. He also founded TR Records before his last performance in February of 1973 with Machito at Madison Square Gardens. He died 26 days later of leukemia.

Tito Rodriguez   1942

   Bim Bam Bum

      Vocal: Noro Morales

Tito Rodriguez   1949

   Mambo Mona

Tito Rodriguez   1963

   El Inolvidable (The Unforgettable)

      Album: 'Live at Birdland'

   You're Driving Me Crazy

      Album: 'Live at Birdland'

Tito Rodriguez   1967

   En La Oscuridad


Tito Rodriguez   1968



Birth of Modern Jazz: Tito Rodriguez

Tito Rodriguez

Source: Jazz Wax

  Henri Salvador   See Henri Salvador.

  Born Dionisio Ramón Emilio Valdés Amaro in Quivicán, Cuba, in 1918, pianist Bebo Valdés was the grandson of a slave and son of a cigar factory worker.  His son is pianist, Chucho Valdés. He finished his studies in classical music at the Conservatorio Municipal in Havana in 1943, after which he worked for four years as a pianist and arranger for radio station, Mil Diez. The earliest traceable recordings by Valdés date to 1944, he a bandleader by that time (Sabor de Cuba): 'A Romper El Coco' and 'A La United Café'. Those are available as the last two tracks on a CD titled, 'Butuba Cubana 1943-1944' (the first 14 tracks by Julio Cueva). From 1948 to 1957 Valdés was the house pianist at the Tropicana Club in Havana, where vocalist, Rita Montaner was the lead act. Notable in 1952 was his improvisational descarga (jam session), 'Con Poco Coco', for producer Norman Granz. In the latter fifties he recorded with Nat King Cole in Havana (the Cole album, 'Español', issued in 1958). Valdés left Cuba for Mexico in 1960, then went to Spain, then first worked in Sweden in 1963. He married that year and worked largely in Europe the remainder of his life. It's about that time that a gap of nearly four decades of his career occurs at YouTube. Though he released the album, 'Glorias De Cuba', in 1979, Valdés performed mostly in nightclubs and on tour until the nineties. He's enormously popular at YouTube for performances during the last decade of his life. Valdés died in Stockholm, Sweden, in 2013.

Bebo Valdés   1951


      Mambo   Conjunto Casino

Bebo Valdés   1952

   Con Poco Coco

      Live in Habana

Bebo Valdés   1958

   Caramba Mi Negra


Bebo Valdés   1959

   Dejenme en Paz

   El Gavilán

Bebo Valdés   1995

   Pa' Gozar

      Album: 'Bebo Rides Again'

Bebo Valdés   2002

   Lagrimas Negras

Bebo Valdés   2004

   Hubo un Lugar/Cuba Linda

      Bass: Javier Colina

      Cajon: Israel Porrina Pirana

      Guitar: El Nino Josele

     Vocal: Diego El Cigala


      Bass: Javier Colina

      Cajon: Israel Porrina Pirana

      Guitar: El Nino Josele

      Vocal: Diego El Cigala


     Film: 'The Miracle of Candeal'

     With the Hip Hop Roots

   Se me olvidó que te olvidé

      Bass: Javier Colina

      Cajon: Israel Porrina Pirana

      Guitar: El Nino Josele

      Vocal: Diego El Cigala

   Veinte Anos

      Bass: Javier Colina

      Cajon: Israel Porrina Pirana

      Guitar: El Nino Josele

      Vocal: Diego El Cigala

Bebo Valdés   2005


Bebo Valdés   2007

   Bebo's Blues

     Live at Village Vanguard

Bebo Valdés   2008

   Tres Palabras

      With Chucho Valdes

Bebo Valdés   2010

   La Bella Cubana


Birth of Modern Jazz: Bebo Valdes

Bebo Valdes

Source: Latin Jazz Network

  Born in 1926 in Habana, Cuba, conguero Carlos Valdés came by the nickname, Patato (Potato), as a youth due to his short stature. He came from a musical family, first learning to play tres (guitar) alike his father. He played all variety of percussion before joining the comparsa (conga band), Las Sultanas. In 1944 he became a member of the Orquesta Kubavana de Alberto Ruiz with which he also first recorded that year. (Recordings with Ruiz and the Orquesta Kubavana were compiled by Tumbao in 1994, covering the years 1944 through 1947, on a disc titled, 'Rumba En El Patio'.) Patato is thought to have first visited New York City with the Conjunto Casino in 1952, also recording with that group from 1953 to '55. (Tumbau released a compilation of Patato recordings with that band in 1996, covering years 1953 through 1955, titled, 'Mambo con Cha-Cha-Cha'.) It isn't certain just how that jives with one of the dates given for his permanent move to the States, being October 1954. Howsoever, his first recordings with an American jazz musician were in 1957 with trumpeter, Kenny Dorham, on the album, 'Afro-Cuban'. He played with Mongo Santamaria and Tito Puente in Harlem before recording with Art Blakey, Art Taylor and Max Roach. During the sixties Patato anchored with Herbie Mann for more than a decade. He later toured Europe with Dizzy Gillespie and Quincy Jones. Notable in the seventies were his recordings with Cachao López. During the nineties he toured Europe with his band, Afrojazzia (not to confuse with the Afrojazziacs). In 2000 he released the album, 'The Conga Kings', with Cándido Camero and Giovanni Hidalgo. His album, 'El Hombre', followed in 2004. Patato passed away of respiratory failure in Cleveland, Ohio, in December 2007.

Patato Valdes   1944

   Rumba En El Patio

      Orquesta Kubavana de Alberto Ruiz

   Rumba Moderna

      Date uncertain

      Orquesta Kubavana de Alberto Ruiz

   Sonaremos El Tambor

      Date uncertain

      Orquesta Kubavana de Alberto Ruiz

Patato Valdes   1951?

   La Toalla

      Date uncertain

      With the Conjunto Casino

Patato Valdes   1957


      Album   Trumpet: Kenny Dorham

Patato Valdes   1961

   Cookoo & Fungi

      Drums: Art Taylor

Patato Valdes   1965

   Live at the Newport Jazz Festival

      Flute: Herbie Mann

Patato Valdes   1974


      With José Mangual

Patato Valdes   1976

   Canto a Chango

   Como Suena Mi Son

   La Ambulancia

Patato Valdes   1984

   Nica's Dream

Patato Valdes   1994



Birth of Modern Jazz: Patao Valdes

Patato Valdes

Source: All About Jazz

  Franco Cerri   See Franco Cerri.

  Born Jorge Neves Bastos in Rio de Janeiro, Brazil, in 1926, samba vocalist, Jorge Goulart, continues the contributions of Carnival and its samba schools to Latin recording. Goulart was singing for Radio Nacional when he released his first recordings in 1945: 'A Volta'/'Paciência, Coração' and 'Nem Tudo é Póssível'/'Feliz Ilusão' ('Back'/'Patience, Heart' and 'Not Everything Is Possible'/'Happy lllusion'). His relationship with Nora Ney began in 1952. Lasting several decades, they would have one child. Among the Carnival sambas that Goulart recorded was 'Exaltação a São Paulo' which saw march by the Portela School in 1954, composed by Elton Medeiros. The recording, all orchestrated by Radamés Gnattali, took place at Radio Nacional with its sixty piece orchestra. Goulart toured internationally in the fifties as well, including Russia, China and Europe. Another of his Carnival interpretations was the 1963 march by Vinicius de Moraes and Carlos Lyra, 'Marcha da Quarta-Feira de Cinzas', thought to be the first bossa nova to enter Carnival. The next year Goulart, a Communist, and Ney went into exile upon Brazil's coup d'état of 1964. Details of that are unknown beyond both being banned from Radio Nacional. 45cat, however, has Goulart issuing in Romania on the Electrecord label in 1966: 'Carnaval Brazilian' A side with 'Brasil' and 'Copacabana' B side. Brazil's military government presided until 1985, but Goulart and Ney were working together in Brazil again in the early seventies. In 1977 they issued the album, 'Jubileu de Prata', together. 1981 saw Goulart pair with Emilinha Borba on the release of the LP, 'Oh! As Marchinhas'. Goulart had also appeared in a number of films in the fifties. Despite apparently recording relatively little Goulart's was a huge name in Brazilian music as it entered into the latter half of the 20th century. He died in Rio de Janeiro in March 2012.

Jorge Goulart   1950


      Carnival march 1950

   Sereia de Copacabana

      'Copacabana Mermaid'

      Film: 'Aviso aos Navegantes'

      'Notice to Mariners'

Jorge Goulart   1953

   Minha Maria Morena

      'My Maria Morena'

Jorge Goulart   1955

   Samba Fantástico

Jorge Goulart   1957

   Descendo o Morro

      'Down the Hill'

Jorge Goulart   1958

   A Flor do Lodo

Jorge Goulart   1958

   O Último

      Film: 'Mulheres à Vista'

      'Women in Sight'

Jorge Goulart   1964

   Cabeleira do Zezé

      Carnival march 1964

Jorge Goulart   1967

   Mundo Cruel (Cruel World)

      Carnival march 1967

Jorge Goulart   1973

   Quando Eu Me Chamar Saudade

      Filmed live with Nora Ney


Birth of Modern Jazz: Jorge Goulart

Jorge Goulart

Source: Musicaria Brasil

Birth of Modern Jazz: Benny More

Beny Moré

Source: Wikipedia

Born Bartolomé Maximiliano Moré Gutiérrez in Santa Isabel de las Lajas, Cuba, in 1919, vocalist Beny Moré (also Benny) is a good example of popular Cuban music. Moré never collaborated with American musicians like some of his contemporaries when Latin music and American jazz began mixing en force in the forties, such as the brief relationship between trumpeter, Dizzy Gillespie, and Afro-Cuban percussionist, Chano Pozo. Moré was the eldest of, well, eighteen children. His first venture to Havana at age seventeen resulted in selling fruit and herbs. Returning to Las Lajas, he cut cane until he earned the money to purchase his first guitar with the assistance of his brother, Teodoro. He then returned to Havana to play in bars and cafés for tips. His first employment was with the conjunto (folk ensemble) of Mozo Borgellá. He also began working in radio about that time. In 1942 he got together with Conjunto Matamoros, with whom he traveled to Mexico in 1945 to work in cabarets. Moré first recorded with Matamoros in 1945. He also recorded with Arturo Nunez, Rafael de Paz, Chucho Rodriguez and Perez Prado in the latter forties. (A few of such may exist at YouTube, but want of information makes such indistinguishable from possible later recordings. Latin music in general was not well documented at the time. He recorded 'Bonito y Sabroso' and 'Dolor Karabalí' ('Dolor Caravali') only once, but dates can only be estimated.) Moré also recorded with Mariano Mercerón and began acting in films in Mexico, prior to his return to Havana in 1952. He performed on radio with Bebo Valdés and Ernesto Duarte Brito, and recorded with the Orquesta Aragón before forming his Banda Gigante in 1953. He performed with that band at La Tropical and El Sierra in Havana. After the Cuban Revolution (1953-59) Moré remained in Cuba, though he toured the Caribbean during that conflict. If he ever visited the United States (debated) it was to perform at Oscar ceremonies. He didn't like flying so kept touring to a minimum. An alcoholic, Moré died of cirrhosis of the liver in 1963, only 43 years years of age. It is estimated that 100,000 people attended his funeral.

Beny Moré   1945

   Buenos Hermanos

      Recording year probable

      With Conjunto Matamoros

Beny Moré   1947


Beny Moré   1949

   Bonito y Sabroso

      Recording year estimated

   Dolor Karabalí

      Recording year estimated

      With Perez Prado

   Mata Siguaraya

   La Vida Es Un Sueño

      With Pedro Vargas

Beny Moré   1950

   La Cocaleca

Beny Moré   1957

   Rezo en la Noche (Prayer at Night)


  Born in 1924 in Matanzas, Cuba, rumbera, Amalia Aguilar (aka the Atomic Bomb), made no recordings that we can determine beyond her films for which no soundtracks are found either. Largely a dancer, Aguilar was close contemporary to rumbera, Ninón Sevilla, during their careers in Mexico City. (A rumbera is a rumba dancer or rumba star.) Aguilar studied ballet as a child, she and her sister, Cecilia, to later become employed by the Cuban Theatre Company in Havana. The pair began working as a team called the Aguilar Sisters, performing at La Cabana, a circus variety show, the Cabaret Tropicana and even touring to Panama. Cecilia eventually got married, to end up in Wichita, Kansas. Amelia continued solo at the Hotel Nacional. Her prior audition with dancer, Julio Richard, had failed. But now he took her to Mexico City with him, she with small notion that she was on the cusp of stardom, Mexico to adopt her as one of its own. She debuted in Mexico City at the Theatre Lírico, also working for XEW radio on the program, 'La Hora Mejoral'. Aguilar's first film, 'Pervertida', saw theaters in 1946. Unlike Sevilla, Aguilar had a strong interest in the United States and soon toured there, appearing at the Hollywood Bowl and making the film, 'A Night at the Follies', in Los Angeles, issued in 1947. She was soon back in Mexico City where she formed her own group, Los Diablos del Trópico, and settled down to shake things up with mambo (similar to the cha-cha or rumba but more complex) in Mexican cinema, releasing some 23 films in the ensuing ten years. Aguilar had the same problem as Sevilla and other rumberas (Miranda included, though not a rumbera proper), in that they weren't taken seriously in places like Brazil, considered sellouts to salacious audiences in Mexico or the States, leaving traditional Latin music behind. That they did, but in the process they created the rumbera genre in film, contributed to the evolution of Latin music in that regard, and danced like their critics couldn't. In 1955 Aguilar did it and got married (Dr. Raul Bedoya), generally regarded as the year of her retirement, though in the seventies she returned some to Mexican television and worked with Studio Varela in Peru in the eighties where she and her husband had settled. Though Bedoya died in a plane crash in 1962, the couple produced three children. Having established chains of beauty salons and taquerias in Peru, Aguilar currently resides in Mexico City for some years.

Amalia Aguilar   1946

   ¿Donde va María?

      Film: 'Pervertida'

      With Kiko Mendive

Amalia Aguilar   1947

   Afro Mood

      Soundie short film

Amalia Aguilar   1948

   ¡Ay, que bonitas piernas!

      'Oh How Beautiful Legs!

Amalia Aguilar   1950

   ¿Al son del mambo?

      'Who Invented the Mambo?'

      Film: 'Al son del mambo'

      With Perez Prado & Yeyo


      Film: 'Al son del mambo'

Amalia Aguilar   1953

   Mis Tres Viudas Alegres

      Film with Resortes

Amalia Aguilar   1955

   Sabroso Cha Cha Cha

      Film: 'Las Viudas del Cha Cha Cha'


Birth of Modern Jazz: Amelia Aguilar

Amelia Aguilar

Birth of Modern Jazz: Luiz Bonfa

Luiz Bonfá

Source: Musica Brasileira

Born in 1922 in Rio de Janeiro, composer and guitarist Luiz Bonfá is said to have taken his first professional employment as a musician in 1946, performing for Rádio Nacional. It's generally agreed that he made his first recordings in 1946. Whether those were recordings of radio broadcasts, a live performance or a studio session is undeterminable. Nor are any discographical references found as to such. About the time Bonfá was at Rádio Nacional he also played with the Quarteto Quitandinha and the Quitandinha Serenaders. Having composed more than thirty film scores in his lifetime, he is thought to have written his first in 1947 for 'Este Mundo e um Pandeiro'. The first in which his guitar was featured was in 1955: 'Chico Viola Nao Morreu'. Bonfá first visited the United States in 1957 to tour with vocalist, Mary Martin. Perhaps his most highly regarded film score, 'Orfeu Negro' ('Black Orpheus') was composed in 1959. After Bonfá's 1962 performance at Carnegie Hall he issued the album, 'Jazz Samba Encore!', with Stan Getz in 1963. Other American musicians important during Bonfá's career were Quincy Jones, Frank Sinatra and George Benson. He died on January 12 in Rio de Janeiro in 2001.

Luiz Bonfá   1948


      With the Quarteto Quitandinha


      With the Quitandinha Serenaders

Luiz Bonfá   1950

   Xo ! Xo ! Passarinho

      With the Quitandinha Serenaders

Luiz Bonfá   1951

   Uma Prece

Luiz Bonfá   1954

   Viejos Tempos

Luiz Bonfá   1958



   Pout Pourri De Ritmos Continentais


   Swinging in Madrid

Luiz Bonfá   1959

   Black Orpheus

      Guitar solo


Luiz Bonfá   1962

   Linda Cancao

Luiz Bonfá   1963


      With Stan Getz


      'The Perry Como Show'   Vocal: Perry Como

Luiz Bonfá   1965

   The Gentle Rain


Luiz Bonfá   1966

   Juanita Banana


  Born Mario Escudero Valero Jiménez Valverde in Alicante, Spain, in 1928, flamenco guitarist, Mario Escudero, wasn't a jazz musician. He was, however, Latin, with at least mention of flamenco on this page as requisite as the tango. Escudero studied both classical and flamenco guitar as a youth. His debut performance is thought to have been at the Teatro Español in Madrid in 1944. In 1946 (age 18) he appeared on a couple recordings by singer, Estrellita Castro: 'Sevillanas de la Moda' and 'Er Yeli'. In July of 1952 he recorded the album, 'El Pili Flamenco', with Alberto Velez. His album, 'Fiesta Flamenca' was recorded in 1954 for MGM, released the next year. Also issued in '55 were his LPs, 'Mario Escudero and His Flamenco Guitar' and 'Flamenco'. His initial of several albums recorded with El Niño de Alicante is thought to be 'Flamenco Festival' in 1957 (qualified in that no dates are thus far determinable for 'Viva el Flamenco' Musicdisc CV 957). The first of at least four albums on which Escudero appeared with Sabicas is thought to be as of 1958 for Elektra: 'Festival Gitana'. Escudero eventually toured Europe, South America and the US, coming to reside in both New York City and Spain. He settled for Sevilla in the early eighties, commuting to the States for concerts and recordings. He returned to the States in 1994, pursuing treatment for Alzheimer’s disease in Miami, where he died ten years later, suffering with Parkinson's disease.

Mario Escudero   1946

   Er Yeli

      With Estrellita Castro

   Sevillanas de la Moda

      With Estrellita Castro

Mario Escudero   1952

   Brisas del Geni

      With Alberto Velez

   Fandangos por Solea

      With Alberto Velez

   Siguirillas Gitanas

      With Alberto Velez

Mario Escudero   1955


      Album: 'Flamenco'

   Para Amina

      Album: 'Mario Escudero and His Flamenco Guitar'

   Piropo a la Soleá

      Album: 'Mario Escudero and His Flamenco Guitar'


      Album: 'Flamenco'

Mario Escudero   1959


      Album: 'Spanish Dances'


      Album: 'Spanish Dances'

   Salinera Caditana

      Album: 'Spanish Dances'

Mario Escudero   1990


      Filmed live


Birth of Modern Jazz: Mario Escudero

Mario Escudero

Source: Discogs

  Born in 1925 in Rome, one nigh wouldn't know that jazz/popular vocalist, Bruno Martino, existed per the internet excepting Italian Wikipedia. But at YouTube he's not all that obscure. He began his career in clubs and radio in 1944. Lord's disco has him recording titles as early as three sessions in May and August of 1946 in Milan with a quintet led by Leonardo Principe: 'Blue Skies', 'It Had to Be You', 'I Got Rhythm', 'Moonglow' and 'Stompin' at the Savoy (Odeon issue numbers: TW3211, TW3225 and TW3289). He toured Europe, formed an orchestra, did a bit of composing for French singer, Caterina Valente, and began singing when his vocalist didn't show up for an engagement. What is thought his first release was in 1958: 'Come Prima' bw 'Perry Como Sorride E Fa', those on HMV. Martino released three EPs of four titles the next year: 'Bruno Martino Music', 'Sanremo -59' and 'Italian Holiday Memories'. He also released the album, 'I Grandi Successi Di Bruno Martino', in '59. Martino was known as Principe dei Nights (Prince of the Nightclubs). Discogs shows him good for sixteen albums, not likely his full catalogue, until the last in 1991: 'Lasciamo Che Sia Il Tempo'. He died on June 12, 2000, of heart attack.

Bruno Martino   1958

   Perry Como Corride e Fa

Bruno Martino   1959

   Kiss Me Miss Me

Bruno Martino   1960


Bruno Martino   1972


Bruno Martino   1973

   Cos'hai Trovato in Lui


  Raccontami di Te


Birth of Modern Jazz: Bruno Martino

Bruno Martino

Source: Radio Italia

Birth of Modern Jazz: Ninon Sevilla

Ninon Sevilla

Source: Wikipedia

Not only did Latin percussion find its way to the States to become an important element of much modern jazz, but Latin dance came to huge popularity largely via films. Spain had its flamenco flame who lived a world apart from jazz, Carmen Amaya. Brazil had produced dancer, Carmen Miranda, though she hadn't always been popular there, thought a sell-out for the sorts of films she made in America. As for Ninón Sevilla, being largely an actress and dancer, she would seem to have appeared on only a couple albums, one a soundtrack. Sevilla had been born Emelia Pérez Castellanos in 1921 in La Habana, Cuba. Beginning her career in cabarets and nightclubs, she assumed "Ninon" for a stage name after the courtesan, Ninon de l'Enclos. She eventually made her way to Mexico City with Argentine actress and popular singer, Libertad Lamarque. Mexico City soon adopted Sevilla as one of its own, she making her debut film, 'Carita de Cielo', released in 1946. Unlike Miranda, Sevilla felt no draw to Hollywood, thus didn't come to great fame in the States. Perhaps like Libertad Lamarque, the inability to speak English was a barrier. In Mexico, however, she became the property of Producciones Calderón and became a huge star of the rumbera genra, staging her own choreography. Like Sevilla, rumba had originated in Cuba, migrating to Mexico to merge with film and produce a number of rumberas, such as Amalia Aguilar, also a Cuban immigrant to Mexico and close contemporary of Sevilla. 1959 saw the LP release of the soundtrack, 'A Mulher de Fogo'. In 1962 Sevilla released the LP, 'Sólo para adultos' ('For Adults Only'), with the Luis Gonzalez Orchestra. In 1964/65 Sevilla made her first television appearance on the Mexican telenovela, 'Juicio de Almas' ('Judgment of Souls'). Making nearly two dozen films, Sevilla died of pneumonia January 1st of 2015.

Ninón Sevilla   1950



Ninón Sevilla   1951

   La Cocaleca

      Film: 'Víctimas del Pecado'

     ('Victims of Sin')


      Film: 'Víctimas del Pecado'

     ('Victims of Sin')

Ninón Sevilla   1953

   Aventura en Río



  Jack Costanzo   See Jack Costanzo.

  Born Victoria de los Ángeles López García in a lodge at the University of Barcelona to a university caretaker, Victoria de los Angeles was as foreign to jazz as she was to the flamenco of her native country, Spain. But Spaniards recorded much more than flamenco, and Barcelona wasn't really gypsy territory, flamenco having its origins in Andalusia. Madrid was a flamenco hub. Barcelona, however, was otherwise the hippest place to be in Spain. It was Spain's jazz hub for American musicians on tour in Europe, and had for centuries been host to classical music when Islam further south was either making a lot of trouble for the avoiding or banning Western influences such as classical music altogether. The rise of flamenco in Spain is largely due that much of the Iberian peninsula had simply been largely out of bounds to classical composers and musicians. De los Angeles, however, was a soprano who had the Barcelona Conservatory from which to graduate in 1941 under the tutelage of arranger and guitarist, Graciano Tarrago. Her oublic debut was the same year as Mimi in Puccini's 'La Boheme' at the Gran Teatre del Liceu. She is thought to have made her professional debut there as well, as the Countess in Mozart's 'The Marriage of Figaro' in 1945. The earliest recordings of which we know by de los Angelese were in May of 1947 for EMI, recording compositions by Joaquin Turina in Barcelona with Agrupacion de Camera de Barcelona: 'Saeta en forma de salve a la Virgen de la Esperanza' (Op 60) and 'Poema en Forma de Canciones' (Op 19: 1-5). In May of 1949 de los Angeles recorded works in London by Turina with Walter Susskind, as well as 'Triptico' (Op 45) with pianist, Gerald Moore. She recorded a couple works by Respighi with Gerald Moore that May as well ('Stornellatrice' and 'E se un giorno tornasse'). Walter Susskind also recorded Mozart's 'Porgi Amor' with de los Angeles in May of 1949. In March of 1950 she recorded a couple works by Wagner ('Dich, Teure Halle' and 'Einsam in Truben Tagen'). That March also saw Eduardo Toldra's 'Madre, unos ojuelos vi' recorded with Gerald Moore. Recordings with Moore in June of 1950 yielded 'El retrato de Isabela' and 'El Amor y los Ojos', compositions by Amadeo Vives. The next September de los Angeles stepped away from opera to record 18 tracks of traditional songs with guitarists, Graciano and Renata Tarrago, all arranged by Graciano. Tours in the fifties saw to de los Angeles' international fame, she performing at Carnegie Hall and with the Metropolitan Opera in the US in 1951. She would work with the Metropolitan another decade. She began visiting Buenos Aires, Argentina, in 1952, becoming a big deal there as well as in Europe. Her career largely consisted of recitals en concert, she also notable for her recordings of opera. Indeed, though de los Angeles is a shift peripheral to these histories, hers was too major a name in Latin recording to not include. De los Angeles died the 15th of January, 2005. Other Latin classical, such as Andrés Segovia, may be found in that section.

Victoria de los Angeles   1949

   El Mirar de la Maja

       Piano: Gerald Moore

       Composition: Granados/Periquet

   Saeta en Forma de Salve

       With Walter Susskind

       Composition: Joaquín Turina

Victoria de los Angeles   1950

   Dich, Teure Halle

       Composition: Wagner

   Einsam in Trüben Tagen

       Composition: Wagner

   La Maja y el Ruiseñor

       Composition: Enrique Granados

   V'adoro Pupille

       Composition: Handel

Victoria de los Angeles   1954

   Love Duet

       With Giuseppe di Stefano

      Composition: Giacomo Puccini

Victoria de los Angeles   1956

   La Boheme

       With Jussi Björling

      Composition: Puccini

Victoria de los Angeles   1958


       Composition: Bizet

Victoria de los Angeles   1959

   Exultate, Jubilate

       Composition: Mozart

   O Mio Babbino Caro

       Composer: Giacomo Puccini

Victoria de los Angeles   1960

   Si, Mi Chiamano Mimi

       Film excerpt

Victoria de los Angeles   1962

   Una Voce Poco Fa

       Composition: Rossini

      BBC Television broadcast

Victoria de los Angeles   1967

   Spanish Songs

       Television broadcast

Victoria de los Angeles   1972

   Los Cuatros Muleros/La Tarara

       Piano: Miguel Zanetti

      Compositions: Lorca

Victoria de los Angeles   1989

   Menta i Farigola

       Piano: Manuel Garcia Morante

      Composition: Eduard Toldrà

Victoria de los Angeles   1992

   El Cant dels Ocells

       Cello: Lluis Claret

      Filmed live 1992 Olympics

Victoria de los Angeles   1994

   Spanish Songs

       Live in Aberdeen


Birth of Modern Jazz: Victoria de los Angeles

Victoria de los Angeles

Source: All Music

Birth of Modern Jazz: Jacob do Bandolim

Jacob do Bandolim

Source: Luis Nassif

Born Jacob Pick Bittencourt in Rio de Janeiro, Brazil, in 1918, mandolin virtuoso, Jacob do Bandolim (Mandolin Jacob), was son to a pharmacist. He played harmonica and violin before picking up mandolin at age twelve. In the United States the great mandolin players have been largely associated with bluegrass, a country genre of rural folk music. In Brazil it was the other way about, do Bandolim a composer of choro ("cry" or "lament") or chorinho ("little cry" or "little lament"). Choro was uptown urban popular music, no chewing on straws barefoot in bib overalls. He was performing on radio at age fifteen. His first recordings are thought to be in 1947: 'Gloria' and 'Treme Treme', the first a waltz, the second his own composition. Do Bandolim never did quit his day job, of which he had a few, from running a pharmacy alike (perhaps with) his father, to selling insurance, court reporting and, finally, working as a notary. Do Bandolim issued more than a hundred titles before dying of heart attack in 1969.

Jacob do Bandolim   1947

   Treme Treme

Jacob do Bandolim   1948



Jacob do Bandolim   1951

   Bole Bole


Jacob do Bandolim   1952


Jacob do Bandolim   1961

   Assanhado (Tangled)

Jacob do Bandolim   1967



   Receita de Samba

   Vibrações (Vibes)

Jacob do Bandolim   1968

   Barracão de Zinco

      Filmed live with Elizeth Cardoso


  Charlie Palmieri   See Charlie Palmieri.


Birth of Modern Jazz: Chano Pozo

Chano Pozo

Source: Find a Grave

Born Luciano Pozo González in Havana in 1915, rumba conguero Chano Pozo dropped out of school in third grade. By the time he was thirteen he had a record for assault and theft, landing him at a reformatory in Guanajay. There he learned to read and write, worked on auto bodies and steeped his mind in Santerían atmosphere. (Santería is a blend of Catholicism and Yoruba.) Upon release from Guanajy Pozo became a bootblack, then sold newspapers (1929), then worked as a bodyguard and bouncer, said to work as an enforcer as well. In the meantime he became a rumbrero (street drummer) and dancer in a troupe called The Dandy. About that time he began writing compositions for carnivals (street parades) and comparsas (troupes of street performers). Among his first compositions was in 1940, 'La Comparsa de los Dandys', composed for the Santiago Carnival that year. He had also recorded 'Lolo Lolo Lolo' that year on congas with the Havana Casino Orchestra, issue unknown. Pozo eventually began working for radio, Cadena Azul. Cuba was a different country before the Cuban Revolution, with a thriving tourist industry and no want of nightlife. It was, nevertheless, yet a frontier, Pozo emigrating to Chicago in 1942 in pursuit of opportunity. He joined a troupe called the Jack Cole Dancers before heading for New York where he knew Mario Bauzá, having met him while working in radio in Havana. Lord's disco has him back in Havana in December of 1946 to record 'El Cajon' in a sextet for Miguelito Valdes, issue unknown. He was back in NYC soon enough to join Arsenio Rodríguez on February 4 of 1948 for titles composed by himself like 'Abasi' and 'Ya No Se Puede Rumbear (Now They Can't Rumba)'. Those were made available in 2001 on an extensive Pozo compilation called 'El Tambor de Cuba', that a box set of three CDs. On February 7 of '47 he joined Machito for titles composed by himself: 'Rumba en Swing', 'Porque Tu Sufres' and 'Cometelo To'. 'Paso en Tampo' was composed by Arsenio Rodríguez playing tres guitar. Those were made available in 1992 on a joint Pozo/Rodríguez album named 'Legendary Sessions'. Pozo's 'Ritmos Afro-Cubanos 1-8' were composed in 1947 as well. Pozo's was an historic relationship with trumpeter, Dizzy Gillespie. In September of 1947 Bauzá introduced Pozo to Gillespie and Charlie Parker at Pozo's apartment. Pozo first recorded with Gillespie at Carnegie Hall on the 27th, titles performed such as 'Cubana Be Cubana Bop' and 'Things to Come'. A concert at Cornell University on October 18 witnessed titles like 'Cool Breeze' and 'Yesterdays'. December 22 saw 'Algo Bueno', 'Cool Breeze', 'Cubana Be' and 'Cubana Bop' for Victor. Titles for Victor on the 30th included 'Manteca'. A tour to Europe saw sessions in February of 1948 in Stockholm and Paris. Upon returning to the States Pozo recorded 'Slits', among others, with Milt Jackson in April before joining Gillespie again on July 19 at the Civic Auditorium in Pssadena, CA, for such as 'Manteca' and 'Cubana Be Cubana Bop'. Charlie Parker joined Gillespie at the Pershing Ballroom in Chicago in latter 1948 for titles like 'Hot House' and 'Manteca'. On September 13 Pozo joined Tadd Dameron's septet for the tune, 'Jahbero', with trumpeter, Fats Navarro. Dameron had been one of Gillespie's arrangers since Pozo's first session with the latter in September of '47. Sessions followed with Gillespie and Dinah Washington at the Royal Roost in October. Come James Moody on October 25 for 'Tropicana', 'Cu-Ba', 'Moody's All Frantic' and 'Tin Tin Deo' with Pozo as vocalist on the last. Moody had contributed tenor sax to some of Gillespie's sessions with Pozo since their first in September of '47. On November 5 of 1948 Pozo joined Gillespie a last time at Cornell University for 'Duff Capers', 'Nyeche', 'Manteca', etc.. He was shot and killed in Harlem at a place called the Rio Bar on December 8, 1948, the violence said to concern dope not meeting Pozo's standards. Pozo died a few weeks short of his 34th birthday. Compositions on which he had collaborated with Gillespie and arranger, Gil Fuller, such as 'Tin Tin Deo' and 'Manteca', as well as his brief partnership with Gillespie, were among the more significant collaborations in the history of jazz. Such as Stan Kenton had before employed conga players in accessorial capacities, but no one had emphasized the conguero as central to both band and music before Gillespie and Pozo, thereat forming a bridge between American jazz and Latin music at the tail end of swing which would develop into an important genre rather beyond what bebopping Gillespie had called but cubop at the time. With the exception of one live performance in Paris, all tracks below for year 1948 were recorded with Gillespie in December 1947.

Chano Pozo   1947


   Rumba en Swing


      Vocal: Arsenio Rodriguez

   Ya no se puede rumbear

Chano Pozo   1948

   Algo Bueno

   Algo Bueno

      Live in Paris


   Cubana Be/Cubana Bop


Chano Pozo   1949

   Tin Tin Deo

      With Art Blakey & James Moody


  Sabu Martinez   See Sabu Martinez.


Birth of Modern Jazz: Pérez Prado

Pérez Prado

Source: Cuban History

Born in Matanzas, Cuba, in 1916, bandleader Dámaso Pérez Prado specialized in mambo dance, often called the King of Mambo. He worked as both an arranger and pianist in casino and club orchestras until leaving Cuba for Mexico in 1948. In 1949 his composition, 'Maravillosa', surfaced in the film, 'Coqueta'. He worked on a couple more films that year, his music appearing in eighteen more in 1950 (per Amoeba Music). Prado made his first recordings for RCA Victor in Mexico in 1949, believed to be 'Que Rico el Mambo' b/w 'Mambo No 5'. Those were issued in the United States in 1950 with one title changed to 'Mambo Jambo'. Such were mambo recordings that he brought to Hollywood in 1951, starting the mambo craze, which he then took to New York City in 1952. Prado's popularity waned in the sixties in comparison to its explosion in the fifties. In the seventies he permanently returned to an apartment he kept in Mexico City, from there to pursue his career in terms of Mexican record labels and Mexican television, also touring Mexico and South America. He made a trip to Japan to record in concert in 1973. From 'Plays Mucho Mambo For Dancing' in 1950 to 'El Rey del Mambo Pérez Prado Hoy' ('The King of Mambo Perez Prado Today') in 1981 Prado appeared on dozens of albums. He died of stroke in Mexico City on September 14, 1989. 

Pérez Prado   1948

   El Manisero

Pérez Prado   1950

   Mambo #5

Pérez Prado   1955

   Cherry Pink & Apple Blossom White


   Cherry Pink & Apple Blossom White


Pérez Prado   1956

   Mambo #8

Pérez Prado   1958

   Cuban Rhythms



Pérez Prado   1967



  Born João Donato de Oliveira Neto in Rio Blanco, Acre, in 1934, Brazilian pianist, João Donato, began to play accordion as a child. Raised in Rio de Janeiro since age eleven, he thought it fitting to scratch a 78 with 'Brejeiro' and 'Feliz Aniversário' in 1949 for the Star label. That was with the band of flautist, Altamiro Carrilho. Donato began recording on piano in 1953 when he started leading his own bands, recording numerous titles into 1954 with the Sinter label. 'Chá Dançante' was his initial LP release in 1956. Dividing his career between Rio and Sao Paulo, he first visited the U.S. to perform for a brief time at a casino in Lake Tahoe, Nevada, after which he toured Europe with Joao Gilberto. Back in Brazil by 1962, he made his next sojourn to the U.S. in time to record 'The New Sound of Brazil' for its release in 1965. Returned to Rio in latter 1972, Donato began adding vocals to piano per 'Quem é Quem' in 1973. Delivering bossa nova for more than half a century now, Donato is father of two, residing in Rio de Janeiro with his wife, journalist, Ivone Belém. Among others with whom he recorded during his career were Eddie Palmieri, Bud Shank, Sérgio Mendes and Dom Um Romao. Per below, all edits from 2007 onward were filmed live.

João Donato   1962


     Tito Puente LP: 'Vaya Puente'

     Participation unconfirmed

   Live at the Black Hawk

     With Mongo Santamaría


     Tito Puente LP: 'Vaya Puente'

     Participation unconfirmed

   Muito à Vontade


João Donato   1963

   A Bossa Muito Moderna


João Donato   1964

   One Note Samba/Desafinado

     'Steve Allen Show'

      Guitar: Tom Jobim

João Donato   1965

   The New Sound of Brazil


João Donato   1970

   A Bad Donato


João Donato   1973

   Quem é Quem


João Donato   1975

   Lugar Comum


João Donato   2007

   Minha Saudade

João Donato   2010


   Nasci para Bailar


João Donato   2011

   A Paz

     Filmed with Gilberto Gil


Birth of Modern Jazz: Joao Donato

Joao Donato

Source: Joao Donato
Birth of Modern Jazz: Chico O'Farrill

Chico O'Farrill

Source: All About Jazz

Born Arturo O'Farrill in Havana, Cuba, in 1921 to an Irish father who was a lawyer and a German mother, Chico O'Farrill began playing trumpet in Havana nightclubs while studying classical music at the Havana Conservatory. About that time he less emphasized trumpet and focused on composition. In 1948 he moved to New York to continue his classical studies at the Julliard School. Visiting jazz clubs by night, O'Farrill's expertise was to become Afro-Cuban jazz or, cubop. He quickly found employment as an arranger with Benny Goodman who named him "Chico". His first recorded arrangements for Goodman are thought to be thirteen tracks grooved on the 2nd and 5th of December 1948. Those first six tracks, on the 2nd, were 'Clarinet A La King', 'Don't Worry 'Bout Me', 'You Turned The Tables On Me', 'Chico's Bop', 'They Didn't Believe Me' and 'Undercurrent Blues'. O'Farrill spent an important half year with Goodman to July 5 of '49, arranging such as 'Fiesta Time' and 'Don't Worry 'Bout Me'. His next session was with who would become one of his more important musical associates, that Machito, arranging 'Mucho Macho' with Machito's Afro/Cuban Salseros in December of '49. O'Farrill worked with Machito on multiple occasions during his career, notably in 1975 with Dizzy Gillespie for 'Afro-Cuban Jazz Moods'. December 21 of 1950 saw him composing and conducting the 'Afro Cuban Jazz Suite' with Machito's band, Charlie Parker in on that. January 21 of 1951 witnessed him leading his own orchestra for the 'Second Afro Cuban Jazz Suite'. He recorded 'Afro-Cuban' on June 26 for issue in 1953. During the fifties O'Farrill toured with his Afro-Cuban Jazz Orchestra. Titles recorded in Habana, Cuba, in 1953 and Mexico in 1954 would get issued on 'Fiebre Tropical' in 2008. Returning to NYC, he gigged at the Birdland before moving to Mexico City in 1957. He there recorded titles in 1958 with saxophonist, Hector Hallal, that would find issue in the new millennium as 'The Rhythmic Spell Of Chico O'Farrill & Hector Hallal'. 1957 witnessed O'Farrill playing trumpet in Habana on titles with the female vocal group, Cuarteto D'Aida. It was Habana again in 1959 for what would see issue in 1991 as 'Tumbao Cubano: Cuban Big Band Sound'.      Returning to the Big Apple from Mexico in 1965, O'Farrill began arranging for CBS, Count Basie and Clark Terry ('66). Basie would become the principal figure in O'Farrill's career for the next several years. December 27 of 1965 saw the recording of O'Farrill's arrangements for 'Basie Meets Bond'. Countless titles ensued with Basie to January of 1970 for 'High Voltage'. Among others for whom O'Farrill either arranged or composed during his career were Art Farmer, the New Glenn Miller Orchestra, Gato Barbieri and Stan Kenton. During the nineties he returned to weekly engagements at the Birdland, also arranging for David Bowie and composing for Wynton Marsalis. In 2000 O'Farrill released his final album, 'Carambola'. O'Farrill was the father of jazz pianist, Arturo O'Farrill (born 1960), who took over direction of O'Farrill's band upon the latter's retirement in March 2001. O'Farrill died on June 27 that year.

Chico O'Farrill   1949


      Benny Goodman

   Undercurrent Blues

      Benny Goodman   Recorded December 1948

Chico O'Farrill   1950

   The Afro-Cuban Jazz Suite

      Machito & Charlie Parker

   It Ain't Necessarily So

      Album: 'Cuban Blues: The Chico O'Farrill Sessions'

Chico O'Farrill   1951


      Vocal: Bobby Escoto

Chico O'Farrill   1954

   La Comparsa


Chico O'Farrill   1966

   Lady From Nine Flags

      Album: 'Nine Flags'

   Spanish Rice

      Album: 'Spanish Rice'   Clark Terry

Chico O'Farrill   1999


      Piano: Arturo O' Farrill

Chico O'Farrill   2000



  Tito Puente   See Tito Puente.

  Born Cándido de Guerra Camero in Cuba in 1921, conguero Candido Camero was an NEA Jazz Master.  Carmen is credited with the employment of multiple congas, first two, with one for steady beat and the other for melody, then three to vary pitch. During his earlier career Carmen spent six years with the CMQ Radio Orchestra, and also played at the Cabaret Tropicana with the Carmen and Rolando dance team. He is thought to have first visited the States in 1946, age 25, with Carmen and Rolando. From 1947 to 1952 he played with the Armando Romeu Orquesta in Cuba. Camero's first recordings are a tough shell to crack. They are believed to have been with Frank Machito Grillo or others, such as mentioned above, in Cuba. Such appears likely, but no discographies of his Cuban sessions are found. He is familiarly said to have first recorded in the States in 1948 with Machito per 'El Rey del Mambo', but we find that in no discography until April 2 of 1949 at the Royal Roost in NYC with no mention of Camero (Lord's). He is also said to have recorded 'Tea For Two' at the Apollo Theatre in Harlem in 1950 with pianist, Joe Loco (José Estévez Jr.). Lord's estimates that in 1950 as well, with vibraphonist, Pete Terrace, but again, no mention of Camero. Lord's doesn't pick him up until January 21 of 1951 in NYC, playing bongos for Chico O'Farrill for 'The Second Afro-Cuban Jazz Suite' issued in 1952. Lord's has him in three more sessions with O'Farrill to November 24 that year: 'Peanut Vendor', 'Ill Wind', etc.. Camero would see O'Farrill again on occasion into the nineties: O'Farrill arranged Dizzy Gillespie's 'Manteca' in 1954, Camero's 'Drum Fever' in 1973, and employed Camero on 'Guaguasi' for his 1999 album, 'Heart of a Legend'. Camero is thought to have permanently moved to the States in 1952 to perform at the Clover Club in Miami for several weeks before heading to NYC again. Lord's next discovers him playing bongos and congas with Charlie Parker for a couple concerts at Carnegie Hall on November 15, 1952. The first has Camero performing on 'Just Friends', 'Easy to Love' and 'Repetition'. The second has Dizzy Gillespie joining for 'A Night in Tunisia' and '52nd Street Theme'. Camero and Parker would see a few more sessions together in the early fifties, but Gillespie would be the more significant figure in his career. Among numerous recordings with Gillespie were 'Manteca' per above on May 24 of 1954, 'Afro' on June 3 of 1954, 'Gillespiana' in November of 1960 and 'Melody Lingers On' on October 21 of 1966. Having been featured by or backing hundreds of musicians, recordings on which Camero appears are countless. During the fifties he put down titles with such as Wynton Kelly, Woody Herman, Dinah Washington, Stan Kenton ('54), Billy Taylor ('The Billy Taylor Trio with Candido' issued '55), Gene Ammons ('56, '69) and Art Blakey ('Oscalypso' '57). In April of 1956 he and tenor saxophonist, Al Cohn, had recorded 'Candido Featuring Al Cohn'. February of 1957 saw the recording of Camero's album, 'The Volcanic Candido'. 'In Indigo' went down in '58, 'Latin Fire' in 1959. Albums recorded in the sixties were 'Conga Soul' ('62), 'Candido's Comparsa' ('63) and 'Thousand Finger Man' ('69). The sixties also witnessed sessions with guitarists, Wes Montgomery and Grant Green, in 1965. The seventies saw Camero's albums, 'Beautiful' ('70), 'Drum Fever' ('73) and 'Dancin' and Prancin' ('79). The seventies also found Camero on multiple occasions with Buddy Rich and Lionel Hampton ('77). Albums issued in the new millennium were 'The Conga Kings' ('00), 'Inolvidable' ('Unforgettable' '04 with Graciela), 'Manos de Fuego' ('Hands of Fire' '08) and 'The Master' ('14). As of this writing Camero is yet active upon a career exceeding seven decades. All recordings from 2010 onward below were filmed live.

Candido Camero   1952

   Easy to Love

      Saxophone: Charlie Parker


      Saxophone: Charlie Parker

Candido Camero   1956

   The Great Lie

      Saxophone: Gene Ammons

   The Happy Blues

      Saxophone: Gene Ammons

   I'll Be Back For More

      Saxophone: Al Cohn

Candido Camero   1957

   Everybody Loves Saturday Night

      Vocal: Marianne


Candido Camero   1969


      Saxophone: Gene Ammons

   Madame Queen

      Saxophone: Gene Ammons

   Mr. Jones

      Drums: Elvin Jones

Candido Camero   1971


Candido Camero   1979


   Jingo Breakdown

Candido Camero   2010


Candido Camero   2011

   Conga Jam


      Vocal: Xiomara Laugart

Candido Camero   2012


Candido Camero   2014



      With Samuel Torres


Birth of Modern Jazz: Candido Camero

Candido Camera

Photo: Mosaic Images

Source: America Pink

Birth of Modern Jazz: Candido Camero

Elizete Cardoso

Source: Rolling Stone

Born in 1920 in Rio de Janeiro, Brazilian vocalist, Elizete Cardoso, went to work as a store clerk at age ten. She also worked as a hairdresser before her first professional job at age 16 on 'Programa Suburbano' for Radio Guanabara. That was followed by weekly appearances, then performances for multiple radio stations. Pay got better as she added nightclubs, she becoming a popular local singer before recording her debut sides in 1950: 'Braços Vazios'/'Mensageiro da Saudade'. Though those were released they were pulled from shelves for some unknown issue. In July of 1950 Cardoso recorded 'Complexo' and 'Canção de Amor', the success of which found her on television the next year for TV Tupi (Rede Tupi), that followed by her first films, 'Coração materno' (1951) and 'É fogo na roupa' (1952). Cardoso wasn't primarily a bossa nova singer, but many consider her 1958 issue of 'Canção do Amor Demais' the first bossa nova album, with Tom Jobim and Vinicius de Moraes at her side. She remained a highly popular performer for the next two decades, both in film and on record, having released above forty albums before her death of cancer in Rio de Janeiro in 1990.

Elizete Cardoso   1950

   Canção de Amor


   Mensageiro da Saudade

Elizete Cardoso   1958

   Canção do Amor Demais


Elizete Cardoso   1968

   Elizeth Cardoso Vol 1


   Elizeth Cardoso Vol 2


Elizete Cardoso   1974

   Feito Em Casa (Made at Home)


Elizete Cardoso   1978

   Manha de Carnaval

      Album: 'Live in Japan'



Birth of Modern Jazz: Joao Gilberto

Joao Gilberto

Source: Verve Music Group

Born in 1931 in Juazeiro, Bahia, Brazilian guitarist and vocalist Joao Gilberto acquired fame in America via collaboration with Stan Getz on the 1964 album, 'Getz/Gilberto'. Gilberto first recorded in 1951, such as 'Quando Voce Recordar'. In 1959 Gilberto released a song composed by Antônio Carlos Jobim that is often cited as the first bossa nova to see vinyl: 'Chega de Saudade' ('No More Blues'). 'Bim Bom', composed by himself a few years prior to its release, is likewise cited. 'Bim Bom' is on the 1959 LP below. (Yet others point to the 1958 LP, 'Cancao do Amor Demais', by Elizete Cardoso, tracks composed by Tom Jobim with text by Vinicius de Moraes.) Gilberto first arrived to the States in 1962 to work with Charlie Byrd and Stan Getz. March of 1964 saw the recording of 'Getz/Gilberto' with Jobim, that to win the Album of the Year Grammy Award the next year. Beginning in 1969 he performed and recorded in Mexico for a couple years, but didn't return to Brazil until 1980. He there pursued the remainder of his career into the new millennium, also touring internationally in Europe and Japan. As of this writing Gilberto yet lives in Rio de Janeiro. His latest albums were 'In Tokyo' ('04) and 'For Tokyo' ('07). 

Joao Gilberto   1951

   Anjo Cruel

   Quando Você Recordar/Amar é Bom

Joao Gilberto   1952

   Meia Luz

   Quando Ela Sai

Joao Gilberto   1959

   Chega de Saudade




Joao Gilberto   1962

   Garota de Ipanema

Joao Gilberto   1962


Joao Gilberto   1983


      Live performance


      Live performance


  Viirtuoso volinist, Fafa Lemos, was born in 1921 in Rio de Janeiro, Brazil, to begin classical training at age seven. He delivered his first solo, of Vivaldi, in concert two years later. Age ten saw him performing at the National Institute of Music with pianist, Souza Lima, before putting music on a back burner for the next several years to concentrate on graduating from high school. In 1940 he joined the Brazilian Symphonic Orchestra for some brief months, then the Carlos Machado Orchestra. He was working with Machado at the Casablanca nightclub when he quit to join the Trio Rio at the Bally-Hi. Hired by Rádio Nacional in 1950, he thought to have first recorded the next year on 78 for RCA Victor: 'Cigano no baião' ('Gypsy in Baião'), 'Saudades do Texas' ('Miss Texas'), 'Grã-fino' and 'Tico-tico no fubá'. 1952 was a huge year for Lemos, he traveling to the United States for the first time, there to record for the soundtrack to the film, 'Meu Amor Brasileiro', tour with Carmen Miranda, appear on television and record several albums. Lemos worked with Miranda until her death in 1955, after which he formed a trio to perform in restaurants, then returned to Brazil the next year. He there played in nightclubs, recorded and made television appearances until immigrating to Los Angeles in 1961. He finally returned to Brazil in 1985 where he died in Rio de Janeiro in October 2004.

Fafa Lemos   1951

  Cigano No Baião

      'Gypsy In Baião'

  Tico Tico No Fuba

Fafa Lemos   1954

  Jantar No Rio


Fafa Lemos   1956


Fafa Lemos   1989

  At Dawn

      Album: 'Fafá & Carolina'

      Piano: Carolina de Menezes

  Pedacinhos do Ceu

      Album: 'Fafá & Carolina'

      Piano: Carolina de Menezes


Birth of Modern Jazz: Fafa Lemos

Fafa Lemos

Source: Bossa Brasileira

Birth of Modern Jazz: Art by Violeta Parra

La Cueca (The Cave)

Arpillera (burlap) by Violeta Parra

Source: Live Journal

Born Violeta del Carmen Parra Sandoval in 1917 in San Carlos, Chile, folklorist and folk singer/guitarist, Violeta Parra, was part of the first generation of the Parra musical dynasty, other notables such as visual artists numerous in the family as well. Violeta was mother to Carlos and Isabel Parra. She was shifted from one place to the next while growing up, but began her career as a young lady performing in nightclubs like El Tordo Azul and El Popular in Santiago. Among the forms she sang were boleros, rancheras and Mexican corridos. The next step for Parra was theatre, then marriage. After a decade of that she traded her husband for her sister, Hilda, the two of them performing as the Parra Sisters from 1949 to 1952. The date per the menu above of 1951 is estimated. The dates are unknown but the Parra Sisters released released numerous tracks together during the fifties for RCA Victor. Among them were 'El Caleuche'/'Judas', 'El Buen Consejo'/'Entrégame la Cabulla', 'Qué Rica Cena'/'La Cueca del Payaso', 'A Mi Casa Llega un Gato'/'Ciento Cincuenta Pesos' and 'Es Imposible'/'Luis Ingrato. 'La Jardinera'/'Es Imposible' was issued in 1954 by Odeon as the Parra Sisters, but that was actually Violeta with her daughter, Isabel. It was 1952 when Violeta began documenting folk music from all about Chile, she now concentrating on the performance of her own compositions at colleges. She hosted a radio show for several months in 1954 as she traveled about Chile. In 1955 she traveled abroad to Warsaw, Poland, with the World Festival of Youth and Students, then headed to Paris to record Chilean folk songs for Le Chant du Monde label, her first album issued in 1956 in France titled, 'Songs of Chile'. Back in Chile the same year, she began recording the first of several volumes of 'The Folklore of Chile' during the next several years, the first issued in '57. The latter fifties saw her composing for documentaries, publishing a couple books on her research, and exploring the visual arts via ceramics, painting and arpillera embroidery. Her next trip abroad was also World Festival of Youth and Students in 1962, now taking her son, Carlos, and daughter, Isabel, to Finland, the Soviet Union and destinations in Europe. In addition to concerts she appeared on television and exhibited her art. Parra's archiving of Chilean folk music was the impetus behind the Nueva Cancion musical movement in Chile that arrived to its heydays under President Allende in the early seventies. Parra, however, didn't make it that far, committing suicide by gunshot to the head in February 1967. Finance was hardly the singular cause of Parra's desperation, but she had been involved in the installation of a number of peñas (simply a musical venue where food and drink might or might not be served, performances in tents if mobile or temporary - called peñas flamencas in Spain). At the time of her death she was living in her Santiago tent (about 100 x 100 feet) and wasn't doing well. She'd been recording, working for radio and more, a highly productive woman with abilities all kind, but one who the more she worked the less she reaped, she having zip commercial interests. When it came to Latin music she was extraordinary altogether; when it came to money she was a flop, making it requisite to remark that Chile was hardly abundant with opportunities. It was a relatively undeveloped country populated with poverty. As well, the Chilean presidency of Eduardo Frei Montalva had little use for Nueva Cancion (though Pinochet would have even less). Parra was devoted to the folk music of Chile like flamenco musicians were devoted to flamenco, no messing around with jazz like nearby in Brasil with bossa nova. Chile hadn't experienced anything like Mexico's rumberas during that nation's golden age of cinema. The poncho set in Chile hadn't been heading to NYC to record with big names in the States because Santiago was the hippest place to be, as had been Havana, Cuba, before Castro. Chile was the spine of the Andes Mountains down South America's western coast, not a string of metropolitan bright lights, despite its miles of beautiful coast. Santiago, Chile's largest city, could have fit in Rio's coin pocket at Violeta's time. So Parra's significance isn't alike that of a superstar, but one who has helped preserve early traditional Chilean music, meanwhile founding a musical genre, however brief, by the creation of her own brew. Violeta issued above 300 titles during her shortened career. Per 1951 below, the year is circa with dates unknown. Tracks are thought to have been recorded with Hilda Parra by RCA Victor between 1950 and 1952. Per 1966 below, all tracks are from the album, ''Las Ultimas Composiciones de Violeta Parra''.

Violeta Parra   1951

   Ciento Cincuenta Pesos

   Por Mal Camino

   La Misa del Gallo/Que Rica Cena

   La Monona

   Ojos Negros y Pardos

   El Prosituto


   La Viudita

Violeta Parra   1957

   Anticueca 1

       Album: 'Composiciones para Guitarra'

   Anticueca 2

       Album: 'Composiciones para Guitarra'

   El folklore de Chile Vol 1


Violeta Parra   1959



Violeta Parra   1965

   Que he sacado con quererte

       Album: 'Recordando a Chile'

Violeta Parra   1966

   Gracias a la Vida

   Run run se fue pal norte

   Volver a los 17

Violeta Parra   1971

   Canciones Reencontradas en París

       Posthumous collection


Birth of Modern Jazz: Violeta Parra

Violeta Parra

Source: El Cultrun

  Born in 1922 in Cuba, master of the rumba quinto (smallest of the three conga drums) Mongo Santamaria learned to play rumbas in the streets of Havana as a child. Santamaria was able to use his popularity as a jazz musician to promote folk rumba on record as well. It's thought he began his career playing bongos with the Septeto Beloña in 1937. During the forties he worked at the Tropicana nightclub. In the latter forties Santamaria spent a short time in Mexico before returning to Havana, then heading to NYC to join Gilberto Valdés for a brief time in 1950. 'Afro-Cuban Jazz' by Scott Yanow puts him with Tito Puente on congas in 1951. He made unissued recordings that year with Puente available on later compilations of Puente on CD, those tunes undetermined. His first issues are thought to have been from a September 19 session in 1951 with the Pérez Prado Orchestra supporting Johnny Hartman on 'Wild' and 'Safari'. He is thought to have appeared with Puente in 1952 on 'The Willie & Ray Mambo' and 'Tinguaro' among others. Santamaria would find occasions to record with Puente to as late as 1992 with the latter's Latin Jazz All Stars for the 1994 issue of 'In Session'. Santamaria also released his first album in 1952: a 10" titled 'Afro-Cuban Drums (Voodoo Rituals)' for SMC (Pro-Arte 535), recorded in Cuba during Carnival. ¡Vamos a Guarachar! has vocals added by Merceditas Valdés to make the 12" 'Tambores Afro-Cuban Drums' for SMC (Pro-Arte 592) which session Discogs dates as March 11, 1952. Wikipedia wants 'Chango', a suite of folk rumbas, recorded in 1954, reissued in 1977 as 'Drums and Chants'. Other albums addressing folkloric rumba were 'Yambú' (1958), 'Mongo' (1959) and 'Bembé' (1960). Santamaria had also backed Lenny Hambro's 'Mambo Hambro' on April 13 of 1954, as well as Dizzy Gillespie's 'Manteca' on May 24. December 19 of 1956 found Santamaria backing Chris Connor for titles issued in 1958 on 'A Jazz Date with Chris Connor'. Come Tito Puente in 1957 for 'The Weekend of a Private Secretary', backing Charlene Bartley, and 'Night Beat'. He also joined the Bethlehem Orchestra in '57 to support Sallie Blair on her album, 'Squeeze Me'. Santamaria's next session was with one of the more significant figures in his career, vibraphonist, Cal Tjader, that on November 20 of 1957 for 'Perdido', 'Mongorama' and 'Perfidia Cha Cha'. Beginning with 'Latin Concert' at the Blackhawk in San Francisco in September of '58 Santamaria would surface on above ten of Tjader's LPs to 'Live and Direct' at the Blackhawk in 1961. They would reunite at the Monterey Jazz Festival in 1974 for 'Manteca' and 'Afro Blue', the former for Toshiyuki Miyama. Santamaria recorded into the latter nineties, among numerous others with whom he'd left titles being Noro Morales, Victor Feldman and Steve Turre. Santamaria died on February 1 of 2003 in Miami.

Mongo Santamaria   1952


      Album: 'Afro-Cuban Drums'

Mongo Santamaria   1959

   Afro Blue


Mongo Santamaria   1962

   Watermelon Man

Mongo Santamaria   1963

   Get the Money

   The Morning After

   My Sound

      Live solo

   Yeh Yeh

Mongo Santamaria   1965

   El Pussycat

      Album: 'El Pussycat'


      Album: 'El Pussycat'

Mongo Santamaria   1967

   Afro Blue


Mongo Santamaria   1969

   Cold Sweat

      Album: 'Soul Bag'

Mongo Santamaria   1978

   Drum Kuyi

Mongo Santamaria   1984

   Afro Blue

      Television performance

Mongo Santamaria   1996


      Album: 'Brazilian Sunset'   Live


Birth of Modern Jazz: Mongo Santamaria

Mongo Santamaria

Source: American Sabor

Birth of Modern Jazz: Sivuca


Source: Forro Em Vinil

Sivuca was born Severino Dias de Oliveira in 1930 in Itabaiana, Brazil. He began is career in radio in the early fifties, also releasing a couple solo 78s for the Continental label in 1951: 'Frevo dos Vassour inhas' b/w 'Sivuca no Balao' and 'Carioquinha no Flemengo' b/w 'Tico-Tico no Fuba'. 1952 saw 'Entardecendo' and 'Choro Baixo', 1953 'So Esta Valsa' b/w 'Sincopado' and 'Lancha Nova' b/w 'Feijoada'. Sivuca switched to Copacabana Discos for the issue of 'Homenagem a Velha Guarda' b/w 'Pulando num Pe So' in 1955, and 'Lamento do Morro' b/w 'Carabina' in 1956. Also in '56 Sivuca issued his first LP of accordion performances: 'Eis Sivuca!', followed by 'Motivo para Dançar' the next year. Sivuca issued well over thirty albums during his career before dying in 2013 of cancer in João Pessoa, Paraíba.

Sivuca   1951

   Frevo dos Vassourinhas

   Tico-Tico no Fuba

Sivuca   1956

   Eis Sivuca!


Sivuca   1969


      Television broadcast   Sweden

      Accordion by Sivuca


      Television broadcast   Sweden

      Guitar by Sivuca

Sivuca   1973



Sivuca   1993

   Pau Doido


Sivuca   2001

   Asa Branca/O Ovo

      Filmed live with Hermeto Pascoal


  Vocalist, Johnny Alf, was born in 1929 in Rio de Janeiro. His father dying when he was three, his mother worked as a maid. He was nine when he took up piano and began playing professionally in nightclubs in the Copacabana neighborhood of Rio. He issued his first sambas, 'Falseta' b/w 'De cigarro em cigarro', in 1952. In 1954 he began working clubs in Sao Paulo as well. Alf moved in those circles where bossa nova (new trend) was being created. However, at the same time his interest, like his colleagues, was in mixing Latin samba with North American jazz he is known to have been uncomfortable with the "bossa nova" term to the degree that he rejected an invitation to play the Bossa Nova Festival at Carnegie Hall in 1961. That was the year he released his initial LP, 'Rapaz de Bem'. Howsoever, some credit him to be among the "fathers" of bossa nove while others consider that an exaggeration. Alf made a living as a musician but didn't arrive to the renown that (other) bossa nova musicians enjoyed. He recorded only ten something albums as a leader, nine of those his own, during his career, making some fifty other recordings with other musicians. He died of prostate cancer in 2010 in Santo André, Brazil.

Johnny Alf   1961

   Rapaz de Bem

      Debut LP

Johnny Alf   1963

   Johnny Alf Canta em Inglês

      'Johnny Alf Sings in English'


Johnny Alf   1964



Johnny Alf   1968

   Eu e a Brisa


Johnny Alf   1969

   Eu e a Brisa

      Filmed live

   Ilusão à Toa

      Filmed with Alaíde Costa

Johnny Alf   1971

   Ele é Johnny Alf


Johnny Alf   1974



Johnny Alf   1978

   Desbunde Total



Birth of Modern Jazz: Johnny Alf

Johnny Alf

Source: Bossa Nova na História

Birth of Modern Jazz: Dolores Duran

Dolores Duran

Source: RACA Brasil

Dolores Duran was born Adiléia Silva da Rocha in 1930 in Rio de Janeiro, Brazil, to perform on radio ten years later. She began performing on television at age 12. Changing her name to Dolores Duran at age sixteen, she was working in nightclubs in Rio de Janeiro when she recorded 'Canção da Volta' and 'Bom É Querer Bem' among others in 1952. Her first recordings, however, are thought to have occurred in 1949 at a soiree at the apartment of Raul and Helenita Marques de Azevedo, such as 'Body and Soul' and 'Eu Sim Você'. Those weren't made available until 2010 on a release titled 'Entre Amigos'. It also includes 'Praça Mauá', recorded in 1953 at the same location, as well as recordings in 57/58 at the home of Geraldo Casé, such as 'How High the Moon' and 'Cry Me a River'. Important to Duran's career as a songwriter were collaborations with Tom Jobim and Ribamar. In 1958 she toured to the Soviet Union, then traveled to Paris before returning to Brazil to make her last recordings in 1959. Her death in October that year was one of the more coincidental in music. She'd given a show at the Little Club and hung out after hours at the Clube da Aeronáutica when she returned home about 7 AM to tell her maid to not wake her, that she could sleep until she died. Which she did that day of heart attack, immediate causes attributed to overdose of the easily dangerous combination, barbiturates and alcohol. Only 29 years of age with an adult career not a decade long, Duran yet made a powerful impression, Ella Fitzgerald said to have thought her interpretation of 'My Funny Valentine' the best of which she knew. Nice recommendation.

Dolores Duran   1949

   Body and Soul

      Piano: Jaques Klein

      Not released until 2010

      CD: 'Entre Amigos'

   Eu Sem Você

      'Me Without You'

      Composition/Guitar: Billy Blanco

      Not released until 2010

      CD: 'Entre Amigos'

Dolores Duran   1952

   Bom é Querer Bem


Dolores Duran   1957


      Film: 'Rico Ri à Toa'

Dolores Duran   1957/58

   Cry Me a River

      Not released until 2010

      CD: 'Entre Amigos'

   How High the Moon

      Not released until 2010

      CD: 'Entre Amigos'

Dolores Duran   1958

   Fim de Caso

      'End of the Affair'

   My Funny Valentine

Dolores Duran   1959


   A Noite do Meu Bem


Birth of Modern Jazz: Nora Ney

Nora Ney

Source: Musicaria Brasil

Nora Ney was born Iracema de Sousa Ferreira in 1932 in Rio de Janeiro, Brazil. She is thought to have modeled her stage name, Nora Ney, after Doris Day of the United States. It was Nora May before a fan misspelled her name in a letter as Ney, which she kept. Before bossa nova there was fossa, a comparatively small genre of tropical influence that has long since formally disappeared. Examples of such were Ney's first records for Continental in 1952: 'Menino Grande'/'Quanto Tempo Faz' and 'Amor, Meu Grande Amor'/'Ninguêm Me Ama'. Discogs gives a release date of '51 for the former. 'Ninguêm Me Ama' became the first record to achieve gold status in Brazil. Her relationship with singer and Communist, Jorge Goulart, commenced in 1952. 'De Cigarro em Cigarro' was a big success in 1953. In 1955 Ney recorded a version of Bill Haley's 'Rock Around the Clock' ("Ronda das Horas') which has charting in 1956. "Ronda das Horas' is said to have been the first rock recording in Brazil. Ney had become a great success by that time. Upon releasing the album, 'Mudando de Conversa', in 1958 Ney toured internationally with Goulart. Her marriage (second) to Goulart is said to have led to exile upon the military coup in Brazil in 1964, which government presided until 1985. No details concerning such exile are found beyond Goulart and Ney being banned from Radio Nacional, but Ney and Goulart were working in Brazil in the early seventies. Her popularity waning in that decade, Ney did little recording into the early nineties. Despite not doing overmuch recording, not ten studio albums to her name, what little she did was enough on target to make her one of the biggest names in Brazilian popular music. Ney died in Rio de Janeiro in 2003.

Nora Ney   1952

   Amor, Meu Grande Amor

   Menino Grande

   Ninguém Me Ama

Nora Ney   1953

   De Cigarro em Cigarro

   Luzes da Ribalta

Nora Ney   1955

   Meu Lamento

   Onde Anda Você

Nora Ney   1956

   Ronda das Horas

      'Rock Around the Clock'

      Composition: Bill Haley

Nora Ney   1957

   Bar da Noite


Nora Ney   1958

   Vai, Vai Mesmo

Nora Ney   1972

   Tire Seu Sorriso do Caminho

Nora Ney   1973

   MPB Especial

Nora Ney   1983


      Filmed live with Isaurinha Garcia

Nora Ney   1991


      Baixo: Zero Santos

      Bateria: Adriano Busko

      Piano: Adilson Godoy


  Lalo Schifrin   See Lalo Schifrin.

Birth of Modern Jazz: Enrico Intra

Enrico Intra

Photo: Enrico Intra Esta

Source: Jazz Italia

Born in Milan, Italy, 1935, composer/pianist, Enrico Intra, wasn't (isn't) well-known in the United States. Much of his career was spent organizing music festivals. He also worked for Italian television and composed film scores. Intra's education was classical at the Milan Observatory, but he began his professional career in 1951 by joining the Menestrelli del Jazz with which he remained until 1960. (He may have appeared on that organization's LP: 'Che Sera Sera' in 1957.) And The Conductor Is has Intra recording 'Ebb Tide' in 1954 for the Durium label. Intra's early discography in the fifties is nonexistent so that isn't confirmed. In 1957 he issued the four-track album, 'Trio'. His appearance at the third Sanremo Jazz Festival in 1958 was recorded and issued that year. The next year he opened Intra's Derby Club, a nightclub in Milan presenting avant-garde fare. That would become a hub not only for touring jazz musicians but politicians and crime figures alike until its doors closed in 1985. Discogs has Intra good for above twenty albums as a leader or co-leader. Notable in '94 was 'Nosferatu Live'. Intra's latest per this writing was 'Incipit', a suite of jazz standards issued in 2015.

Enrico Intra   1958

   Lullaby for Trio

      III Festival Del Jazz Sanremo

Enrico Intra   1962


      LP: 'Jazz In Studio'


      LP: 'Jazz In Studio'

Enrico Intra   1964

   Autumn Leaves

      Album: 'Milt Jackson Sings'

Enrico Intra   1968

   No Amor

      LP: 'Jacinta I San Remo'

Enrico Intra   1969

   Baby Love


Enrico Intra   1970


      LP: 'Messa D' Oggi'

  Kirie Eleison

      LP: 'Messa D' Oggi'

Enrico Intra   1975


Enrico Intra   1976

   Fertile Land

      LP: 'Gerry Mulligan meets Enrico'

  Nuova Civiltà

      LP: 'Gerry Mulligan meets Enrico'

  Rio One

      LP: 'Gerry Mulligan meets Enrico'

Enrico Intra   2007

   Live with Franco Cerri

      Filmed live

Enrico Intra   2009

   E se domani

      Filmed live

Enrico Intra   2010


      Filmed live

Enrico Intra   2015

   Love Is Here to Stay

      LP: 'Incipit'

  Tea for Two

      LP: 'Incipit'


Birth of Modern Jazz: Tom Jobim

Tom Jobim

Source: Musiclik

Born in 1927 in Rio de Janeiro, vocalist Antônio Carlos Jobim played both guitar and piano. Together with Joao Gilberto he is largely responsible for the bossa nova that first rode airwaves in the States in 1962 via 'Jazz Samba', an album released by Charlie Byrd and Stan Getz. Known in Brazil as Tom Jobim, he began is career playing piano in nightclubs, then began arranging for a Brazilian record label before pursuing composing, both classical and jazz. He composed the album, 'Sinfonia do Rio de Janeiro', released in 1954. Jobim is thought to have first seen vinyl that year as well, backing singer, Bill Farr, as Tom and His Band. His career began shifting into gear in 1956, composing music for the play, 'Orfeu da Conceição'. Some attribute the conception of bossa nova to the 1958 album, 'Cancao do Amor Demais', by Elizete Cardoso, music for that LP composed by Jobim and Vinicius de Moraes. Others cite Joao Gilberto's 'Bim Bom' of 1959, composed a few years earlier. Yet others like Jobim's 'Chega de Saudade' ['No More Blues'], released with 'Bim Bom' on Gilberto's same album. In 1959 Jobim wrote the score for the film, 'Black Orpheus'. It was the 1964 release of 'Getz/Gilberto', to which Jobim contributed compositions such as 'Desifinado' ('Off Key' or 'Out of Tune' in English) and 'The Girl From Ipanema', which made his name in the States, 'Getz/Gilberto' also winning the 1965 Album of the Year Grammy Award. 1964 had also witnessed the issue of 'Você Ainda Não Ouviu Nada!' with Sérgio Mendes. In 1965 Jobim appeared on 'The Swinger from Rio' with Mendes and Art Farmer as well as Gary McFarland's 'Soft Samba'. 1967 saw the recording 'Francis Albert Sinatra & Antônio Carlos Jobim'. Jobim's last album, 'Antonio Brasileiro', was released two days after his death on December 9, 1994. (He was working on another titled, 'Tom Jobim'.) Per 1956 below, all tracks are from the stage play, 'Orfeu da Conceição'. They're listed only as early compositions by Jobim (librettos by Vinicius de Moraes). It isn't known in what capacity he performed, if at all. Though earlier compositions by Jobim performed by other artists appear at YouTube, nothing is found preceding 1962 on which he definitely appears with flautist, Herbie Mann. Jobim plays both acoustic and electric piano in addition to guitar on a number of titles below.

Antonio Carlos Jobim   1956

 Lamento No Morro

  Eu e Meu Amo (Me and My Love

 Um Nome de Mulher


 Se Todos Fossem Iguais A Você

Antonio Carlos Jobim   1962

 Bolinha de Papel

    With Herbie Mann

     Guitar: João Gilberto   Vocal: Jobim

 Samba De Uma Nota So (One Note Samba)

    Flute: Herbie Mann

     Guitar: Baden Powell   Vocal: Jobim 

Antonio Carlos Jobim   1963

 The Composer Of Desafinado, Plays


Antonio Carlos Jobim   1964

 The Girl From Ipanema

     Filmed live with Andy Williams

Antonio Carlos Jobim   1966


     Vocal: Frank Sinatra

Antonio Carlos Jobim   1967

 Francis Albert Sinatra & Antonio Carlos Jobim



     Filmed live with Frank Sinatra





Antonio Carlos Jobim   1970

 Stone Flower




Antonio Carlos Jobim   1974

 Aguas de Março

     Filmed live with Elis Regina

 Elis & Tom

     Album with Elis Regina

Antonio Carlos Jobim   1980

 Terra Brasilis


Antonio Carlos Jobim   1984

 Montreal Jazz Festival

     Filmed live with Jobim at piano

Antonio Carlos Jobim   1993

 Tribute to Jobim

     Filmed live with Jobim at guitar


Birth of Modern Jazz: Isabel Parra

Isabel Parra

Source: Cancioneros

Born in 1939 in Santiago, Chile, guitarist and singer, Isabel Parra, was daughter of folklorist and guitarist/singer, Violeta Parra, largely responsible for the Nueva Cancion folk movement in Chile during the sixties, its heydays brief during the Presidency of Salvador Allende from '70 to '73, then shut down altogether upon the coup installing General Augusto Pinochet with the title of President. The Parra family produced numerous musicians and visual artists, Isabel's brother, guitarist/singer, Angel Parra, among the better known beyond Isabel herself. Isabel made her first recordings at age fifteen with her mother, Violeta, in 1954 for Odeon: 'La Jardinera'/'Es Imposible'. It was released as by the Parra Sisters, but it is Isabel rather than Violeta's sister, Hilda Parra, on the record. (Las Hermanas Parra, Violeta y Hilda, had made numerous recordings in the early fifties.) Among the more important albums released by Isabel was with her brother, Angel, in 1965, 'La Peña de los Parra' exampling some of the earliest songs of the Nueva Cancion genre. Angel and Isabel went into exile upon the coup d'état of latter '73. She first went to Argentina, then France, returning to Chile once the regime had run its course (fifteen years later at least). She has since toured, releasing numerous albums into the new millennium. Her latest studio LP is thought to be 'Ni toda la tierra entera' per 2006.

Isabel Parra   1954

   La Jardinera

      With Violeta Parra

Isabel Parra   1959

   Cueca del Balance

      Album: 'El folklore de Chile Vol 3"

Isabel Parra   1969

   La Peña De Los Parra Vol 1

      Album with Angel Parra

Isabel Parra   1971

   De Aquí y de Allá


   La peña de los Parra


Isabel Parra   1972

   Canto Para Una Semilla


      With Carmen Bunster & Inti-Illimani

   Del Grupo de Experimentación Sonora


Isabel Parra   1974

   Vientos del pueblo

      Album with Patricio Castillo

   La Nueva Canción Chilena


       With Inti-Illimani & Quilapayún

Isabel Parra   2011

   El Mayor

      Filmed live with Gonzalo Sorich

Isabel Parra   2013


      Filmed concert

      Teatro Municipal de Valparaiso

Isabel Parra   2015

   Moments Concert

      Filmed live with Angel, Angel & Tita Parra


  Ibrahim Ferrer was born at a dance in 1927 in San Luis, Cuba. The death of his mother at age twelve saw him busking the streets. He began singing professionally at private functions the next year in a duet with his cousin. He sang with various groups for a decade of so and was working with Pacho Alonso in Santiago when his 1955 recording of 'El Platanal de Bartolo' ('Bartolo’s Banana Field') saw release. That was with the Orquesta Chepín Chóven. Alonso's group moved with Ferrer to Havana in 1959, starting to call themselves the Bucocos. (The bucoco is a type of carnival drum.) Ferrer was there employed by Beny More as a backup singer, but '59 was also the year of the Revolution that put Castro in office, thus the year that Havana's jumping nightlife came to a halt. Ferrar made numerous recordings in 1960 with pianist, Luis Castell, which can be found on the first ten tracks of the 1999 issue of 'Mi Oriente'. He toured Europe with the Bucocos in 1962. Being the year of the Cuban Missile Crisis that October, the band had trouble getting back to Cuba, after which the musical life largely evaporated. Ferrer continued with the Bucocos but spent the next few decades selling lottery tickets and shining shoes to sustain. In 1973 he and the Bucocos were featured on an album by various artists titled 'Selección Cubana'. Nine years later ('82) the album, 'Salsón', was released with the Bucocos. Ferrer's was the story of one of those musicians who had been around for decades until recognition beyond insiders came along. Such occurred for Ferrer in 1997. His appearance on 'A Toda Cuba le Gusta' by the Afro-Cuban All Stars was recorded at the same March sessions as 'Buena Vista Social Club' with guitarist, Ry Cooder, both albums issued in 1997. Ferrer appeared on only one track of the former and four on the latter, but that stirred the pot. The Bucocos issued the LP, 'Tierra Caliente', in 1998. But it was the 1999 issue of 'Buena Vista Social Club Presents: Ibrahim Ferrer', which permitted Ferrer to stop shining shoes, he thereafter issuing one or two albums per year until his death in Havana in August 2005. Though not a major musician, the freeze in Cuba upon Castro assuming power wasn't of great assistance. Ferrer's comeback in his seventh decade and great popularity thereafter was nevertheless remarkable. Ferrer also something illustrates the struggle of Latin music versus the Latin military regime nigh everywhere but Mexico during the 20th century. (The Mexican Revolution circa 1910 to 1920 saw the disappearance of such as generals, Porfirio Diaz and Victoriano Huerta, and the installation of Venustiano Carranza by election in 1917. Albeit Mexico hadn't staged a legitimate election until 1994, Ernesto Zedillo to assume office.) 'A Toda Cuba le Gusta' by the Afro-Cuban All Stars had been nominated for a Grammy. 'Buena Vista Social Club' won one. Ferrar was 72 when he won the Latin Grammy for Best New Artist in 2000. He won a Grammy in 2004 but complications prevented him from obtaining a visa to enter the States to receive it. His last studio LP was his collection of boleros on 'Mi Sueño', issued posthumously in 2006.

Ibrahim Ferrer   1960

   El Platanal de Bartolo

      Chepin y su Orquesta Oriental

Ibrahim Ferrer   1998

  Dos Gardenias

      Filmed live

Ibrahim Ferrer   1999

  Buena Vista Social Club Presents



      With Omara Portuondo

Ibrahim Ferrer   2001


      Filmed live

Ibrahim Ferrer   2003

  Buenos Hermanos


Ibrahim Ferrer   2004


      Filmed live in Amsterdam

Ibrahim Ferrer   2005


      Filmed live at Festival de Montreux

  Quiéreme Mucho

      Filmed live at North Sea Jazz Festival


Birth of Modern Jazz: Ibrahim Ferrer

Ibrahim Ferrer

Source: Numerocero

Birth of Modern Jazz: Sylvia Telles

Sylvia Telles

Source: Kboing
Sylvia Telles was born in 1934/35 in Rio de Janeiro. Also known as Sylvinha, it was 1954 when bossa nova composer, guitarist and vocalist, Billy Blanco, became her first mentor in the radio industry. Garoto was instrumental to her early nightclub career. She formed a brief relationship with Joao Gilberto about that time. The next year she released 'Amendoim Torradinho' with 'Desejo' on 78 for Odeon, as well as 'Menina' with 'Foi a Noite'. 'Carícia' was her first album on 10" in 1957, also for Odeon. Telles' first tour to America was in 1961, resulting in the album, 'U.S.A.'. Sometime after her appearance 'O Remédio é Bossa' at the Paramount Theater in São Paulo in October of '64 she was involved in an auto accident that required multiple hospital visits until her tour of Europe in 1966 with Edu Lobo. Upon her return to Rio de Janeiro she formed a relationship with Horacio de Carvalho, a newspaper publisher. She was in the car in December 1966 when de Carvalho is said to have fallen asleep at the wheel, killing them both.

Sylvia Telles   1955

   Amendoim Torradinho (Torradinho Peanuts)

   Desejo (Desire)

Sylvia Telles   1957

   Carícia (Caress)

      Album 10"

Sylvia Telles   1958



Sylvia Telles   1960

   Amor em Hi-Fi


Sylvia Telles   1961

   Estrada do Sol

      Album: 'U.S.A.'

Sylvia Telles   1962

   Demais (Other)

      Film: 'Assassinato em Copacabana'

Sylvia Telles   1966

   One Note Samba

      Filmed live in Germany


  Gato Barbieri   See Gato Barbieri.

  Maysa Matarazzo, generally known as simply Maysa, was born in São Paulo or Rio de Janeiro in June 1936. Composing at age twelve, Matarazzo was a bossa nova vocalist who also delivered the Brazilian variety of torch song (see Helen Morgan), the fossa, a niche genre predating the bossa nova. She marred into wealth at age eighteen, one André Matarazzo Filho who was a descendant of Count Francesco Matarazzo. Matarazzo was pregnant and singing advertising jingles when opportunity arose to record her first album. Waiting until her son, Jayme, was born, she then recorded 'Convite para Ouvir Maysa' ('Invitation to Listen to Maysa') for issue in 1956. Three more volumes of that title would appear in the fifties. There were problems, however, with Matarazzo's marriage, such as her husband not wishing her to pursue a career in music, which saw divorce in 1956 as well. She thereafter went through a string a lovers, including producer, Ronaldo Bôscoli, which didn't assist her relationship with Nara Leão a lot, to whom Bôscoli was engaged when Matarazzo came along. A little less securely on her own, 1957 was a big year for Matarazzo, making her debut appearances on television, working at the Oásis and Cave nightclubs in Rio de Janeiro and releasing her second album, 'Maysa'. Four more LPs with that elegant title would follow in the sixties and seventies. After a European tour in the sixties Matarazzo moved to Spain to live with her second husband, producer, Miguel Anzana. Returning to Brazil in 1969, Matarazzo performed variously in Rio de Janeiro and Sau Paulo, dipped into cinema again, then took roles in soap operas, also composing for such. Her career was swinging when she suddenly died in January 1977 in an auto accident on the Rio-Niterói Bridge. Per 1956 below, tracks are from Maya's debut album, 'Convite para Ouvir Maysa'.

Maysa   1956

   Adeus (Bye)

   Agonia (Agony)

   Resposta (Answer)

Maysa   1957



Maysa   1958

   Meu Mundo Caiu (My World Fell)


   Ouça (Listen)


Maysa   1966

   Ne Me Quitte Pas (Do Not Leave Me)


Maysa   1970

   Ando Só Numa Multidão de Amores

      'Ando Only Loves a Crowd'


Maysa   1972

   Palavras, Palavras (Words, Words)

      Com Raul Cortez

Maysa   1975

   Maysa: Studies

      Television broadcast


Birth of Modern Jazz: Maysa Matarazzo

Maysa Matarazzo

Source: Radio Nacional FM
  Tete Montoliu was born blind in Barcelona, Spain, in 1933. He finds his way onto this page more by virtue of location than music, as he introduced little more Latin to jazz than himself. But his talent brought him an important role as host to American musicians on tour to Europe, drawing them south of the Pyranees. Beyond his earliest years in the music profession in the fifties Montoliu picked up American jazz so proficiently as to become a magnet for American performers, thereat including Catalonia on their itineraries. Montoliu studied piano as a child, later at the Conservatori Superior de Música de Barcelona. His first recordings took place in Netherlands in 1954, though those tracks weren't released by Philips on a 7" EP until 1958: 'Píntame De Colores Pa Que Me Llamen Superman' and 'No, No y No'. He recorded several more tracks in Barcelona in May of '55 with Lorenzo González which went unreleased until 2006. It isn't known if he awoke with a hangover on January 1st of 1956, but he was ready to step out of the box with all directions aimed when he released eight titles on four 78s that day: '¡Qué Cosas..., Qué Cosas!'/'No Me Hagas Cosquillitas', 'Ayer No Viniste'/'Playa Escondida', 'Cha Cha Chá Chabela'/'Eso Es El Amor' and 'La Mujer Vespa'/'Chocolate O Café'. He was working bars in Barcelona three months later when all that thrust shot him into a whole new universe unforeseen upon Lionel Hampton coming to town and hiring him to join his tour of Europe that March. Latin rhythms got left behind as Montoliu focused on the North American sound. Among other musicians significant to Montoliu's career were Dexter Gordon and Ben Webster. Montoliu issued well over fifty albums as a leader while backing all number of other name musicians. Though his career included plenty of gigs and recording dates in other parts of Europe he was content to keep to Barcelona, making that city a requisite destination for American jazz musicians. Montoliu died in Barcelona in 1997.

Tete Montoliu   1956

   Ayer No Viniste

   Eso Es El Amor

   No Me Hagas Cosquillitas

Tete Montoliu   1958

   No, No y No

      Recorded in Netherlands 1954

Tete Montoliu   1962

   A Cabin in the Sky

      Filmed live

Tete Montoliu   1963

   Short Story

      Trumpet: Kenny Dorham

Tete Montoliu   1964


      Filmed live with Dexter Gordon

Tete Montoliu   1973


      Album: 'Temas Latinoamericanos'

Tete Montoliu   1974

   Giant Steps

      Album: 'Tete!'



      Acoustic piano: Jordi Sabates

      Electric piano: Tete Montoliu

Tete Montoliu   1981

   Lover Man

      Filmed live with Sonny Stitt


      Filmed live with Sonny Stitt

Tete Montoliu   1995

   Monk Medley


Birth of Modern Jazz: Tete Montoliu

Tete Montoliu

Source: All Music
  Born Antonio Candeia Son in 1936 in Lagoa da Canoa, Alagoas, Brazilian arranger, composer and multi-instrumentalist, Hermeto Pascoal, played accordion as a youth as well as on what are thought to be his first recordings in 1956, 'Tim Tim por Tim Tim' and 'Adeus, Maria Fulo' on the album, 'Hallucinating Rhythms', by Ritmos Alucinantes. He also played accordion on 'Batucando no Morro' ('Beating at the Mount') in 1958, an LP by tambourine player, Pernambuco do Pandeiro, issued in 1960. Pascoal had begun his career in radio in 1950 in Recife. During his early radio days he also played in a trio with his older brother, José Neto, called O Mundo Pegando Fogo (The World On Fire). By the time he moved to Sao Paulo in 1958 he was performing on piano as well. He there made the instruments he played a group by adding flute. Pascoal played flute and piano on the next albums on which he appeared: 'Roteiro Noturno' ('Nocturnal Route') in 1964 by Mauricy Moura, 'Conjunto Som 4' ('Sound Set 4') in 1964 and 'Em Som Maior' ('In Greater Sound') by the Sambrasa Trio in 1965. In 1967 he surfaced on 'Quarteto Novo' with percussionist, Airto Moreira. In 1969 Pascoal played flute on 'Brasilian Octopus' before joining Moreira and Flora Purim in the United States, they preceding him in 1967. Moreira and Purim were married by then, Pascoal as well since his radio days, to have six sons by Ilza da Silva. Pascoal contributed to 'The Real Bobby Mackay' before releasing a couple LPs with Moreira: 'Natural Feelings' in 1970 and 'Seeds on the Ground' in 1971. He also recorded with Donald Byrd, Duke Pearson, Miles Davis and Edu Lobo during that period ('70 to '71), respectively: 'Electric Byrd', 'It Could Only Happen with You', 'Live-Evil' and 'Cantiga de Longe'. Pascoal issued his first name album in the United States in 1972: 'Hermeto'. He was back in Brazil, however, to record 'Música Vivre de Hermeto Pascoal' in 1973, his first name LP in his homeland. Pascoal returned to the US in 1976 to work again with Moreira and Purim. The latter seventies saw him back in Sau Paulo as well as touring internationally to Switzerland and Tokyo. He has since been hugely popular in Brazil, releasing over twenty albums as a leader and contributing to the more by other of Brazil's finer musicians. In 2013 Pascoal released 'The Monash Sessions'. Living in Curitiba, Paraná, with present wife, singer, Aline Morena, Pascoal is yet active performing with various ensembles, including solo and symphony. Per 1958 below, tracks are from the LP by Pernambuco do Pandeiro, 'Batucando no Morro' ('Beating at the Mount').

Hermeto Pascoal   1958


   Homenagem à Velha Guarda

Hermeto Pascoal   1965

   Em Som Maior

       LP by the Sambrasa Trio

Hermeto Pascoal   1969

   Brazilian Octopus

       LP by Brazilian Octopus

Hermeto Pascoal   1970

   Cantiga de Longe

       LP by Edu Lobo

       Percussion: Airto Moreira

   Little Church

       Miles Davis LP: 'Live-Evil'


       Airto Moreira LP: 'Natural Feelings'

       Vocal: Flora Purim

Hermeto Pascoal   1972



Hermeto Pascoal   1973

   A Música Livre de Hermeto Pascoal


Hermeto Pascoal   1977

   Slaves Mass


Hermeto Pascoal   1977

   Live in Montreux

       Filmed live



Hermeto Pascoal   1980

   Cérebro Magnético


Hermeto Pascoal   1982

   Hermeto Pascoal & Grupo


Hermeto Pascoal   1990

   Programa Ensaio


Hermeto Pascoal   1992

   Festa dos Deuses


Hermeto Pascoal   2004

   Live in London

Hermeto Pascoal   2011

   Ilzinha ou Maracatú

       Filmed live


Birth of Modern Jazz: Hermeto Pascoal

Hermeto Pascoal

Photo: Divulgação

Source: Night Flight
  Born Antonio Candeia Son in 1935 in Rio de Janeiro, Brazil, samba singer, Candeia (Candle) grew up in the environment of one of the largest samba schools, the Portela. Elemental to much Latin recording in Brazil, samba schools are what populate the Carnival parade in Rio de Janeiro each year, currently about 200 of them, each with their own float competing for various honors. Some are huge with wings in themselves, and can have over three thousand performers during the Carnival parade. The Portela was founded the year of Candeia's birth from a school six years older, and named the Vai Como Pode (Come as You Can or Go as You Will) in 1931. The name, Vai Como Pode, had been pronounced inappropriate by the newly formed Carnival association, the Delegation of Customs and Entertainment, thus Portela. Howsoever, Candeia began composing at age thirteen. In 1953 his samba, 'Six Magnas Dates', written with Altair Marino, was a portion of Portela's victory in all categories at Carnival that year. In 1957 the samba composed by Candeia, Waldir 59 and Picolino Portela won Carnival, 'Legacy of King John VI'. That was the year Candeia appeared on the LP: 'A Vitoriosa Escola de Samba da Portela' with Casquinha, Monarco and Manacéia. Meanwhile needing an income, Candeia became a cop at age 22 ('57). In the early sixties Candeia formed the Messengers (of) Samba with Cone and Picolino Portela, releasing the album, 'Messengers Samba', in 1964. Accounts differ, but apparently Candeia had a power problem as a cop who met all the best people (can't win either way). One account has him leaving a party obfuscated in December of 1965 to crash into a fish truck, discover his fender bent, angrily unload his gun at the vehicle's tires, and become a wee startled when an Italian in the back of the truck returned five shots. Candeia "shot down" the other man (to what fate unknown) but took five bullets, one which hit bone, paralyzing him waist down. Such the tragedy couldn't but have had a large influence on his composing, particularly as he was confined to a wheelchair the remainder of what would be a short life. Candeia released his first album, 'Candle' ('Lamp') in 1970 and would issue five more: 'Samba da Antiga', 'Root', 'Samba de Roda', 'Light of Inspiration' and 'Axe - Good People Do Samba' (the last posthumously by a matter of days). In 1978 he published a history of samba schools titled, 'Samba School: The Tree that Forgot the Root', before dying of kidney infection in November that year. Per 1957 below, all tracks are from the 1957 album, 'A Vitoriosa Escola de Samba da Portela'. None were composed by Candeia. Nor can we vouch that he performs at all on any of them, he sharing vocals on that LP with Casquinha, Monarco and Manacéia.

Candeia (?)   1957


   Despertar de um Gigante

   O Lenco

   Vem Amor

Messengers (of) Samba   1964

   Foi Ela

       Album: 'Messengers Samba'

Candeia   1970

   Samba da Antiga


Candeia   1971

   Raiz (Root)


Candeia   1975

   Samba de Roda


Candeia   1977

   Luz da Inspiração


Candeia   1978

   Axe - Good People Do Samba



Birth of Modern Jazz: Candeia


Source: Grupo Portelamor
Birth of Modern Jazz: Alaide Costa

Alaide Costa

Source: Carta Capital
Born in Brazil in 1935, vocalist, Alaíde Costa, began singing on radio at age thirteen. She graduated to stage in the early fifties. 'Tarde Demais' for the Odeon label was her first single release in 1957, followed by 'Conselhos' and 'Domingo de Amor' the same year. Costa's first LP was for RCA Victor in 1959: 'Gosta de Voce', followed by 'Alaide Canta Suavemente' in 1960. She composed the music for 'Afinal' released in 1963. Having recorded less than twenty albums over the years, her latest was in 2014: 'Alaide Songs'.

Alaíde Costa   1957

   Tarde Demais


Alaíde Costa   1965

   Alaíde Costa


Alaíde Costa   1969

   Ilusão à Toa

      Filmed live with Johnny Alf

Alaíde Costa   1973

   Alaíde Costa e Oscar Castro Neves


Alaíde Costa   1976


      Album: 'Coracao' ('Heart')

Alaíde Costa   1992

   Program Ensaio

Alaíde Costa   1998


      Television broadcast

Alaíde Costa   2001


      LP: 'Rasguei a Minha Fantasia'

Alaíde Costa   2005

   Estranha Saudade

      Filmed live

Alaíde Costa   2006

   Chega de Saudade

      Filmed live in London

Alaíde Costa   2013


      Filmed live with Adyel Silva

   Live in São Paulo

      Filmed live with Ary Barrosa

   Onde Está Você

      Television broadcast


  Born José Luis Feliciano Vega in Ponce, Puerto Rico, in 1935, popular and salsa singer Cheo Feliciano attended the Escuela Libre de Música Juan Morel Campos in Ponce, where he studied percussion upon graduation from primary school. In 1952 he moved to Spanish Harlem in NYC where his debut employment as a musician was with the Ciro Rimac's Review band, playing percussion. He soon moved onward to Tito Rodriguez, then played conga with Luiz Cruz. In 1955 he joined the Joe Cuba Sextet with which he remained the next decade. His debut recording was 'Perfidia', with Joe Cuba, in October 1957 (unfound). (Cuba's first release, 'To Be With You', wasn't until 1962, putting him just a touch beyond the scope of this page.) In 1967 Feliciano joined the Eddie Palmieri Orchestra, before issuing his first solo recordings in 1970 on the album, 'Cheo'. He also began recording boleros in the seventies. Feliciano founded Coche Records in 1982. During the nineties he toured internationally, which he continued to the year of his death. Not old age, but accident, killed Feliciano in April of 2014, colliding into a lamppost on the highway in San Juan, Puerto Rico.

Cheo Feliciano   1962


      With Joe Cuba

   A las Seis

      With Joe Cuba

   Salsa y Bembe

      With Joe Cuba

Cheo Feliciano   1971


Cheo Feliciano   1974

   El Raton

Cheo Feliciano   1981

   Ritmo Alegre

      With Eddie Palmieri

Cheo Feliciano   1984

   La Belleza de Mi Negra Musica




Cheo Feliciano   1993

   Experto en Ti

Cheo Feliciano   2012


      Filmed live


Birth of Modern Jazz: Cheo Feliciano

Cheo Feliciano

Source: Peter Jackknife

  Born in 1930 in Havana, Cuba, colorful Omara Portuondo was daughter to a professional baseball player. At age twenty she signed up to dance at the famous Cabaret Tropicana where her elder sister, Haydee, had preceded her. Her early years were spent dancing and singing both solo and with her sister at various clubs and theatres. In 1950 Portuondo joined the Cuarteto D'Aida with her sister, Elena Burke and Moraima Secada to release 'An Evening at the Sans Souci' for RCA Victor in 1957. Director was pianist, Aida Diestro. The group had toured to great popularity in the States and had attracted Nat King Cole to the Tropicana. Those were yet golden years in Havana and the exchange with musicians in NYC was having major effect in jazz in the States. That would change with Castro's boot to Batista in 1959, the year Portuando issued her solo LP, 'Magia Negra'. Haydee left the quartet in 1961, heading to the States. Omara stayed with the group until 1967 when she traveled to Poland, venturing upon a solo career. She then embarked upon a life of touring while releasing a good number of albums, as well as appearing in film and on television. In 2004 Portuondo became International Ambassador for the International Red Cross. She yet actively performs in clubs in Havana where she resides. Per 1957 below, all tracks are from the LP, 'An Evening at the Sans Souci'.

Cuarteto D'Aida   1957


  Cuanto Me Alegro

  Las Mulatas del Cha Cha Chá

  Nocturno Antillano

  No Se Que Voy Hacer


  Tabaco Verde

  Totiri Mundachi

  Ya No Me Quieres

Omara Portuondo   1959

   Besame Mucho

      Album: 'Magia Negra'


      Album: 'Magia Negra'

Omara Portuondo   1999

   Veinte Años

      Heineken Concert

      Filmed live with Compay Segundo

Omara Portuondo   2008

   Live in Montreal

      Filmed concert

Omara Portuondo   2012

   Live in Belgrade

      Filmed concert

Omara Portuondo   2015


      Filmed llve


Birth of Modern Jazz: Omara Portuondo

Omara Portuondo

Source: 섬 머리안

  Ray Barretto   See Ray Barretto.

Birth of Modern Jazz: Roberto Menescal

Roberto Menescal

Source: Rolling Stone

Among the major players in early bossa nova was composer/guitarist, Roberto Menescal, born in 1937 in Vitória, Brazil. He began his professional career backing Sylvia Telles on tour about Brazil in 1957. He and Carlos Lyra began teaching guitar in 1958 in Rio de Janeiro, one his students, Nara Leão. In 1958 he formed the jazz-samba group (bossa nova), Conjunto Roberto Menescal, among the earliest in Brazil. That group recorded an EP of four tracks that year, titled 'Bossa é Bossa', for issue the next year. Menescal was with Lyra and Telles at the Clube Hebraica nightclub in Rio giving a show inadvertently advertised as "bossa nova" by a club secretary, citing 1958 the year "bossa nova" came to be. 'Jura de Pombo' was Menescal's first composition to be recorded, that by Alaíde Costa. He toured heavily during the explosion of bossa nova in the early sixties, performing at Carnegie Hall in 1962 with Lyra and Tom Jobim. He worked as an arranger for PolyGram in the mid sixties, also beginning to work as an independent producer, before backing Elis Regina from '68 to 1970. Menescal did session work in the coming years with numerous performers while producing yet others, also working on soundtracks for film and soap operas. After an international tour with Leão in 1985 he concentrated less on producing, the more on his own solo career. Menescal yet actively performs as of this writing. The greater majority of works to be found in the list below were composed by Menescal. For example, per 1962, all tracks on 'Balacamba' were written by Menescal with Ronaldo Boscoli.

Roberto Menescal   1962


       Album: 'Bossa Nova at Carnegie Hall'

Roberto Menescal   1963


       Album by Lúcio Alves

   A Bossa Nova


Roberto Menescal   1964


       With Paul Winter

Roberto Menescal   1966

   Surf Board

Roberto Menescal   1985

   Tristeza de Nós Dois

       Album: 'Um cantinho, um Violão'

       Vocals: Nara Leão

Roberto Menescal   1992


       Album: 'Ditos & Feitos'

Roberto Menescal   2001

   Bossa Entre Amigos

       Filmed concert

       With Wanda Sa & Marcos Valle

Roberto Menescal   2006

   Corazón Partío

       Vocal: Cris Delanno

Roberto Menescal   2011


       Filmed live

       With Cris Delanno & Andy Summers

   Samba do Avião

       Filmed live

       With Cris Delanno & Andy Summers


  Elemental to any history of bossa nova is composer and guitarist, Carlos Lyra, born in 1939 in Rio de Janeiro, Brazil. His initial composition to be recorded was 'Menina' by Sylvia Telles in 1954. Lyra was performing with Telles and Roberto Menescal at the Clube Hebraica nightclub in Rio when a club secretary inadvertently billed the show as "bossa nova", making 1958 the year "bossa nova" came to be insofar as the use of the term. Lyricist, Ronaldo Bôscoli, and he enjoyed a greatly productive partnership in the latter fifties. In 1959 Joao Gilberto recorded three of Lyra's compositions for release on the album, 'Chega de Saudade'. Some would cite that as the first bossa nova album. Lyra wasn't present at the session though. He was recording his own first album at the time, 'Bossa Nova', its release delayed until May 1960. Lyra found an important comrade in Vinicius de Moraes in the early sixties, they pairing up on numerous compositions. Beginning to compose for film and theatre in the early sixties as well, Lyra also performed at Carnegie Hall in 1962. He was at the Newport Jazz Festival in Rhode Island in 1964 with saxophonist, Stan Getz. One wouldn't have seen Lyra in a ball cap or t-shirt promoting some corporation, as it was around that time that he refused to advertise Mentex chewing gum for free. 1964 was the year of the coup d'état in Brazil in March and April, behooving Lyra to move to Mexico. He was back in Brazil five years later, He recorded 'Herói de Medo' ('Fear's Hero') in 1974, but as it was censored by the junta he moved to Los Angeles for a couple of years. He there studied astrology and partook in primal scream therapy. Returning to Brazil permanently in 1976, Lyra has since composed and recorded on multiple occasions, but has focused more on performing, which he does to this day. Per 2012 below, personnel on all live edits are: Ricardo Costa (bateria), Adriano Giffoni (baixo), Reginaldo Vargas (percussão), Fernando Merlino (piano), Dirceu Leite(sax/flauta/clarinete) and Vander Nascimento (trompete/flugel).

Carlos Lyra   1960

   Bossa Nova


Carlos Lyra   1963

   Depois do Carnaval


Carlos Lyra   1964

   Lobo Bobo (Big Bad Wolf)

       Alto sax: Paul Winter

   Maria Moita

       Album: 'Pobre Menina Rica'

       With Dulce Nunes

Carlos Lyra   1970

   Samba de la Bendiction

       Album: 'Sarava'

Carlos Lyra   1991

   Programa Ensaio (Test Program)

       Filmed live

Carlos Lyra   2012



   E Era Copacabana

   Feio Não é Bonito

   Influência do Jazz

   Minha Namorada




Birth of Modern Jazz: Carlos Lyra

Carlos Lyra

Source: Vera Barbosa

Birth of Modern Jazz: Manitas de Plata

Manitas de Plata

Source: Carlos Bonell

Born Ricardo Baliardo in 1921 in a gypsy caravan in Sète, France, Manitas de Plata, grew up a world away from jazz, but he examples the enormous popularity of Latin flamenco during the seventies and thereafter. He drew attention as he played guitar each year during the gypsy pilgrimage to the shrine of Saintes-Maries-de-la-Mer in Camargue, France. It was there that he was recorded by Deben Bhattacharya, to turn up on an album by various artists released by Disques Vogue in 1960: 'Pelerinage Gitan aux Saintes Maries de la Mer'. An interesting story of de Plata's next recordings with flamenco singer, Jose Reyes, in 1961 is told by Vincent Sheean. Unless they were rerecorded a few of those tracks ('Seguiriyas', 'Saeta' and 'Fandangos') ended up on de Plata's debut album in 1963: 'Juerga!'. De Plata first visited the United States in 1965 to play at Carnegie Hall, but his name was little recognized until 'Juerga!'s reissue there in 1967. His then became a life of touring the globe, giving 150 concerts a year during his heydays in the seventies. De Plata recorded over eighty flamenco albums that made him a multi-millionaire, selling some 93 million. He didn't die broke but he spent most of it living rich, drawn to casinos and expensive automobiles. Between de Plata and Reyes the Gipsy Kings would later be formed in the seventies, consisting of de Plata's three sons (Tonino, Jacques and Maurice) with Reyes' five (Nicolas, André, Canut, Paul and Patchaï). Having played at London's Royal Albert Hall eleven times, de Plata died November 2014 in Montpellier, France.

Manitas de Plata   1965

   Alegrías Clásicas

       Album: 'Flamenco Guitar'

   Malaguenas Flamencas

       Album: 'Flamenco Guitar'


       Album: 'Flamenco Guitar'

Manitas de Plata   1967


       Album: 'Flamenco Magic'

   Private Concert

       Filmed live

      With Salvador Dali & Jose Reyes

Manitas de Plata   1968

   Live with Brigitte Bardot

       Filmed live

   Live in Saintes Maries de la Mer

       Filmed live

   Rumba D'Espana

       Album: 'The Art of the Guitar'

Manitas de Plata   1975

   Gitarren Festival

       Filmed concert

Manitas de Plata   1986

   Live in Camargue

       Filmed concert

Manitas de Plata   1988




Birth of Modern Jazz: Baden Powell

Baden Powell

Source: G2E

Born in 1937 in Rio de Janeiro, Brazil, guitarist, Roberto Baden Powell de Aquino, was named after Scouting founder, Robert Baden-Powell. (The Scouting movement - Cub Scouts, Boy Scouts, Girl Scouts, etc. -  had been founded in the first decade of the 20th century.) Presumably well-prepared, Powell was also a child virtuoso playing professionally at age fifteen. Though he was familiar with North American jazz the greater influence was the music of his own culture in Brazil, such as choro. By the mid fifties he was playing Brazilian jazz in hotels, believed to have recorded for the first time in 1959 for the Philips label in Brazil (630 415 L) on the album, 'Monteiro de Souza e Sua Orquestra Apresentando Baden Powell e Seu Violão'. Sources variously give '59 or '61 for its release date, we choosing to err on the side of caution with '61. In 1960 Powell issued 'Samba Triste', music composed by himself with lyrics by Billy Blanco, with vocalist, Lúcio Alves. The LP, 'Um Violão Na Madrugada', saw record shelves in 1961. Collaborations with lyricist and writer, Vinicius de Moraes, began in 1962. In 1963 Powell recorded tracks for 'A Vontade' released in 1969. In 1966 he and Moraes recorded 'Os Afro-Sambas' for issue that year. By the end of 1966 Powell had recorded ten albums per his first seven years as a recording artist, not counting a couple with Herbie Mann in 1963: 'Do the Bossa Nova with Herbie Mann' and 'Latin Fever'. In 1968 Powell left Brazil for France until his return in the nineties. He died of pneumonia in September 2000 in Rio de Janeiro, having released well above fifty LPs. Per 1961 below, 'Na baixa do sapateiro' is from the album, 'Monteiro de Souza e Sua Orquestra Apresentando Baden Powell e Seu Violão'. Per 1977, the full title of the album is 'Canta Vinícius de Moraes e Paolo César Pinheiro'.

Baden Powell   1960

   Samba Triste

       Vocal: Lúcio Alves

Baden Powell   1961

   Na baixa do sapateiro

   Preludio ao Coraçao

       Album: 'Um Violão Na Madrugada'

Baden Powell   1963

   Deve Ser Amor

       Album: 'Baden Powell Swings with Jimmy Pratt'

   A Vondade


Baden Powell   1965

   Billy Nencioli - Baden Powell


Baden Powell   1966

   Os Afro-Sambas


   Tempo Feliz


   Tristeza On Guitar


Baden Powell   1968

   Poema on Guitar


Baden Powell   1971

   Jazz Samba

       Filmed live

Baden Powell   1974

   Grandezza on Guitar


Baden Powell   1977




Birth of Modern Jazz: Nana Caymmi

Nana Caymmi

Source: Arte 40

Born Dinahir Tostes Caymmi in 1941 in Rio de Janeiro, Brazilian popular vocalist, Nana Caymmi, was daughter to Dorival Caymmi. In 1959 she married a doctor who took her to Venezuela until divorce in '66 found her back in Brasil. Caymi had surfaced on vinyl for the first time in 1961 on her father's album for Odeon, 'Acalanto'. In 1964 she appeared on Dorival's 'Caymmi Visita Tom'. Caymmi released three LPs titled 'Nana' during her career, the first in 1965 for the Elenco label. Two more with that title were issued in '77 and '85. Once living in Brazil again she became a part of the Tropicalia movement. In 1967 Caymmi married U.S. pianist, Gil Evans, for a year. She released her first album called, 'Nana Caymmi' in 1973, two more with that title to follow in '75 and '79. The early decades of Caymmi's career were livable, but she didn't score a gold album (100,000 copies) until 'Bolero' in 1993, the first of several. She was named Best Female Singer by the APCA (Associação Paulista de Críticos de Arte) in '95 and '98. Having released well above twenty albums, Caymmi's latest was in 2013: 'Caymmi'. Caymmi is yet active as of this writing.

Nana Caymmi   1961


       Dorival Caymmi LP: 'Acalanto'

Nana Caymmi   1964

   Sem Você

       LP with Dorival Caymmi:

       'Caymmi Visita Tom'

Nana Caymmi   1965

   Derradeira Primavera

       Album: 'Nana'

Nana Caymmi   1975

   Nana Caymmi


Nana Caymmi   1976



Nana Caymmi   1977



Nana Caymmi   1979

   Nana Caymmi


Nana Caymmi   1981

   E a gente nem deu nome


Nana Caymmi   1987

   Voz e Suor

       Album   Recorded 1983

       Piano: Cesar Camargo Mariano

Nana Caymmi   2011

   Aparecida Especial

       Television boradcast

Nana Caymmi   2013

   Live in Sao Paulo

       Filmed live

       With Danilo e Dori Caymmi


Birth of Modern Jazz: Paco de Lucia

Paco de Lucia

Source: Quora

Born Francisco Gustavo Sánchez Gomez in 1947 in Algeciras, Andalucía, Spanish flamenco guitarist, Paco de Lucía, was groomed by his father to be a professional guitarist in the fashion of Niño Ricardo (not in this history due a large absence of recordings at YouTube). Howsoever, de Lucia's connections with jazz would result in what is called nuevo flamenco, unbound from tradition. Beginning at age five, it's said de Lucia was made to practice not one, but twelve hours, each day. De Lucia's debut issues were in 1961 (age fourteen), releasing three 7" volumes titled 'Los Chiquitos De Algeciras' ('The Kids of Algeciras') as Paquito Sánchez with his brother, Pepito Sánchez. He toured with flamenco dancer, Jose Greco, until arriving in the States in 1963. De Lucia released his first album, 'Dos Guitarras Flamencas', in 1964 with guitarist, Ricardo Modrego. His next was issued the following year, which pace of production de Lucia largely kept into the eighties as he toured internationally. Among his first albums with his brother, Ramón de Algeciras, was 'Canciones Andaluzas Para 2 Guitarras', released in 1967. While touring in Europe with the group, Festival Flamenco Gitano, de Lucia met singer, de la Isla, in 1968, recording ten albums with him into the latter seventies. De Lucia made his first television appearance in 1976 with the BBC, performing on 'Parkinson'. It was 1979 when de Lucia formed the Guitar Trio with Al Di Meola and John McLaughlin, to dissolve in '83 though a reunion album, 'The Guitar Trio', was later released in 1996. In 1981 he formed the Paco de Lucía Sextet with brothers, Pepe and Ramón, three albums resulting from that ensemble. De Lucia first performed in the Soviet Union in 1987. He released more than 35 albums as a leader or collaborator, also appearing on a host of recordings as a sideman. He appeared on several albums with both Fosforito and Tomatito. Into the new millennium de Lucia took flamenco to places such as Croatia, Turkey, Morocco and Tunisia. Prior to that he had been the recipient of two honorary doctorates, one from the University of Cadiz in 2007, another from the Berklee College of Music in Boston in 2010. De Lucía died of heart attack in February 2014 while vacationing with his family in Mexico. He was buried in Algeciras, Andalusia.

Paquito Sanchez   1961

   Canton por Solea

       Album: 'Los Chiquitos De Algeciras Vol 2'

       Vocal: Pepito Sánchez

   Tientos de Cádiz

       Album: 'Los Chiquitos De Algeciras Vol 3'

       Vocal: Pepito Sánchez

Paco de Lucía   1964

   Dos Guitarras Flamencas

       Album with Ricardo Modrego

Paco de Lucía   1967

   La Fabulosa Guitarra de Paco de Lucía


Paco de Lucía   1973

   Fuente y Caudal


Paco de Lucía   1976



   Entre Dos Aguas

       Filmed live

Paco de Lucía   1978


       Filmed live

Paco de Lucía   1981

   Alegria/Entre Dos Aguas

       Belgian television with Ramon de Algeciras

   Guardian Angel

       The Guitar Trio

      With Al Di Meola & John McLaughlin

Paco de Lucía   1991

   Concierto de Aranjuez

       Filmed live

Paco de Lucía   1996

   Mediterranean Sun Dance

       The Guitar Trio Reunion

      With Al Di Meola & John McLaughlin

Paco de Lucía   2004

   Cositas Buenas (Tangos)

       Filmed live


       Filmed live


Birth of Modern Jazz: Sergio Mendes

Sergio Mendes

Source: Latino Life

Born in 1941 in Rio de Janeiro, Brazil, composer and pianist, Sérgio Mendes, had a doctor for a father. He attended conservatory for a time with intentions of becoming a classical pianist. But the jazz, samba and new form that was the twain, bossa nova, that were being played in nightclubs owned the greater gravity. He performed at that time with Tom Jobim, a mentor to him, as well as with US musicians brought to the major hub of bossa nova that Rio de Janeiro was. He formed the Sexteto Bossa Rio to record the instrumental LP, 'Dance Moderno', in 1961. He then joined Herbie Mann for a concert in Rio de Janeiro on October 16, 1962 for 'Batida Differente' and 'Influenza de Jazz', etc.. He then toured to Europe before a performance at Carnegie Hall on November 21 ('One Note Samba'), followed in December by sessions with Cannonball Adderley for such as 'Clouds' and 'Sambop'. Mendes appeared on the 'Ed Sullivan Show' in 1963. The Musicians Union was allowied him only one club date and one television show, so in 1964 he up and moved to the States, joined the union with the help of Bud Shank and Shelly Manne, and formed the group, Brasil '65, to record a couple of albums. In 1966 he formed the group, Brasil '63. But that's a typo. Too late now. Ain't changing it. Sorry. But I'll bury my face in a bank of colored snow before I type all that again, being twice, making all of this needful to correct it now: The group Mendes actually formed in '66 was Brasil '66. It was also '66 when another major figure entered his life, trumpeter, Herb Alpert, founder of A&M Records in 1962 with Jerry Moss. Mendes issued the single, 'Mas Que Nada', in 1963, which was highly successful. But the album that followed, 'Herb Alpert Presents Sergio Mendes and Brasil '66', was to go platinum. Now that Mendes' name was a household word in the States his career was stellar in the sixties, performing at the White House as well for Presidents Johnson and Nixon. He lit his path into the seventies at the World Expo in Osaka, Japan, in June of 1970. Collaborations with Stevie Wonder would occur in the seventies, as well as the formation of Brasil '77 in 1977 which, being correct, doesn't require redressing. Good thing. It would be too difficult to do things twice if the years didn't match. Further collaborations occurred with Joe Pizzulo, Leza Miller and Lani Hall in the eighties. He received a Grammy, one of three, in 1993 for his 1992 album, 'Brasileiro'. Mendez has recorded prolifically, issuing nearly fifty albums, his latest release being 'Magic' in 2014. He yet actively tours as of this writing.

Sérgio Mendes   1962


       Album: ' Você Ainda Não Ouviu Nada!'

   Samba de Uma Nota Só

       Album: 'Bossa Nova at Carnegie Hall'

Sérgio Mendes   1964


       With Tom Jobim

Sérgio Mendes   1966

   Herb Alpert Presents Sergio Mendes


   Mas Que Nada

       Television broadcast

Sérgio Mendes   1967

   Mas Que Nada

       Television broadcast

Sérgio Mendes   1968

   Fool On The Hill


   The Frog

       Album: 'Look Around'

   Pradizer Adeus (To Say Goodbye)

       Album: 'Look Around'

Sérgio Mendes   1973

   Love Music


Sérgio Mendes   1974

   Vintage '74


Sérgio Mendes   1984

   Live in France

       Concert filmed in Vienne, France

       Vocals: Kevyn Lettau & Carol Rogers

Sérgio Mendes   1992


Sérgio Mendes   2014

   Live in France

       Concert filmed in Vienne, France


  Born Marcus inicius da Cruz e Mello Moraes in 1913 in Rio de Janeiro, Brazil, lyricist, writer and vocalist, Vinicius de Moraes, attended the Jesuit high school, St. Ignatius, before enrolling at the University of Rio de Janeiro (now Rio de Janeiro State University) to study law and social science. Upon graduating in 1933 he published his first two collections of poetry, 'Caminho Para a Distância' ('Path into Distance') and 'Forma e Exegese' ('Form and Exegesis'). He published his third book, 'Ariana, a Mulher' ('Ariana, the Woman') in 1935. He was working as a film censor for the Dept. of Education and Health when he left for England on a fellowship to study English and English literature at Oxford. He continued publishing in England until his return to Brazil in 1941 whence he began working as a film critic for the newspaper, 'A Manhã' ('The Morning'), collaborated on the literary journal, 'Clima' ('Climate') and was employed by the Banking Employees' Institute of Social Security. In 1943 Moraes moved to Los Angeles as vice consul for Brazil's Ministry of Foreign Affairs, also publishing ''Cinco Elegias' that year, followed by 'Poemas, Sonetos e Baladas' in 1946. He published a couple more books of poetry before living variously in Europe as a government delegate, one such task to study the management of film festivals such as in Cannes. In 1953 Moraes wrote the music for 'Quando tu passas por mim' ('When You Pass By') with lyrics by Antônio Maria. They also paired up to compose 'Debrado de amore a Sau Paulo' ('Debrado de amore a Sau Paulo') the next year. The fifties would also see Moraes working as a playwright before representing Brazil in France at UNESCO (United Nations Educational, Scientific and Cultural Organization). The 1958 album, 'Canção do Amor Demais', by Elizete Cardoso, consisted of compositions by Moreas and Antônio Carlos Jobim. That album is generally cited as the first bossa nova LP, also featuring Joao Gilberto on a couple tracks. It was 1961 before Moraes began singing his compositions, starting with 'Água de Beber', music by Jobim. He and Jobim also collaborated on the album, 'Brasília - Sinfonia da Alvorada', issued that year. After the Brazilian military coup d'état in 1964, ousting President João Goulart, Moreas' was banned from civil employment in '69 as an alcoholic. By that time, however, Moreas had a strong reputation in film and relatively new, though successful, career in music. In 1974 he and Toquinho released the first of several albums together: 'Vinícius & Toquinho'. As he toured Europe and Argentina Moraes assumed a personal style with his audiences, casually bantering in four languages while drinking Scotch whisky. With more than 400 compositions for a legacy, Moraes died in Rio de Janeiro in July of 1980.

Vinicius de Moraes   1961


       Album: 'Brasilia - Sinfonia da Alvorada'

       With Tom Jobim

   O Homem

       Album: 'Brasilia - Sinfonia da Alvorada'

       With Tom Jobim

   O Planalto Deserto

       Album: 'Brasilia - Sinfonia da Alvorada'

       With Tom Jobim

Vinicius de Moraes   1966

   Os Afro-Sambas


Vinicius de Moraes   1967



Vinicius de Moraes   1971

   Como Dizia o Poeta

       Album with Toquinho

Vinicius de Moraes   1978

   Live at Studio 3

       Filmed live with Tom Jobim & Toquinho

       RTSI (Radio Television Swiss Italian)

Vinicius de Moraes   1998


       Album with Toquinho

Vinicius de Moraes   1999

   MPB Especial

       Filmed live


Birth of Modern Jazz: Vinicius de Moraes

Vinicius de Moraes

Source: LES

  Born Elis Regina Carvalho Costa in 1945 in Porto Alegre, in southern Brazil, vocalist, Elis Regina, was singing for Rádio Farroupilha on 'O Clube do Guri' at age eleven, next Radio Gaúcha. A few years later she traveled the thousand miles from Porto Alegre to Rio de Janeiro to record, 'Viva a Brotolândia' ('Long Live Teenage Land'), released in 1961. 'Poema de Amor' followed the next year. Regina moved to Rio in '63, briefly before Brazil's military coup in April of '64. Recording in rapid succession, Regina's fifth album, 'Dois na Bossa', is thought to be the first LP to sell over a million copies in Brazil, due largely to the single, 'Arrastão' ('Pull the Trawling Net'). She'd sang that song, composed by Edu Lobo and Vinicius de Moraes, at the first of her two most significant performances, Brazil's initial major pop festival ('Festival de Música Popular Brasileira') covered via radio and television, making her a national star. As well, 'Dois na Bossa' is often used as a marker in samba's evolution from bossa nova, having been about some ten years blending samba with jazz, to MPB or, Brazilian Popular Music. Come 1966, age 21, Regina was the highest paid performer in Brazil. Regina's second significant performance was in 1970/71, constrained under threat of jail to perform the national anthem of the military government in a stadium gathered to celebrate Brazil's "independence". For which she attracted a lot of friction from leftist democratic movements. Albeit capitalism had made her rich, the rest of the population was comprised of but instruments for the few. What had kept Brazil's military regime in operation for some twenty years (64-85) was capitalism. Across the ocean in South Africa, apartheid was being fed by capitalism. A socialist, Regina had kept her music apolitical to that point, but getting compromised (with a child to support) made her more expressively critical of the governing junta, she eventually joining the democratic Worker's Party in 1980. Regina's last studio album, 'Elis', was issued in 1980. Apparently alcohol, cocaine and temazepam (prescribed for insomnia) are a dangerous combination, for that was the mixture that killed Regina in January 1982. In the two decades of Regina's career she released over thirty albums. Her 1979 performance at the Montreaux Jazz Festival was released posthumously in '82, as well as her final recordings in 1981 on the live album, 'Trem Azul'. Of her three children, all to work in the music industry, vocalist, Maria Rita, would begin her career in 2003 with her eponymously titled CD, 'Maria Rita'.

Elis Regina   1961

   Viva a Brotolândia


Elis Regina   1962

   Poema de Amor


Elis Regina   1969

   Canto de Ossanha

       Album: 'Elis, Como & Porque'


       Filmed live with Toots Thielemans

Elis Regina   1972




       Filmed live

Elis Regina   1973

   MPB Especial

       Television broadcast

Elis Regina   1974

   Aguas de Março

       Filmed live with Tom Jobim

   Elis & Tom


Elis Regina   1978

   Aguas de Março

       Television broadcast


       Álbum: 'Transversal do Tempo'

   Linda Flor

       Filmed live

       Festival do Choro da Rede Bandeirantes

   Saudosa Maloca

       Album: 'Transversal do Tempo'

Elis Regina   1979

   Aguas de Marco

       Filmed live

       Montreaux Jazz Festival, Switzerland

   Garota de Ipanema

       Filmed live

       Montreaux Jazz Festival, Switzerland

Elis Regina   1982

   Trem Azul

       Album   Posthumous bootleg

       Final recording


Birth of Modern Jazz: Elis Regina

Elis Regina

Source: Jim A Musiques

  Born in 1942 in Salvador, Bahia, Brazilian guitarist/singer, Gilberto Gil, was conceived to a doctor, his mother a teacher of elementary school. The latter presented him with an accordion when he was ten, upon which he trained in classical music the next four years. He began playing vibraphone when he joined his first band in high school. He picked up the guitar a few years later and became attracted to bossa nova. His first recordings were for JS Studios as a composer of jingles in 1962. He also performed accordion that year on one of his compositions, 'Bem Devagar' ('Slowly'), recorded by The Three Baianas (who would become the Quarteto em Cy). Additionally, he released his first record, 'Povo Petroleiro'/'Coca Coca Lacerdinha' (English: 'Tanker People' and the Carnival march, 'Scratch, Scratch, Lacerdinha'). It was limited to a thousand copies. The next year Gil issued 'Gilberto Gil - Sua Musica, Sua Interpretacao', a 7" EP with four tracks: 'Serenata de Teleco-Teco', 'Maria Tristeza', 'Vontade de Amar' and 'Meu Luar, Minha Canções'. Instrumental to his early career was Caetano Veloso whom he met as a student in 1963 at the Universidade Federal da Bahia. It was at the Vila Velha Theatre with Veloso that he first performed with Maria Bethânia (Veloso's sister), Gal Costa and Tom Zé. That group would be central to the release of 'Tropicália ou Panis et Circencis' in July of '68, the manifesto of the Tropicalismo movement, both democratic and musical, critical of the junta that, Goulart out, had installed Mazzilli, then Blanco, as President of Brazil in 1964. Tropicalismo was comparable to folk rock in the States. Among its principles was its welcome of any and every style of music (Afro, rock, the avant-garde) to conflate with traditional samba, the notion to prevent the regime from developing a culture upon what had come before. If the zeitgeist was going to change and samba with it, then it would be as musicians described it, not the the junta. Until the junta arrested Gil and Veloso as suspected subversives and they spent at least two months in jail, then were offered freedom from house arrest if they left the country. Enter London after their last concert together in Brazil in Salvador in July of '69. 'Gilberto Gil (Cérebro Eletrônico)' was meanwhile released that year, containing four songs Gil composed while incarcerated. Acoustic guitar and vocals were recorded in Salvador. Other instruments were added in Rio de Janeiro and Sao Paulo. Gil organized the Glastonbury Free Festival in 1971, also recording 'Gilberto Gil (Nêga)' in '71 in London. Fled musicians were allowed to return to Brazil in '72, Gil among them to issue 'Expresso 2222' the same year. He then toured the States, recorded an LP in English and spent the latter seventies traveling in Africa. It was 1976 that he met Fela Kuti and Stevie Wonder at the Festival of African Culture (FESTAC) in Nigeria. Gil has since that time become one of the largest names in music, both in Brazil and internationally. Of note in 1994 was his album 'Acoustic', not his usual fare in the midst of his varied repertoire, though not like he'd never seen a guitar without a plug before. Between 2003 and 2008 he was appointed Minister of Culture, a cabinet position to President Luiz Inácio Lula da Silva, a position he apparently didn't like but had difficulty escaping. In 2010 he issued 'Fé Na Festa', an album that explores the forró, a style of music native to northeast Brazil, such as the state of Bahia with its capital in Salvador, some thousand miles north of Rio. Much of Gil's time was spent simply collecting awards, from Grammys to Latin Grammys to et al about the globe. Gil's lastest LP is also Veloso's latest, the two releasing the live CD and DVD, 'Dois amigos, um século de música', in 2015. Gil is said to have been an agnostic vegetarian. Per 1963 below, all tracks are from the 7" EP, 'Sua Musica, Sua Interpretacao'.

Gilberto Gil   1962

   Coça, Coça Lacerdinha

Gilberto Gil   1963

   Maria Tristeza

   Meu Luar, Minhas Cancoes

   Serenata em Teleco

   Vontade de Amar

Gilberto Gil   1968

   Tropicália ou Panis et Circencis


Gilberto Gil   1972

   Expresso 2222


Gilberto Gil   1978

   Live in Montreux

       Filmed concert

Gilberto Gil   1979



Gilberto Gil   1993

   Tropicália 2

       Album with Caetano Veloso

Gilberto Gil   1997

   Copacabana Mon Amour


Gilberto Gil   1998



Gilberto Gil   2001

   Kaya N'Gan Daya

       Concert: Tribute to Bob Marley

Gilberto Gil   2002

   Kaya N'Gan Daya

       Album: Tribute to Bob Marley

Gilberto Gil   2003

   Live at the United Nations

       Filmed concert

Gilberto Gil   2007

   Three Little Birds

       Filmed live in Buenos Aires, Argentina

Gilberto Gil   2014

   Gilberto's Samba



Birth of Modern Jazz: Gilberto Gill

Gilberto Gill

Source: Gilberto Gill

  Born Wilson Simonal de Castro in Rio de Janeiro in 1939, vocalist, Wilson Simonal, had a mother who worked as a cook, laundress and maid. He was drafted into the Brazilian Army to serve in artillery until 1960. Upon release from service Simonal and his brother, Zé Roberto, formed a group called the Dry Boys thought to have performed on television for Tupi TV in 1961. The Dry Boys didn't travel far but Simonal was able to land work singing at the Drink nightclub. That December he was recording his first vinyl with Odeon Records: 'Teresinha' b/w 'Biquinis e Borboletas' ('Theresa' b/w 'Bikinis and Butterflies'). He released four more titles in '62, also appearing on a couple tracks of organist, Celso Murilo's, 'Isto e o Drink', that year. 1963 saw the issue of Simonals' initial LP: 'Tem Algo Mais', followed by 'A Nova Dimensão do Samba' the next year. Among Simonal's concerns was to create a music that communicated with people better than bossa nova, thus his blend of samba, soul and yeh yeh yeh (what rock n roll was called in Brazil in the sixties due to the The Beatles) in the sixties. Per 1967 his first volume of 'Alegria! Alegria!' ('Joy! Joy!') was released, three to follow into 1969. By that time Simonal was such a huge star in recording, television and theatre that Royal Dutch Shell offered him a million dollars to promote their gas (stations), which amounted to $50,000 a day, as he was to give seventeen shows on tour in twenty days, including a show for presentation on Tupi TV. A lucrative contract with Shell would follow. In 1970 Simonal accompanied the Brazilian football team to the World Cup in Mexico where he recorded and issued 'Mexico '70'. Simonal had a pretty fancy carriage rolling when he was informed that he was broke and what's a can of worms not to be opened here entered into his life. Suffice it to say that a contractual dispute with Brazilian television giant, Global, escalated into a court case versus his accountant for embezzlement, which graduated to kidnapping that involved DOPS (Department of Political and Social Order: police), which became another court case versus his accountant, now in defense for extortion, all to the result of Simonal not only being jailed for a couple weeks, but coming to be believed to be a police informant. That, of course, didn't jive well in the world of MPB (Brazilian Popular Music) which was resistant to Brazil's military regime (1964-85). The debate as to Simonal's involvement with police (: thugs) continues to this day, even as his name was cleared posthumously in 2003 through final acquisition of government documents showing him nowhere listed as an informant. Howsoever, while Simonal was alive he had to live with it, moving from Rio to Sao Paulo as record sales plummeted. What might have sold 100,000 copies now sold 15,000, enough to make a living but the golden carriage gone. The complete matter that had sparked with a disagreement with Globo in 1970 had been officially resolved in 1974 and Simonal was back with Globo in 1977. But record sales, with the exception of in Europe, weren't what they should have been and Simonal found himself recording for the small label, WM Productions, in the early eighties. Simonal continued performing but record production dropped to only two albums early in that decade: 'Tropical Joy' ('82) and 'Simonal' ('83). By the nineties Simonal had taken up whiskey. A second marriage to Sandra Cerqueira in 1994 brought some sunshine into Simonal's life, but he released his last of only three albums in the nineties in 1998: 'Bem Brasil - Estilo Simonal'. In June of 2000 he died of liver cirrhosis, an alcoholic.

Wilson Simonal   1961

   Biquinis e Borboletas


Wilson Simonal   1962

   Beija Meu Bem

   Olhou Pra Mim

   Tem Que Balancar

Wilson Simonal   1963

   Tem Algo Mais


Wilson Simonal   1964

   A Nova Dimensão do Samba


Wilson Simonal   1966

   Vou Deixar Cair


Wilson Simonal   1967

   Meu Limao, Meu Limoeiro

       Filmed live

   Tributo a Martin Luther King

       Filmed live

Wilson Simonal   1970

   Live with Sarah Vaughan

       Filmed live

Wilson Simonal   1974

   Wilson Simonal


Wilson Simonal   1995

   Aquarela do Brasil

       Album: 'Brasil'


Birth of Modern Jazz: Wilson Simonal

Wilson Simonal

Source: Cultura Mix

Birth of Modern Jazz: Jorge Ben Jor

Jorge Ben Jor

Source: Itapema

Born Jorge Duilio Lima Menezes in 1945 in Rio de Janeiro, Brazil, samba singer, Jorge Ben Jor (also Jorge Benjor) played pandeiro (tambourine) in blocos (Carnival street bands) as a teenager. At age eighteen he began performing in nightclubs on a guitar that his mother gave him. In 1962/63 Ben Jor laid tracks with organist, Ze Maria, for Maria's album, 'Tudo Azul - Bossa Nova e Balanco', to be released by Continental. That is thought to contain his first version of 'Mas Que Nada', though not released until after his name version that year, concerning which, about that time Ben Jor had been noted at a club by some big hat from Philips, to issue his first name release on 78 in 1963, his hugely successful version of 'Mas Que Nada' b/w 'Por Causa De Você Menina'. Those would be released on the album, 'Samba Esquema Novo', the same year along with tracks such as, 'Chove Chuva', 'Balança Pema', 'Rosa, Menina Rosa' and 'A Tambá'. Notable in 1969 was Ben Jor's release of the self-titled album, 'Ben Jor', with the group, Trio Mocotó. Among his MPB (Brazilian Popular Music) contemporaries Ben Jor would distinguish himself with rock rhythms. Recording prolifically, he has released well over forty albums and yet occasionally tours in Brazil.

Jorge Ben Jor   1961

   Mas Que Nada

       Zé Maria album: 'Tudo Azul'

   Por Causa De Você Menina

       Zé Maria album: 'Tudo Azul'

   Samba Esquema Novo


Jorge Ben Jor   1969

   Jorge Ben


Jorge Ben Jor   1970

   Força Bruta


Jorge Ben Jor   1972

   Taj Mahal

       Album: 'Ben'

Jorge Ben Jor   1973

   10 Anos Depois


Jorge Ben Jor   1974


       Album: 'A Tábua de Esmeralda'

Jorge Ben Jor   1997

   Mestres da MPB


Jorge Ben Jor   2002

   Acústico MTV

       MTV presentation

       Album released 2002

Jorge Ben Jor   2004

   Por Causa De Você Menina

       Filmed live with Ivete Sangalo

Jorge Ben Jor   2012

   Mas Que Nada

       Filmed live

Jorge Ben Jor   2014

   João Rock

       Filmed concert


  Born in 1942 in Vitória, Espírito Santo, Brazil, then raised in Rio de Janeiro, guitarist and singer, Nara Leão received a guitar from her father at age twelve, he thinking she too shy. The bossa nova movement was in its infancy at that time, Leao to become instrumental in its evolution into MPB (Brazilian Popular Music) a decade later. She attended university while working as a reporter for the newspaper, 'Última Hora'. Her first professional employment was in theatre in 1963, taking part in the musical comedy, 'Pobre Menina Rica'. Her first recording was in 1963, 'Nana', a soundtrack for the film, 'Ganga Zumba', released in theaters that year. She also recorded the Carnival march, 'Marcha da Quarta-Feira de Cinzas', and the samba, 'Promessas de Você' that year, both found on the Carlos Lyra album, 'Depois do Carnaval'. Leao then toured Brazil, Japan and France with Sérgio Mendes, a major figure in anybody's life. The next year she released two albums, 'Nara' (on which is 'Nana') and 'Opinião de Nara', the latter a good example of early MPB, arising out of the theatrical production of 'Opinião' that year at the Teatro Opinião in Rio de Janeiro. 'Opinião de Nara' is oft used as a marker in the transition from bossa nova to MPB insofar as the music was bossa nova while Nara's opinions were decidedly not. The emergence of MPB largely coincides with the military coup in Brazil of '64 that put the junta in power until 1985. Just so, MPB was also a democratic movement in the junta's nest, pushing the limits without appearing a too widely funny egg. Leao viewed bossa nova to be both politically complacent and alienating, plopping Brazil in a niche the only thing for which to be known. (It's a junta but the world thinks they're dancing from Carnival to Carnival.) Leao's early career was an endeavor to address those problems, she to acquire the designation, "the muse of bossa nove". Notable in 1968 was her appearance on the album, 'Tropicália: ou Panis et Circencis', on the track 'Lindonéia'. 'Tropicália' was the manifesto of the Tropicália (Tropicalismo) movement to fuse the music of Brazil with anything and everything else from rock to the avant-garde. Its cover was an intentional visual reference to the Beatles' 'Sgt. Pepper's Lonely Hearts Club Band'. During the seventies Leao returned to college to study psychology. In 1979 she learned she had an inoperable brain tumor, her last eleven albums recorded with that knowledge. Her final LP was 'My Foolish Heart', released about the time of her death in June of 1989, only 47 years of age. The LP, 'Personalidade', was a compilation of her oeuvre released in '89 by Philips, one of the numerous in its 'The Best of Brazil' series. (Discogs has 'Personalidade' issued in '88, apart from general consensus. Which is mentionable because it's discogs and I can't find out why they give that date.) Per 1971 below, tracks are from the album, 'Dez Anos Depois' ('Ten Years After').

Nara Leão   1963

   Marcha da Quarta-Feira de Cinzas

       Carlos Lyra album: 'Depois do Carnaval'

   Promessas de Você

       Carlos Lyra album: 'Depois do Carnaval'

Nara Leão   1964


       Album: 'Nara'


       Album: 'Nara'

   Opinião de Nara


Nara Leão   1968


       Album: 'Tropicália ou Panis et Circencis'

Nara Leão   1971

   Chega de Saudade

   Estrada do Sol

Nara Leão   1978

   E Que Tudo Mais Vá Pro Inferno


Nara Leão   1987

   30 Anos de Bossa Nova

       Duets with Roberto Menescal

       TV Manchete


Birth of Modern Jazz: Nara Leao

Nara Leao

Source: Musica para Gatos

Birth of Modern Jazz: Eumir Deodato

Eumir Deodato

Source: Discogs

Born in 1942 in Rio de Janeiro, pianist, Eumir Deodato, began to play accordion at age twelve. An autodidact (self-taught), piano soon followed, as well as arrangement and orchestration. His first professional work was orchestral, alongside Durval Ferreira and Roberto Menescal. In 1962 Deodato arranged, conducted and recorded his debut album, 'Inútil Paisagem' (RCA Victor), with the one-shot orchestra, Los Danseros. That was a suite of Tom Jobim compositions which saw release in 1964, reissue in '65 as 'Los Danseros en Bolero' (Equipe 801) and again in 2002 as 'Lounge '64'. Also issued in '64 were 'Impulso!' (Equipe 802 recorded in '63), 'Samba Nova Concepção' (Equipe 803 recorded in '63), 'Idéias' (Odeon recorded in '64) and 'Tremendão' (Equipe 806 recorded in '64). The latter two were recorded with Deodato's group, Os Catedráticos. Like other artists of his period, Deodato left Brazil's military regime for the United States in 1967. He there began to work with with Brazilian compatriots who had also left Brazil like Astrud Gilberto and Tom Jobim. His debut session in the States was with Gilberto in May of 1967 for the latter's 'Beach Party' in NYC. 1968 saw titles to Gilberto's 'Windy', 1971 'Gilberto with Turrentine'. In the meantime he participated in Paul Desmond's 'Summertime' (1968), playing guitar on 'Lady in Cement'. Deodato supported Turrentine's 'Salt Song' in '71 before Gilberto's 'Astrud Gilberto Now' in 1972 on an unknown date. In March of 1970 Deodato began arraning titles on Ray Bryant's 'MCMLXX'. Also that March he arranged 'Ampora' on Jobim's ''Stone Flower', then participated into May on Jobim's 'Tide' and 'Brazil'. Deodato returned to Brazil to make 'Percepção' in early 1972 but was back in the U.S. to record with the CTI All Stars at the Hollywood Bowl in July before laying out 'Prelude', containing 'Also Sprach Zarathustra', in September, released in '73.    1972 had seen further tracks with Bryant in October, now backing Little Jimmy Scott. International touring followed in the seventies, a decade in which Deodato issued some fifteen LPs. Deodato has also worked on film scores, such as 'The Onion Field' released in 1979. Of note in the eighties was work with Kool & the Gang resulting in platinum albums. The nineties saw Deodato concentrating on his work as a producer, especially Icelandic rock vocalist, Bjork. By the turn of the century Deodoto had issued nearly thirty albums. The latest of the several he's released in the 21st century was 'The Crossing' in 2010.

Eumir Deodato  1964

   Amor no Mar

       LP: 'Ideias'

   Carnaval Triste

       LP: 'Samba Nova Concepção'

   Days of Wine & Roses/Misty

       LP: 'Los Danseros en Bolero'

       Orquestra Los Danseros

       Reissued 'Lounge '64' 2002

   Impuls O!


   Inútil Paisagem


   Sally's Tomato/Teach Me Tonight

       LP: 'Los Danseros en Bolero'

       Orquestra Los Danseros

       Reissued 'Lounge '64' 2002



Eumir Deodato  1973


       LP with João Donato

   Os Catedráticos




Eumir Deodato  2010

   The Crossing


Eumir Deodato  2011

   Also Sprach Zarathustra

       Filmed live

   Rhapsody in Blue


   Super Strut

       Filmed live


  Jose Feliciano   See Jose Feliciano.

Birth of Modern Jazz: César Camargo Mariano

César Camargo Mariano

Source: Piano Play

Born in Sao Paulo, Brazil, in 1943, arranger, composer and pianist, César Camargo Mariano, had a piano teacher for a father. He is thought to have begun his career in radio at age thirteen per a program titled 'The Boy Prodigy Who Plays Jazz'. He is thought to have appeared on stage with trombonist, Melba Liston, who was touring Brazil in June of 1957. Mariano also early performed on television on a show titled 'Passport to Stardom'. Making a television announcement/commercial in 1958 as to Nat King Cole's first visit to Brazil landed him a position in the William Furneaux Orchestra before he could read music. He then formed a quartet that performed at the A Baiuca nightclub in Sao Paulo for two years. By 1963 he was arranging and producing (Claudete Soares' 'E Dona Da Bossa' per 1964). Mariano issued his first album for RGE, 'Quarteto Sabá', in 1964. Several LPs with his Sambalanco Trio rapidly followed, then several more with Som Tres into the early seventies. Both those formations were highly successful, placing Mariano's name among the majors in Brazilian jazz where he kept it through more than thirty LPs to come. In 1971 Mariano became arranger, director and producer for Elis Regina, working with her on fourteen albums to come, starting with 'Elis', issued in 1972. Mariano was also marred to Regina between '73 and '81 (his second wife). Mariano is the recipient of multiple awards by CLIO (for radio advertising), 'Playboy' and APCA (film). He won a Latin Grammy for Lifetime Achievement in 2006, followed by a Grammy for 'Au Vivo', Best MPB Album of 2007. Performing with some of the largest names in music from Blossom Dearie to Yo-Yo Ma to Brazil's own Tom Jobim, Mariano currently resides in the United States (since 1994) with his third wife for some thirty years, Flavia Rodrigues Alves. Per below, titles are alphabetical, not chronological, by year. Per 1966 through 1969 all titles are with the group, Som Tres, except 'Octeto de César Camargo Mariano'.

Sambalanço Trio   1964

   Sambalanço Trio


Sambalanço Trio   1965

   Lennie Dale e o Sambalanço Trio


   Reencontro Com Sambalanço Trio


   Sambalanço Trio


César Camargo Mariano   1966

   Octeto de César Camargo Mariano




César Camargo Mariano   1968

   Som Três Show


César Camargo Mariano   1969

   Som 3


   Som Tres


César Camargo Mariano   1978

   São Paulo Brasil


César Camargo Mariano   1983

   A Todas As Amizades


   Voz e Suor


       Vocals: Nana Caymmi

César Camargo Mariano   1986

   Ponte Das Estrelas


César Camargo Mariano   2009


       Filmed live


  Flora Purim   See Flora Purim.

Birth of Modern Jazz: Quarteto em Cy

Quarteto em Cy

Source: TV Sinopse

Born on various dates in Brazil, Cybele, Cylene, Cynara and Cyva are thought to have become the Quarteto em Cy (Quartet in B, as in Bahia) in 1959, performing on television that year. The Quarteto em Cy was a little different from other MPB artists on this page, most of whom played guitar as solo artists. It was a vocal harmony group, none of which played guitar, led by Cyva, that soon left Bahia for Rio de Janeiro a good thousand miles south to perform in bars such as Bottles and Zum Zum. The girls released their first album in 1964: 'Quarteto em Cy'. 1966 saw Regina Werneck in the group. Cybele (who died in 2014) was replaced by Sonya in 1980. Sonya had first sang with the quartet in 1968, the same year as Semiramis. Ins and outs aside, the Quarteto em Cy was one of the larger names in Latin American recording, and rightly so as one couldn't but like them, making their mark not only amidst Brazil's giant recording industry, but establishing a fan base in the States in sixties, releasing a considerable catalogue of recordings and touring yet to destinations like Japan.

Quarteto em Cy   1964

   Quarteto em Cy


Quarteto em Cy   1966


   Até Londres

       'Andy Williams Show'

Quarteto em Cy   1972

   Quarteto em Cy


Quarteto em Cy   1973

   MPB Especial

       Filmed live with Toquinho

Quarteto em Cy   1978

   Cobra De Vidro


Quarteto em Cy   2012

   Garota de Ipanema

       Filmed live


Birth of Modern Jazz: Marcos Valle

Marcos Valle

Source: Outras Escritas

Born in 1943 in Rio de Janeiro, Rio de Janeiro, Brazilian guitarist, keyboardist and singer, Marcos Valle, released his debut LP, 'Samba "Demais"' ('Samba "Too"') in 1964. Upon the issue of 'O Compositor E O Cantor' in '65 Valle toured the United States the next year where he recorded the album, 'Brasil '66', with Sérgio Mendes. His third album, 'Braziliance!', was also recorded in the US, issued in '66. Valle began composing for television in the seventies in Brazil. But as his interest was less in MPB (Brazilian Popular Music) than pop and rock in America, he moved to Los Angeles in 1975. Returning to Brazil in latter 1980, he released 'Vontade de Rever Você' the next year. Valle's most popular recording was the disco tune, 'Estrelar', in 1983, selling about 90,000 copies. In 1998 Valle released 'Nova Bossa Nova', a modernized return to his roots. Valle's career over the decades might be summarized as an exchange of MPB (expanding the samba) for MPV (Vallean Popular Music), largely a fusion of Latin with pop. Having issued nigh thirty albums, Valle's latest release was per 2013, 'Au Vivo', with vocalist, Stacey Kent. Yet quite active, Valle has pages at Facebook, myspace and Twitter.

Marcos Valle   1964

   Samba "Demais" (Samba "Too")


Marcos Valle   1965

   O Compositor e O Cantor


Marcos Valle   1970

   Marcos Valle


Marcos Valle   1971

   Garra (Claw)


Marcos Valle   1972

   Som Ambiente

       Album with Azimuth

   Vento Sul


Marcos Valle   1973

   Previsão do Tempo


Marcos Valle   1981

   Vontade de Rever Você


Marcos Valle   1983


       Album: 'Marcos Valle'

Marcos Valle   1998

   Nova Bossa Nova

       Album: 'Nova Bossa Nova'

Marcos Valle   2008

   Jet Samba

       DVD: 'Co-Nec-Ta'

   On Line

       DVD: 'Co-Nec-Ta'

       With Patricia Alvi

Marcos Valle   2010


       Album: 'Estática'

Marcos Valle   2014

   Live at the Beat Bar

       Filmed live with Patricia Alvi


Birth of Modern Jazz: Maria Bethania

Maria Bethania

Source: All Music

Born Maria Bethânia Viana Telles Veloso in Santo Amaro, Bahia, in 1946, MPB (Brazilian Popular Music) singer, Maria Bethânia, moved with her family to Salvador, Bahia, when she was thirteen. Her brother was singer, Caetano Veloso. When she was nineteen she accepted an offer to perform in the musical, 'Boca de Ouro', her first public performance her first professional performance as well. She continued with theatre until her first record, 'Carcara' b/w 'Eu Vivo num Tempo de Guerra', was released in 1965. Her album, 'Maria Bethânia', ensued that year. Bethânia addressed the traditional Brazilian folk song on her 1973 album, 'Drama, Luz da Noite'. She was touring nightclubs around Brazil when she released the LP, 'Pássaro da Manhã', in 1977, which would go gold. Twice blessed, her issue the next year of 'Álibi' sold a million copies as well. Bethânia maintained her stellar fame into the nineties, 'As Canções Que Você Fez Para Mim' being the highest selling album in Brazil in 1993 (easily gold at 1,500,000 discs). Along with films and documentaries Bethania has largely spent her life on tour while recording prolifically, about 50 albums, more than 26 million records sold. Her latest were in 2012, one studio ('Oásis de Bethânia'), one live ('Noite Luzidia').

Maria Bethânia   1965


       Filmed live

   De Manhã

       Album: 'Maria Bethânia'

   Só eu ei

       Album: 'Maria Bethânia'

Maria Bethânia   1971

   En La Fusa (Mar Del Plata)

       Album with Toquinho & Vinicius

Maria Bethânia   1978



Maria Bethânia   1982

   Explode Coração

       Filmed live

Maria Bethânia   1993

   As Canções Que Você Fez Pra Mim


Maria Bethânia   1994


       Filmed live

   Você não sabe

       Filmed live

Maria Bethânia   2005

   Eu Não Existo Sem Você

       Album: 'Que Falta Você Me Faz'

Maria Bethânia   2005


       Filmed live


Birth of Modern Jazz: Gal Costa

Gal Costa

Source: All Music

Born in 1945 in Salvador, Bahia, Brazilian guitarist and singer, Gal Costa, had a father she never met and a mother who listened to classical music during her pregnancy with Gal that she might have an interest in music. Might have worked, for she got a job at a record shop as a teenager. She was 18 when she met Caetano Veloso who would become instrumental to her career. She performed in her first professional show in August of '64 with Veloso and others with whom she would form an alliance per the Tropicalismo movement. Those were Gilberto Gil, Maria Bethânia (Veloso's sister) and Tom Zé. Gil and Veloso would contribute compositions to jumpstart Costa's career. Her initial recording was with Bethânia on the EP, 'Maria da Graça'(?) in 1965, on the track 'Sol Negro'. Also in '65 Costa issued the singles, 'Eu Vim Da Bahia' and 'Sim, Foi Você'. 1967 saw the LP, 'Domingo', released with Veloso. The Tropicalismo movement was at once musical and democratic, arising as a response to the coup d'état of 1964 that installed Brazil's military regime for the next score of years. That movement's manifesto was the album, 'Tropicália ou Panis et Circencis', in which Costa participated in 1968 (the track, 'Mamãe, Coragem', in particular). In 1969 Costa issued both the albums, 'Gal Costa' and 'Gal'. In 1970 she journeyed to London to where Gil and Veloso had gone into exile the before. Her album, 'Legal' was released that year. She there Her 1973 album cover for 'India' was censored for its focus on her bikini bottom. She has since recorded prolifically as one of the larger names in MPB (Brazilian Popular Music). Her latest release was 'Estratosférica' in 2015.

Gal Costa   1965

   Sol Negro

       With Maria Bethania

Gal Costa   1967


       Album with Caetano Veloso

Gal Costa   1968

   Mamãe Coragem

       Album: 'Tropicália ou Panis et Circenses'

Gal Costa   1969



   Gal Costa


Gal Costa   1971

   Fa-Tal (Gal a Todo Vapor)


Gal Costa   1973



Gal Costa   1974



Gal Costa   1981



   Live with Ellis Regina

       Television broadcast

Gal Costa   1985


       Television broadcast

Gal Costa   1990

   Au Vivo Plural

Gal Costa   1996

   Tieta do Agreste

       Filmed live with Caetano Veloso

Gal Costa   1997

   Acustico MTV


Gal Costa   2015

   Acustico MTV



Birth of Modern Jazz: Paulinho da Viola

Paulinho da Viola

Source: MEC FM

Born Paulo César Batista de Faria in 1942 in Rio de Janeiro, Brazil, guitarist and singer, Paulinho da Viola, also performed on cavaquinho and mandolin. He began composing with guitar as a teenager, though with no intent to become a musician. He wrote his first samba, 'Pode ser Ilusão', in 1962. Da Viola was working as a bank clerk when he met poet, Hermínio Bello de Carvalho, with whom he composed 'Duvide-o-dó' in 1964 (recorded by singer Isaurinha Garcia on a date unkown). Thus encouraged to compose by Carvalho, da Viola began performing in a restaurant owned by samba master, Cartola. His name was changed to Paulinho da Viola (Paulie Guitar) some time in 1965 because Paulo César was too common. That was a year that put da Viola on track with appearances on two LPs. The first was performing guitar on the cast of the musical, 'Rosa de Ouro' ('Golden Rose'), released under the names of vocalists, Aracy Coates and Clementina de Jesus. A second volume was released in 1967. Also in 1965 Viola released 'Roda De Samba' with the group, A Voz Do Morro (The Voice of the Hills). A second volume appeared in 1966. Da Viola released about an album per year throughout the seventies. Little concerning his electromagnetic field has been documented, if at all, but as his audience began to fade in the eighties he concentrated more on composing. Having released nearly thirty albums, his latest was 'Acústico MTV' in 2007. Beyond music, da Viola is a woodworker who has made fine furniture. Living in Rio de Janeiro, he yet performs in Brazil.

Paulinho da Viola   1965

   Roda De Samba

       Album with A Voz Do Morro

   Rosa De Ouro

       Track B6 of 2   Album: 'Rosa De Ouro'

Paulinho da Viola   1970

   Foi Um Rio Que Passou em Minha Vida


Paulinho da Viola   1971

   Paulinho da Viola

       Album   Disc 1 of 2

Paulinho da Viola   1999

   Sinal Aberto (Open Sign)

       Album with Toquinho

Paulinho da Viola   1999

   Sinal Aberto (Open Sign)


Paulinho da Viola   2003

   Meu Tempo é Hoje

       Documentary film

Paulinho da Viola   2011

   Coração Leviano

       Filmed live

   Só o tempo

       Filmed live with Beatriz Faria


  Eddie Gomez   See Eddie Gomez.

  Born in 1943 in Rio de Janeiro, Brazil, composer, guitarist and singer, Edu Lobo, expanded upon and came to define MPB (Brazilian Popular Music), the dominating musical genre in Brazil having its origins in the sixties upon the bossa nova boom of several years and Brazil's military coup of '64. Lobo was eighteen when he formed a trio with Dorival Caymmi and Marcos Valle. The next year ('62) he and Vinicius de Moraes began a long period of compositional collaborations. Lobo issued his first LP in 1965: 'A Musica de Edú Lobo por Edú Lobo'. (Few seem to agree on the release date of that album. When that occurs we go with discogs.) Lobo met Sérgio Mendes in 1969 to tour with Mendes' band, Brasil '66, in the States until his return to Brazil in 1971 where he focused on composing for cinema and the Globa television network. 'Edu E Tom', an album of duets with Tom Jobim, appeared in 1981. The remainder of the eighties saw Lobo composing for ballet films, such as 'Jogos de Danca' released in 1982. He would issue a few more of such in collaboration with Chico Buarque. Also composing for musicals, afterward Lobo entered the studio again for the 1994 issue of 'Corrupião'. Having issued well above thirty albums, Lobo's latest studio release was in 2010 with 'Tantas Marés'.

Edu Lobo   1965

   A Musica de Edú Lobo por Edú Lobo


Edu Lobo   1966

   Upa Neguinho

       Television broadcast   Germany

Edu Lobo   1968

   Edu Canta Zumbi


Edu Lobo   1970

   Cantiga de Longe


Edu Lobo   1973

   Missa Breve


Edu Lobo   1975

   Edu e Bethania

       Album with Maria Bethânia

Edu Lobo   1976

   Limite das Águas


Edu Lobo   1977


       Television broadcast

Edu Lobo   1978



Edu Lobo   1992


       Filmed live with Zizi Possi

       Heineken Concert

Edu Lobo   2013

   Upa Neguinho

       Filmed live

       Theatro Municipal do Rio de Janeiro


Birth of Modern Jazz: Edu Lobo

Edu Lobo

Source: Cariricaturas

  Enrico Rava   See Enrico Rava.

  Born in 1942 in Santo Amaro da Purificação, Bahia, Brazilian guitarist and singer, Caetano Veloso, was brother to Maria Bethânia. He moved to Bahia's capital, Salvador, in the early sixties to attend college, then to Rio de Janeiro in 1965. His composition, 'Um Dia', won a competition that got him a contract with Philips in 1965, releasing the bossa novas, 'Samba em Paz'/'Cavaleiro', in May that year. In 1967 he released 'Domingo' with Gal Costa. Veloso and Costa became part of a movement called Tropicalismo with Veloso's sister, Maria, Gilberto Gil, Tom Zé and poet, Torquato Neto. All of them participated in the 1968 release of Tropicalismo's manifesto, 'Tropicália: ou Panis et Circencis'. Tropicalismo welcomed foreign influence on traditional song, be it Afro, rock, avant-garde. Its distinction from MPB (Brazilian Popular Music) was a little comparable in the United States to popular vs such as, say, folk rock. Unfortunately the Brazilian junta (since 1964) found both Gil and Veloso dubitable personalities to the regime, banning their work. The two were rounded up in February of 1969 and spent at least two months in jail before their release, after which they went into exile in London. Both Gil and Veloso returned to Brazil in '72 when amnesty was granted to musicians. The brief countercultural Tropicalismo movement was effectively halted upon the exile of select musicians in the latter sixties and Veloso returned to a slightly shifting scenario giving rise to MPB which, unlike popular music in the States, had its origins as a democratic movement. Which is to say that the Brazilian junta was dealing with a democratic elephant in its room (largely the MDB - Brazilian Democratic Movement) until its demise in 1985 upon the election of Tancredo Neves. As in South Africa, capitalistic interests kept an ugly ogre in power, while in other sectors (: record companies) developing a negative image of Brazil's junta, a case of reign by might versus not only the people, but people throughout the world. Yet some things take a long time. Not until 2014 did Brazilian President Dilma Rousseff testify to her torture on multiple occasions by military thugs. Her report, calling for the repeal of the 1979 law granting amnesty to regime officials, also claimed the killing or disappearance of well above 400 suspected subversives and the torture of some 20,000 during the twenty years of the regime. In addition, it named 377 perpetrators, about half of whom are still alive as of this writing. Against that backdrop Veloso quickly embarked upon a hugely successful career delivering PMB throughout the world. In 1993 Veloso released 'Tropicalia 2', a quarter century after the first, with other issues to address, such as those in Haiti. Veloso decided to sing in English rather than Portuguese on his 2004 release of 'A Foreign Sound'. Veloso has won two Grammy Awards and nine Latin Grammy Awards. His latest release is 'Dois Amigos, Um Século de Música ao Vivo' per December 2015, on both CD and DVD, 28 tracks recorded on tour with Gilberto Gil.

Caetano Veloso   1965

   Samba em Paz

Caetano Veloso   1967


       Album with Gal Costa

Caetano Veloso   1968

   Caetano Veloso


   Tropicália ou Panis et Circencis


Caetano Veloso   1972



Caetano Veloso   1979

   Cinema Transcendental


Caetano Veloso   1993

   Tropicália 2


Caetano Veloso   1999

   Ao Vivo em Buenos Aires

       Concert filmed live

       With João Gilberto

Caetano Veloso   2013

   A Bossa Nova e Foda

       Album: 'Multishow Ao Vivo Abraçaço'

   Um Comunista

       Album: 'Multishow Ao Vivo Abraçaço'

Caetano Veloso   2015

   Ao Vivo

       Concert filmed live

       With Xande de Pilares


Birth of Modern Jazz: Caetano Veloso

Caetano Veloso

Source: Hostel Colonial

  Born in 1936 in Irara, Bahia, Brazilian guitarist and singer, Tom Ze, was involved in the Tropicalismo movement in the sixties with such as Nara Leão and the band, Os Mutantes. Tropicalismo emerged upon the coup d'état of 1964 resulting in the ouster of President João Goulart and the installment of Pascoal Ranieri Mazzilli. The Tropicalismo movement was countercultural insofar as the regime would to have been cultural, and something comparable to folk rock in the States. Tropicalismo was rather a paradoxical defense of traditional culture via the invitation of foreign influences such as Afro, rock, the avant-garde, anything and everything to leave no room for the regime. It was something of the Ka to MPB's Boom. MPB is short for Brazilian Popular Music, similar in ways to popular music in the States with the exception that popular music in the States was simply popular music; in Brazil it was the resumption of where Tropicalismo left off, that is, a democratic movement. It was a wrestle of twenty years between all forces involved until the regime acquiesced in '85 with the election of President Tancredo Neves. As for Ze, not only was he a self-taught guitarist, but he liked to experiment with sounds made by such as blenders, doorbells, vacuum cleaners, etc.. He first met Caetano Veloso, instrumental to Tropicalismo, in 1963. He began his career in theatre in 1964. His appearance in 'Arena Conta Bahia' led to a contract with RCA Records, he releasing 'Maria do Colegio da Bahia' in 1965. In 1968 he participated in the recording of 'Tropicália: ou Panis et Circencis' with other figures central to Tropicalismo, that album a manifesto of the movement with a cover something imitating the cover of the Beatles' 1967 'Sgt. Pepper's Lonely Hearts Club Band'. He also distinguished himself with the release of his album, 'Grande Liquidação' (also issued as 'Tom Ze'), in 1968. Ze was one of the Tropicalismo musicians who remained in Brazil when others like Veloso and Gilberto Gil went into exile in 1969. He began teaching in Sao Paulo in 1971, then released an album in '72 that he had recorded in 1965, simply titled 'Tom Ze' like previous others. He then entered into a gradual drift for some years, his musical career coming to a trickle while bouncing from dayjob to dayjob. In 1986 Scottish musician, Daviid Byrne, amazing lead for the Talking Heads, bought a record ('Estudando o Samba') in a shop in Rio de Janeiro. That led to Ze being contacted from out of the blue by Byrne in 1989. 'The Best of Tom Zé – Massive Hits' was released in 1990 on Byrne's Luaka label (one of several) as Volume 4 of his 'Brazil Classics' series. That was followed by 'The Hips of Tradition' in '92 as Volume 5 of 'Brazil Classics'. Ze's career has since been a nonstop adventure in the more avant-garde wing of of MPB, albeit he addressed bossa nova on his 2008 release of 'Estudando a Bossa - Nordeste Plaza'. Ze's last studio issue was 'Vira Lata na Via Láctea' in 2014.

Tom Zé   1967

   Parque Industrial

       Composition: Tom Ze

       Album: 'Tropicália: ou Panis et Circencis'

Tom Zé   1968

   Grande Liquidação (Grand Sale)


Tom Zé   1970

   Tom Ze


Tom Zé   1973

   Todos os Olhos


Tom Zé   1976

   Estudando o Samba


Tom Zé   1978

   Correio da Estação do Brás


Tom Zé   1983

   Se O Caso E Chorar


Tom Zé   1990

   Ensaio (Test)

       Filmed live

Tom Zé   1992

   The Hips of Traditions


Tom Zé   2003

   Imprensa Cantada




Tom Zé   2005

   O Amor E Um Rock

Tom Zé   2012

   Tropicália Lixo Lógico


Tom Zé   2014

   Vira Lata Na Via Láctea



Birth of Modern Jazz: Tom Ze

Tom Ze

Source: UOL Musica

Born in 1944 in Rio de Janeiro, Brazil, guitarist and singer, Chico Buarque, was son of the writer, Sérgio Buarque de Holanda, thus lived in various locations during his youth, including São Paulo and Italy. He wrote his first short story at age eighteen, then studied architecture at the University of São Paulo. His greater interest, however, was making music, his debut public performance in 1964, his own composition. That led to gigs at festivals and on television. It was the recording of a few of his compositions by Nara Leão that his name began coming to notice. His debut vinyl was a collection of sambas on the album, 'Chico Buarque de Hollanda', in 1966. 'Morte e Vida Severina' followed the same year. In 1968 his composition, 'Roda Viva' ('Live Circle') gained him a brief time in prison from the Brazilian military government (1964-85). Upon release he sojourned to Italy in 1970, returning to write his first novel in 1972. His 1970 composition, 'Apesar de Você' ('In spite of You'), eventually got his work banned from record shelves upon it becoming a theme song for the democratic movement in Brazil. Buargue's response was to go to work as Julinho da Adelaide, recording 'Acorda amor' in 1974 as such. Buarque concerned himself with political protest until the Brazilian military regime came to its end in 1985. In addition to several books, plays and films, Buargue has released above forty albums and some thirteen DVDs. His latest studio issue was 'Chico' in 2011.

Chico Buarque   1966

   Chico Buarque de Hollanda


Chico Buarque   1970

   Essa Moça Tá Diferente

       'This Girl Is Different'

Chico Buarque   1971



Chico Buarque   1973

   Chico Canta


Julinho da Adelaide   1974

   Acorda Amor

Chico Buarque   1976

   Meus Caros Amigos


Chico Buarque   1982

   Chico Buarque en Espanhol


Chico Buarque   1985

   Vai Passar

       Music video

Chico Buarque   1987

   Estacao Derradeira

       Album: 'Francisco'

Chico Buarque   1999

   Futuros Amantes

       Filmed live

Chico Buarque   2012

   Valsa Brasileira

       Filmed live


Birth of Modern Jazz: Chico Buarque

Chico Buarque

Source: UOL Musica

Birth of Modern Jazz: Salvador Allende

President Salvador Allende

Source: Wikipedia

Birth of Modern Jazz: Augusto Pinochet

General Augusto Pinochet

Source: History

Born in 1932 in Lonquén, Chile, folk musician, Víctor Jara, punctuates rather unfortunately the struggle between military power and musical power that was so much the scenario of Latin recording in the 20th century from Franco in Spain to Castro in Cuba to the numerous cartels and juntas in Central and South America. Across the Atlantic the same wrestle was occurring between African authorities and African rhythms. Jara's father had been a farmer having a desperate time of it, disappearing in quest of an income when Jara was a child. Upon his mother's death at age fifteen he studied accounting, then attended seminary for a couple years. That inspired requisite perspective otherwise, in Jara's case, several years in Chile's army. In that capacity he developed an interest in folk music and theatre. Leaving military service, he was singing with the group, Cuncumen, in the mid fifties. His association with the Parra family of musicians began with guitarist/singer, Angel Parra (brother to Isabel, son of Violeta), who owned a folk club in Santiago called La Peña de Los Parra (The Rock of Parra). The Parra family of musicians and other notables were numerous, but it is Violeta, a singer/guitarist whose work documenting the folk songs of Chile in the sixties saw the emergence of the nueva cancion genre, a folk movement which didn't last a decade upon interruption by the military coup of late 1973 that put Chile in control of General Augusto Pinochet's regime. Jara had been working in theatre when he released his first name album, 'Víctor Jara (Geografía)' for the RCA imprint, Demon, in 1966. 'Canto a lo Humano' was its reissue. That album included 'Paloma Quiero Contarte', but not 'La Beata', the A side to 'Paloma Quiero Contarte' that got banned from radio and pulled from record shelves for inappropriate lyrics concerning Catholic confession. Jara had toured Cuba and Russia, and become a Communist by the time he took a beating from government thugs for 'Preguntas por Puerto Montt' ('Questions About Puerto Montt'), concerning an attack by police on squatters in Puerto Montt that year. That song appears on the 1969 album, 'Pongo en Tus Manos Abiertas'. Chile yet under the six-year presidency of Eduardo Frei Montalva, that would change to socialist, Salvador Allende, in November 1970. Allende wasn't popular to US interests, the Pinochet regime taking office by coup in September of '73. Jara, a member of the Popular Unity Party, was teaching at State Technical University (UTE, founded 1947) in Santiago when Allende took office with Jara's public support. Three years later Allende would shoot himself in the head on September 11, during the coup, with an AK-47 given him by Fidel Castro. The next day Jara was at UTE when he was arrested with about five thousand others at the university and throughout Santiago. He was beaten severely and on the 15th taken to National Stadium (Estadio Nacional) where his hands broken before being told to play guitar and sing. He is said to have sang 'Vencerermos' (below), a tune he'd done a second version of for the Allende campaign in 1970. He was then tortured with a game of Russian Roulette at the back of his head until the chamber with the bullet fired. There was sufficient respect, however, to ensure he was dead with above forty more bullets to his fresh corpse. Isn't the history of humankind uplifting? (It's meanwhile naively wondered why extraintelliogence doesn't present itself in all glorious conspicuity. Among other reasons, to what capacity?). Jara's wife, Joan, retrieved his body from a lot near a cemetery where it ha been dumped, had him buried, then went into exile. Forty-two years later (2015) ten former soldiers were charged with involvement in his murder. The case against Lt. Pedro Barrientos Nunez, who (allegedly) amused himself with Russian Roullette at the back of Jara's head before some time moving to Florida, is scheduled for trial in the summer of 2016. The Pinochet regime held power until 1990, during which time it is estimated some 40,000 undesirables were jailed and above 3000 offed in delightfully entertaining ways. It was, however, deemed safe for the return of musicians in exile, such as the Inti-Illimani and Quilapayún, upon the plebiscite of October 1988, voting Pinochet out (transition between governments requiring a year and five months). Incidentally, National Stadium, one of 80 detention centers in Santiago during the '73 coup, isn't to be confused with the Victor Jara Stadium in Santiago, so renamed in 2004 from Chile Stadium (Estadio Chile) and an entirely different arena. Per 1973 below all edits are estimated to be 1973 television broadcasts.

Víctor Jara   1966

   La Beata

   Victor Jara


Víctor Jara   1969

   Pongo en Tus Manos Abiertas


Víctor Jara   1970


Víctor Jara   1971

   El Derecho de Vivir en Paz


Víctor Jara   1972

   La Población


Víctor Jara   1973


  El Cigarrito

  El Derecho de Vivir en Paz

  Live Medley


Víctor Jara   1974


       Album   Posthumous release


Birth of Modern Jazz: Victor Jara

Victor Jara

Source: Rauman

Birth of Modern Jazz: Pedro Barrientos Nuñez

Pedro Barrientos Nuñez

Source: Daily Mail

Birth of Modern Jazz: Paco Pena

Paco Pena   1984

Source: Wikipedia

Born in 1942 in Córdoba, Spain, flamenco guitarist, Paco Pena, took up his axe at age six, was playing professionally at age twelve. A government program sponsoring folk dance and music saw Pena touring Spain before signing up with commercial companies to back flamenco dance in Madrid and Costa Brava. In 1966 one of those dancers, El Sali, issued an album titled 'Flamenco! El Sali and his Ballet Espagnol' on which Pena plays guitar. Pena next took his bag of tricks to London. He there made his solo debut at Wigmore Hall in 1967. Some bright impresario got Pena billed with a very different sort of guitarist who drew an audience, Jimi Hendrix, and some kids got introduced to one of the 20th century's finest guitarists before zoning in on LSD. From there it was the United States and Carnegie Hall. His debut album, 'The Incredible Paco Peña', was issued in 1968. In 1981 Pena was instrumental to the founding of the Cordova Guitar Festival. In 1985 Rotterdam University in Amsterdam created a department for the first formal teaching of flamenco, with Pena at the chalkboard. Such remarks on the exclusivity of flamenco. It had been about some hundred and thirty years, passed from musician to musician without a school, and now it was going to be played by others who were neither gypsies nor Spaniards, but could afford a college education. Unlike Latin music in Brazil, the Caribbean or Mexico where foreign rhythms (like jazz) were welcome, flamenco has ever been a highly guarded genre as the national music of Spain, being both folk and select. Fusions with other genres like jazz or classical have been few and exceptional per occasion, such as those between flamenco guitarists, Camarón de la Isla and Paco de Lucía with Al Di Meola and John McLaughlin. It's true: flamenco guitarists pop right from the oven equipped with their guitars. That is, flamenco sees less messing with than Texas. Should some flamenco guitarist in general propose a jam session with you, then either you have talent or you're a pupil. Pena's friendship with classical guitarist, John Williams, began in 1969. They both had a thing with the Chilean band, the Inti-Illimani, with whom they performed in the seventies whenever the Inti-Illimani, toured to Great Britain. Those occasions finally led to the album, 'Fragments of a Dream', released in 1986, with Williams stepping out of classical, and Pena out of flamenco, to deliver to the world some Latin music from Chile with compositions by Inti-Illimani director, Horacio Salinas. Pena began touring with the theatrical, 'Quimeras', in 2010. His latest release, 'Quimeras', in 2013 is a contrast fusion of flamenco with rhythms out of North Africa: Guinea and Senegal. Pena is yet active with residences in both London and Cordoba.

Paco Pena   1971

   Solea De Córdoba

       Filmed live

Paco Pena   1975

   Farruca in D

       Duet with John Williams


       Television broadcast


       Television broadcast

Paco Pena   1976

   En las Cuevas

       Album: 'Toques Flamencos'

   La Romería

       Album: 'Toques Flamencos'

   Tientos de la Bahía

       Television broadcast:

       'The Five Faces of the Guitar'

Paco Pena   2013


       Filmed live

Paco Pena   2014

   NPR Tiny Dexk Concert

       Duets with Eliot Fisk


Birth of Modern Jazz: Quilapayun

Quilapayun   1966

Source: Music Bazaar

Formed in 1966 in Santiago, Chile, Quilapayún was a folk group a wide distance from jazz which name means "Three Bearded Men", which equaled Eduardo Carrasco and Julio Carrasco with Julio Nehumhauser until Patricio Castillo showed up in 1966. Though with beard, the group retained its name. They gave their first performance of Andean folk music was at the Universidad de Chile in Valparaíso. Their first recording is thought to have been 'El Pueblo', found on their 1966 debut album, 'Quilapayun'. In 1966 they released 'Canciones folklóricas de América' with Chilean martyr, Víctor Jara, before touring to Russia and Europe. Quilapayun's first political album was issued in 1968: 'X Vietnam'. (Julio Nehumhauser had left the group prior to its recording.) 'Basta', also a political album, was issued in '69. The group appeared again with Jara on his '69 release of 'Pongo en Tus Manos Abiertas'. Juilo Carrusco would drop away after its recording, replaced by Herman Gomez. Like the Inti-Illimani, Quilapayun went into exile upon the Chilean coup d'état in September of 1973. Quilapayun based its operations out of Colombes, France, until the end of Augusto Pinochet's regime, he stepping down in March of 1990, though Quilapayun returned in '88. Quilapayun recorded the album, 'En Chile!', for release in 1989, at which juncture Eduardo Carrasco left the group or, rather, it left him, returning to band member commitments in France. Carrusco remained in Chile to pursue his career as an intellectual, composing, writing books, teaching philosophy at the University of Chile and holding a couple positions as musical director for the Sociedad Chilena del Derecho de Author (Chilean Society of the Right of Author) and the Chilean Ministry of Education. Quilapayun meanwhile continued in France as before, excepting that Rodolfo Parada Lillo assumed Carrusco's place as director and lead composer. Parada had performed with Quilapayun since 1968 and appeared on the group's 1970 album, 'Santa María de Iquique'. Parada earned a doctorate in anthropology in France during the nineties and was employed by its Ministry of Culture. As he was also Quilapayun's leader, he also registered Quilapayun in his name, apparently without consulting its original members. The result was the erasure of the names of the historical members of Quilapayun, replaced with the names of musicians not so committed to the group. (Its major talent, Patricio Wang, hadn't joined Quilapayun until 1981.) Carrusco, not having contributed to Quilapayun since the '88 album, but an original member in more precarious times, then formed the Quilapayun Historico in Chile in 2003. A legal decision as of December 2007 forbade Parada from using the Quilapayun name, the French Supreme Court reasoning that Quilapayun was and remains a Chilean, not French, group. Parada's ensembles have since then come to be registered as Guillatún. Be as may, both groups are yet active as of this writing, Carrusco's in Chile, Parada's in France. Between the two of them the important thing missing in the last quarter century was reuinions. Per 1974 below, 'La Nueva Canción Chilena' (my title), is a documentary (not the best audio) concerning New Chilean Song and the climate of the Chilean junta. New Chilean Song was a genre with its origins in the sixties, much commencing with the endeavors of guitarist/singer, Violeta Parra (mother of Isabel Parra), to establish a national identity for Chile via the collection of folk songs, proverbs, recipes and traditions of the Chilean people. Such as Quilapayun represent that genre until its interruption per the military coup in late '73.

Quilapayún   1966



Quilapayún   1969

   Quilapayun 3


Quilapayún   1970

   Quilapayun 4


   Santa Maria de Iquiqu


Quilapayún   1973

   La Fragua


Quilapayún   1974

   La Nueva Canción Chilena

       Documentary with Isabel Parra

Quilapayún   1975

   En Avant! Adelante!


Quilapayún   1989

   La Muralla (The Wall)

       Album: 'En Chile!'

Quilapayún Historico   2003

   Live in Santiago

       Filmed concert

       Teatro Teleton

Quilapayún Guillatún   2010

   El Pimiento (Peppers)

       Filmed live with Sol Dominguez

Quilapayún Guillatún   2003

   El Gavilán (The Hawk)

       Filmed live


Birth of Modern Jazz: Toquinho


Photo: Luiz Tripolli

Source: Studiomusica

Born Antônio Pecci Filho in 1946 in São Paulo, Toquinho studied classical guitar as a teenager before joining the bossa nova movement in Brazil. He had also studied harmony and orchestration. His early professional career included gigs at the Paramount Theater in São Paulo which were broadcast over radio by DJ, Walter Silva. In 1965 Toquinho recorded 'Lua Cheia', thought to have been released the next year. Toquinho was well-known for his work with vocalist, Vinicius de Moraes, in the seventies. Their partnership of a little more than a decade wrought about 25 albums through some thousand performances together. Moraes' death in 1980 meant a solo career for Toquinho, also pairing with various Brazilian singers. With more than fifty albums to his name, a few for children, Toquinho is yet active touring with a strong fan base in Italy.

Toquinho   1966

   Lua Cheia

Toquinho   1970

   Carolina Carol Bela

       With Jorge Ben Jor

Toquinho   1975


       Album with Vinícius de Moraes

Toquinho   1977

   Gravado ao Vivo No Canecao


Toquinho   1978

   Live at Studio 3

       Filmed live

       With Tom Jobim & Vinicius de Moraes

       RTSI (Radio Television Swiss Italian)

Toquinho   1979

   Tarde em Itapuã

       With Maria Creusa & Vinícius de Moraes

Toquinho   1983



   Grabado en Suiza

       Filmed live in Switzerland

Toquinho   2006

   Negro Rei

       Album: 'Mosaico'

Toquinho   2012


       Filmed live


  Airto Moreira   See Airto Moreira.

  Born in 1942 in Granada, Spain, flamenco vocalist and composer, Enrique Morente was a teenager when he headed for Madrid to become a professional singer in flamenco clubs. In 1964 he sacked employment with the Ballet de Marienma which found him touring to New York City at the World's Fair and Washington DC at the Spanish Embassy. He afterward continued working with dance companies, touring Europe and Japan, as well as performing in tablaos (flamenco venues) in Madrid. Morente's first recording was 'Cante Flamenco' in 1967 with guitarist, Félix de Utrera. 'Cantes antiguos del flamenco' followed in 1969 with guitarist, Niño Ricardo. Such were traditional flamencos. If Antonio Mairena was both popular and criticized for his pursuit of traditional gypsy flamenco, Morente was something the inversion of that, introducing innovations that purists found hard to swallow. Such forays began with his 1971 album: 'Homenaje flamenco a Miguel Hernández' ('Flamenco Homage to Miguel Hernández'), on which flamenco lyrics were exchanged for poetry by Miguel Hernández. During the seventies Morente toured Mexico and the States before releasing another homage in 1977, this time to folk (flamenco) vocalist, Antonio Chacón: 'Homenaje a Don Antonio Chacón' (Homage to Antonio Chacón). Such was a return to orthodox flamenco before he began innovating again in 1978 with 'Despegando' ('Taking Off'). His next return to traditional flamenco was in 1990 on 'Morente-Sabicas', the year that guitarist (Sabicas) died. The next year he released the LP, 'Misa Flamenca', complete with Gregorian chants. (There had been earlier combinations of flamenco with the Catholic Mass.)  In 1995 Morente would cause a disturbance by combining flamenco with rock, recording 'Omega' with the British band, Lagartija Nick. 'Enrique Morente en la Casa Museo de García Lorca de Fuentevaqueros' was issued in 2001, an album addressing the poetry of Federico García Lorca. 'Pablo de Málaga', addressing the poetry of Pablo Picasso, appeared in 2008. In 2010 Morente was hospitalized for an ulcer, a coma ensuing that found him brain dead that December.

Enrique Morente   1967

   La Verdulera

       Album: 'Cante Flamenco'

Enrique Morente   1969

   En un sueño viniste

       Album: 'Cantes antiguos del flamenco'

Enrique Morente   1975

   A la Hora de la Muerte

       Album: 'Se hace camino al andar'

Enrique Morente   1980


       Filmed live with Guadalquivir

Enrique Morente   1989

   El lenguaje de las flores

Enrique Morente   1995

   Soleá por Bulerías

       Filmed live with Juan Habichuela

Enrique Morente   1996


       Album with Lagartija Nick

Enrique Morente   1998

   El lenguaje de las flores

       Album: 'Morente – Lorca'

Enrique Morente   2006

   Festival de Jazz de Vitoria-Gazteiz

       Filmed concert

Enrique Morente   2010

   Live en Córdoba

       Filmed live


Birth of Modern Jazz: Enrique Morente

Enrique Morente

Source: Flamenco Gypsy

Carnival Float Rio de Janeiro

Carnival Float   1920


Source: Brazil Carnival

Carnival Float Rio de Janeiro

Carnival Float   2010

Photo: Reuters

Source: Eirinika

Born in Rio de Janeiro in 1901, Clementina de Jesus brings Latin recording in Brazil to relevance with Carnival, de Jesus' having been a Carnival performer for decades before her initial record release. She was a member of the Portela Samba School, transferring to the Mangueira School in 1940 upon getting married rather late in life. Various Samba schools from about 200 different towns in the vicinity of Rio de Janeiro are what populate the Carnival Parade for competition each year, usually in February, the warmest month in Brazil. Large schools have wings within themselves and can parade more than 3000 performers, the top ten of which construct their floats in a huge warehouse called Cidade do Samba (Samba City). Though schools are typically from shantytowns, Carnival seating at the Sambadrome isn't for the poor, ranging from $55 to $3000 per ticket. The majority of the five million revelers in 2012, however, weren't seated at the Sambadrome, half a million of which were foreigners. Though samba had its roots in West African slave trade, Carnival was brought to Brazil by the Portuguese, thought to have begun with an event called the Entrudo in the 18th century. The Entrudo was three days in which one might go outside and get hit with wax balls about the size of a lime or orange filled with water, perfume, urine or flour, the latter if you were black. It was a manner of practical joking or way of marking whom one liked, or whom one didn't, which caused enough fighting to eventually get the celebration outlawed. In the mid 19th century a shoemaker named Jose Nogueira de Azevedo began marching the streets on Carnival Monday with a drum, tambourine and whistle, inviting who would to join him. That was the traditional folk parade called Zé Pereira to which the aristocracy added one of their own, the Grandes Sociedades, in 1855 during which some 80 costumed and masked aristocrats promenaded the streets. The float was added in 1907 upon the invention of the automobile. As can be seen, the Carnival float these days are spectacular works compared to once upon a time. De Jesus had witnessed or contributed to several decades of Carnivals before she began her career as a professional vocalist at age 63. Hired to sing in the musical, 'Rosa de Ouro' ('Golden Rose'), she found her name in big letters on an album cover in 1965 (shared with Aracy Côrtes) containing 'Rosa de Ouro', recorded by Odeon Records. A second volume ensued in 1967. For someone who had spent years supporting herself as a maid, and was a senior citizen before her debut recordings which not a lot followed, de Jesus nevertheless enjoyed a hugely popular career until her death in 1987 in Rio de Janeiro. Per 1976 below, all tracks are from the album, 'Clementina de Jesus', unless otherwise noted.

Clementina de Jesus   1965


       Album: 'Rosa De Ouro'

Clementina de Jesus   1970

   Vai, Saudade

       Album: 'Cadê Você?'

Clementina de Jesus   1973

   Marinheiro Só (Only Sailor)


Clementina de Jesus   1976

   Ajoelha (Kneels)

   Defesa (Defense)

   Incompatibilidade de Gênios

       'Incompatibility of Temper'

   Ingenuidade (Naivety)

   Olhar Assim (So Look)


       Filmed live

Clementina de Jesus   1979

   Boca De Sapo

       Album: ' Clementina e Convidados'


       Filmed live

Clementina de Jesus   1982

   Marinheiro Só

       Filmed live


Birth of Modern Jazz: Clementina de Jesus

Clementina de Jesus

Source: Camarilha dos Quatro

Carnival Float Rio de Janeiro

Carnival Float   2013

Photo: EPA/Antonio Lacerda

Source: Culture Town

  Flamenco and jazz were two very different realms. So were flamenco and classical. Having its origins in itself, it remains distinctly a genre all to itself. Its mention, however, is something requisite to the Latin emphasis of this page. Though Camarón de la Isla  wasn't a jazz musician, he was only one performer removed from jazz, flamenco guitarist, Paco de Lucía, famous for his Guitar Trio with Al Di Meola and John McLaughlin. Born José Monge Cruz in 1950 in San Fernando, Cádiz, Spanish flamenco singer, Cameron was the son of a blacksmith and basket weaver. He picked up the name, Cameron (Shrimp) because he was blond and fair in complexion. De la Isla began singing for money at bus stops and inns at age eight. He left for Madrid in 1968 where he held a residency at the Tablao Torres Bermejas (restaurant and flamenco venue) for twelve years. In 1968 he turned up on an album by Antonio Arenas, 'Flamencos Aus Dem Sonnigen Spanien', on one track, 'Bulerias Gitanas'. De la Isla released his first album in 1969 with guitarist, Paco de Lucía: 'Al erte las Flores Lloran'. That LP together with the next four with de Lucia were issued minus titles, they known by the titles of their first tracks. His first of several albums with guitarist, Tomatito, 'Como el Agua', arrived in 1981. In 1989 de la Isla recorded 'Soy Gitano', with the Royal Philharmonic Orchestra, that the first album to achieve gold status (50,000 copies) in Spain. His final recordings are thought to be those on 'Camarón ‎– Potro De Rabia Y Miel', released in 1992. He died of lung cancer in Badalona, Spain, that year, above 100,000 people said to attend his funeral.

Camarón de la Isla   1968

   Bulerias Gitanas

       Album: 'Flamencos Aus Dem Sonnigen Spanien'

       With Antonio Arenas

Camarón de la Isla   1969

   Una estrella chiquitita

       Album: 'Al Verte las Flores Lloran'

       With Paco de Lucía

   Detrás del tuyo se va

       Album: 'Al Verte las Flores Lloran'

       With Paco de Lucía

Camarón de la Isla   1972

   Quia me me vio de nacer

       Album: 'Canastera'

       With Paco de Lucía

Camarón de la Isla   1978

   Bendita sea mi tierra

       With Tomatito

Camarón de la Isla   1990


       Filmed live with Tomatito

Camarón de la Isla   1991

   Soy gitano

       Filmed live at the Festival de Montreux


Birth of Modern Jazz: Camarón de la Isla

Camarón de la Isla

Source: Radiole

  The Mutants, that is, Os Mutantes, were a group that existed only briefly, yet were important in Latin recording due their central significance within Brazil's Tropicalia movement. In resistance to the military junta that took power in '64, the interest of Tropicalia was to bring an invasion of foreign influences to Brazil, helping to hamper the military regime (1964-85) in the establishment of its own culture. Unlike popular music in the United States, which was simply popular or lacking another genre in which to place something, Brazilian Popular Music (MPB) had been a democratic political movement belly to belly against the regime. They were capitalistic interests which kept the junta in power, held in check by global opinion as MPB peacefully resisted through the years. What politics couldn't do the entertainment industry (record companies, etc.) would accomplish as capitalistic interests changed. But that wasn't until several years after Os Mutantes had dissolved. The Mutants' especial brew of foreign chemistry to inject into the greater climate of bossa nova was psychedelic rock, the influence of the invasion band of all invasion bands, the Beatles, also evident. The core members of the group (which personnel constantly changed) were Arnaldo Dias Baptista (guitar), Rita Lee (flute/vocal) and Sergio Dias Baptista (guitar), that trio complete and called Os Mutantes per 1966. The group's first performance was a television broadcast. Os Mutantes recorded its first three albums in 1968: 'Os Mutantes' ('68), 'Tropicalia, ou Panis et Circenses' ('68) and 'Mutantes' ('69). Rita Lee had pulled out of the group by 1973, Arnaldo by '74, each pursuing independent careers. The Mutants' final studio issue was 'Tudo Foi Feito Pelo Sol' in 1974. A live album was released in 1976. In 1978 Sergio dissolved the band. Os Mutantes reunited in London in 2006 minus Lee, replaced by Zélia Duncan. That was recorded and released the same year: 'Mutantes Live - Barbican Theater, London, 2006'. Albums recorded since then were 'Haih... Or Amortecedor...' ('09) and 'Fool Metal Jack' ('13).

Os Mutantes   1967

   Uma Noite

      Television broadcast with Gilberto Gil

Os Mutantes   1968

   Os Mutantes


Os Mutantes   1969



   Panis et Circensis/Bat Macumba

      Filmed live

Os Mutantes   1970

   A Divina Comédia


Os Mutantes   1971

   Jardim Eletrico



Birth of Modern Jazz: Os Mutantes

Os Mutantes   1970

Source: Rita Lee Rainha Mae

  Born Manuel Muñoz Alcón in 1943 in Cadiz, Spanish flamenco guitarist, Manolo Sanlúcar, was trained by his father, a baker who played guitar. Unlike Paco de Lucía, Sanlucar didn't mix flamenco with jazz. Rather, Sanlucar had a classical lean, combining flamenco with orchestra. As a composer he's a bit too late for the Classical section of these histories, but he brings up the tail end of this page well insofar as it concerns recording by Latin musicians in vicinity to jazz, howsoever that flamenco, as the folk music of Spain, remains a jealously guarded genre nigh exclusive to all but itself. Sanlucar began performing professionally at age thirteen ('57) with flamenco vocalist, Pepe Marchena. Sanlucar worked as a sideman before the release of his first name album, 'Recital Flamenco', in 1968. Unfortunately CERN is required to find those sessions so we give 1968 as his only known earliest vinyl. In 1971-72 Sanlucar released three volumes of 'Mundo y Formas de la Guitarra Flamenca', exampling the numerous forms of flamenco. In 1984 Sanlucar recorded 'Trebujena', a concerto for guitar and orchestra. 'Medea' emerged in 1987, a flamenco ballet composed by Sanlucar. 'Tauromagia', with bullfighting its theme, was issued in '88. That December saw the issue of 'Solea', again for the National Ballet of Spain. Sanlucar's symphony, 'Reservoir', premiered in Malaga in 1992. Also that year he was featured in the Carlos Saura film, 'Sevillanas'. Sanlucar's latest studio album, 'Locura de Brisa y Trino', was released in 2000 featuring vocalist, Carmen Linaris. In 2009 his 'Music for Eight Monuments' premiered, originally commissioned in 1991 by the government of Andalucia. Yet active as of this writing, Sanlucar remains among the principal interpreters of flamenco.

Manolo Sanlúcar   1968


      Album: 'Recital Flamenco'


      Album: 'Recital Flamenco'

Manolo Sanlúcar   1971

   Sevillanas de las Cuatro Esquinas

      Album: 'Mundo y Formas de la Guitarra Flamenca Vol I'

Manolo Sanlúcar   1975

   Sevillanas de las Cuatro Esquinas

      Album: 'Sanlucar'

Manolo Sanlúcar   1987

   Encuentro y Desencuentro

      Album: 'Medea'

Manolo Sanlúcar   1988


      Filmed live with Paco de Lucía


       Album: 'Tauromagia'


      Album: 'Tauromagia'

   Puerta del Principe

     Album: 'Tauromagia'

Manolo Sanlúcar   1991

   De Muleta

     Filmed live at Montreaux Jazz Festival

Manolo Sanlúcar   1992

   Fue en Sevilla

      Film: 'Sevillanas'

      Dance: Merche Esmeralda

   Sevillana a Dos Guitarras

      Film: 'Sevillanas'

      Duet with Paco de Lucía


      Film: 'Sevillanas'

      Dance: Merche Esmeralda

Manolo Sanlúcar   2000


      Album: 'Locura de Brisa y Trino'

      Vocal: Carmen Linares


      Album: 'Locura de Brisa y Trino'

      Vocal: Carmen Linares

Manolo Sanlúcar   2009

   Festival de la Guitarra de Córdoba

      With the Orquesta de Cordoba


Birth of Modern Jazz: Manolo Sanlucar

Manolo Sanlucar

Source: Membrilla

  The Inti-Illimani were (are) a folk group formed at the Universidad Técnica del Estado in Santiago, Chile. In 1966 UTE began holding concerts in its underground casino, the China. Student, Horacio Duran, organized those performances each Saturday night. in 1967 Duran formed a group with Jorge Coulon, Max Berrú and Pedro Yanez. Needing a name to give a concert in August that year with Chilean guitarist, Eulogio Dávalos Llanos, Dávalos suggested the name of a mountain near La Paz, Bolivia, Inti-Illimani, meaning "Sun of the Illimani". The group grew to seven members in 1967 but got pared down to five in '68 with the addition of two new members, now to consist of Max Berrú (bass), Ernesto Perez de Arce (flute), Jorge Coulon (guitar), Horacio Durán (churango [small guitar traditionally made with an armadillo shell]) and composer/director, Horacio Salinas (guitar). Homero Altamiranos (flute) was also in the group when it recorded its first album, 'Si Somos Americanos' ('If We Are Americans'), in 1969 in La Paz, Bolivia. The group would grow to eight members, remaining steady until the nineties. But things changed upon the military coup in Chile in September 1973, putting Augusto Pinochet in charge of the junta. Feeling less than secure (see Víctor Jara), the whole group went into exile (alike Quilapayún) in Rome. They then became the group to publicize Chile's antidemocratic situation to the rest of the world. Though the junta presided until March of 1990 upon the resignation of Pinochet, the Inti-Illimani returned to Chile in September of 1988, arriving by on the 18th to give an informal concert that very date. In 2005 the Inti-Illimani separated, leaving original member, Jorge Coulon, in charge while Horacio Durán and Horacio Salinas formed another band, the Inti-Histórico. The Inti-Illimani have released above thirty albums.

The Inti-Illimani   1969

   Si Somos Americanos


The Inti-Illimani   1973

   Viva Chile!


The Inti-Illimani   1975

   Inti-Illimani 3

      'Canto de Pueblos Andinos Vol 1'


   Live in Italy

      Filmed live

The Inti-Illimani   1977

   Chile Resistencia


The Inti-Illimani   1979

   Samba Lando

      Album: 'Canción para Matar una Culebra'

The Inti-Illimani   1982


      Album: 'Flight of the Condor'

The Inti-Illimani   1986

   De Canto y Baile


The Inti-Illimani   1987

   Fragmentos de un Sueño


      With Paco Pena & John Williams

The Inti-Illimani   1994

   Canna Austina/Tarantella

     Filmed live

The Inti-Illimani   1996

   Arriesgaré la Piel

     'I Will Risk My Skin'


The Inti-Illimani   2012


      Filmed live with Quilapayun

The Inti-Illimani Histórico   2006


      Filmed live

The Inti-Illimani Histórico   2012

   Cooperativa Live

      Filmed concert

The Inti-Illimani Histórico   2013

   Festival de Olmué

      Filmed live with Eva Ayllón

The Inti-Illimani New   2014

   Live in Copiapó

      Filmed concert

The Inti-Illimani Histórico   2015

   Expo Milan

      Filmed concert


Birth of Modern Jazz: The Inti-Illimani

The Inti-Illimani

Photo: Stephen Homer

Source: MTV


We suspend this of Latin recording and Latin jazz at the cusp of the seventies with the Chilean group, Inti-Illumini.




Early Blues 1: Guitar

Early Blues 2: Vocal - Other Instruments

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