Wednesday, March 29, 2017

Revista do Radio staff in January 1953

Revista do Radio 10 February 1953; Anselmo Domingos was its director; Borelli Filho its newsroom chief and Oscar Max Erhardt its manager.
from left to right: Sao Paulo's TV Record MC Blota Junior, Paulo Machado de Carvalho Filho, its manager, Mario Julio, Revista do Radio's Sao Paulo bureau chief & Anselmo Domingos, the magazine's diretor. 

Newsroom staff... 
from left to right: Max Gold, writer of many articles for the magazine and as of August 1956 the responsible for the Hit Parade page; journalist & lyricist Jair Amorim who wrote 'Discos na Revista', a page about the recording industry; journalist & song-writer Rene Bittencourt writes 'Feira de amostras'; Luiz Lopes, reports on news items and gossip bits; Wilson Angelo writes from Minas Gerais; Mario Julio reports from Sao Paulo. 

from left to right: Max Gold, Almeida Rego, Anselmo Domingos, actress Norma Geraldy who debuts at Radio Guanabara plus radio-actor Claudio Nonelli & columnist Roberto Ruiz


Friday, March 24, 2017

Vagalumes do Luar & Duo Guarujá

These were the original Vagalumes do Luar circa 1947; from left to right: Mario Vieira, tenor-guitar; Dídimo da Silva Azevedo, tambourine; Pedro Adamo, afouché; Armando Argentoni, lead singer & Orlando Barros, guitar.
Vagalumes do Luar a little later; see the original tambourine player has been substituted.
it looks like it's Carnaval time...
Vagalumes do Luar sing at Radio Record. 

Mario Vieira.



Era uma vez, um conjunto vocal que ilustrava um programa de calouros chamado 'Hora azul' e que era realizado pelo Clube Araguaya, aqui em São Paulo.

Era um punhado de esforçados que sem medir sacrifícios, comprando instrumentos a prestações e se submetendo a ensaios que ocupavam o tempo em que podiam estar 'dando murro', estava fadado a ter um destacado lugar no broadcasting paulistano.

Foi esse esforço e a vontade de vencer que levaram o conjunto até ao microfone da velha Radio Educadora Paulista, tal se dando 8 meses antes de sua extinção. Por 5 meses serviu o microfone da antiga PR-A6 para por o conjunto em contato com o público ouvinte.

O pequeno prestígio adquirido serviu para que, com a inauguração do Grill Room Bavaria, numa das primeiras feiras de amostras, no Parque Agua Branca, em 1941, fosse o novel conjunto chamado a prestar serviços.

Geraldo Jose de Almeida, locutor esportivo da Radio Record, ao fazer uma noitada naquele grill room gostou dos rapazes e, insistindo fez com que Geraldo Mendonça, então diretor artístico daquela emissora, fosse até lá a fim de ouvi-los. Ouvidos e aprovados, foram os rapazes convidados a comparecer nos estúdios da Record, ainda na rua Conselheiro Crispiniano, onde firmaram o 1o. contrato que, aliás, só teve início quando a PRB-9 mudou-se para suas atuais instalações, o que se deu em Outubro de 1941. Da estação de Raul Duarte não mais saíram os rapazes, a não ser para pequenas excursões artísticas por diversas cidades de nosso Interior.

Para o Carnaval de 1947, os Vagalumes do Luar já gravaram 'É no Pará', de Victor Simon; 'Que loura', de W. Rodrigues; 'Os dois toureiros', marcha de Moacyr Braga; 'Gilda, a mulher pecado', samba de Romulo Paz & W. Brandão;  'Dança da raça' de Conde e M. Braga e 'Flora', samba de Osmar França & Gordurinha.

Agora, em Janeiro de 1947, os Vagalumes do Luar deverão seguir para o Rio de Janeiro onde farão força para suas gravações.

Pedro Adamo,  percussionista do conjunto, nos contou que a ideia do nome deles surgiu por acaso, quando alguém mexendo com eles, por serem muito serenateiros, chamou-os de Vagalumes do Luar.

Armando Castro (nome real: Armando Argentoni), cantor solista; Orlando Barros, violão; Mario Vieira, violão tenor; Dídimo da Silva Azevedo, pandeiro e Pedro Adamo, afouché, tan-tan e outros instrumentos de percussão.

Duo Guarujá 

revista Melodias # 41 - 1958.

Armando Argentoni had worked as a singer for Radio & TV Record since 1941. He started as the lead-singer of Vagalumes do Luar under the stage name of Armando Castro.

Armando's wife, Manilce Latti had also been under contract with Radio Record for some time and even though they were married they had never thought about singing together until one day PRB-9 director Paulinho Machado de Carvalho suggested they should form a duo. They only needed a name.

Radio Record then set up a competition among its listeners and Duo Guarujá won the day. They were signed by Continental Records that released a few 78 rpms and an album featuring covers like 'Que murmurem', 'História de um amor', 'Ela', 'Apunhalada' etc. Their latest release was 'Falam de mim' a 'valsa-rancheira' backed with 'Saudades de um caboclo', a country tune. 

Maysa plays the host in 1957

An exuberant Maysa plays the host to Bob Stewart, Elza Laranjeira, Randal Juliano and Agostinho dos Santos. 
from right to left: Paulo Werneck, Elza Laranjeira, orchestra conductor Enrico Simonetti, Copacabana Records A&R man Nazareno de Brito, Agostinho dos Santos, Maysa & Leônidas Bastos from Radiolandia.



Friday, February 24, 2017

Orlando Dias



Um milhão de vezes
prometi a mim mesmo minha vida mudar
um milhão de vezes
não encontro a mim mesmo,
estou no mesmo lugar

Olhem o que dá em ficar sozinho
sem flores colher, só colhendo espinhos

Meu erro já sei foi amar demais
por amor eu parei
fui ficando p'ra trás,
fui ficando p'ra trás.

Sunday, December 4, 2016

Ataulpho Alves in 1943; Heitor dos Prazeres in 1945

Ataulpho Alves de Souza born on 2 May 1909; father: Severino de Souza; mother: Mathilde Bernarda de Jesus Mineiro; hight: 1.80 metres or 5 foot 9 inches.
Heitor dos Prazeres born on 2 June 1902; father: Eduardo Alexandre dos Prazeres; mother: Celestina Gonçalves Martins; 
Lamartine de Azevedo Babo born on 10 January 1904; father: Leopoldo de Azevedo Babo; mother: Bernarda P. Babo.

Sunday, November 20, 2016

Lulu Pavone in Lençois Paulista-SP 30 May 2013

blogger Lulu Pavone aka Carlus Maximus in the winter of 2013 at Lençois Paulista-SP. 
Lulu Pavone aka Carlus Maximus in 2013.
30 May 2013.

Lulu Pavone when he served the Brazilian Army in 1968; later on circa 1978, when he had his hair back on top.

Saturday, November 5, 2016

Maria Luiza, samba & torch-song singer


In the so-called 'old centre' in Sao Paulo, Brazil there is a musical-instrument shop called Contemporânea that used to have a fairly large room in its back where they assembled musicians who played 'choro' every Saturday morning. Choro is what could be called the 'Brazilian jazz'. Musicians of all ages played acoustic guitars, 7-string acoustic-guitars, cavaquinhos - a sort of Brazilian ukelele with 4 strings - and mandolins that usually carry the choro melody.

Those sessions were senhor Miguel's pride and joy. He was Contemporânea's owner and since his death they're not the same anymore. Sr. Miguel used to 'protect' the singers from the wrath of most musicians who used to feel belittled by having to accompany so many singers in succession. After sr. Miguel died the singers were relegated to second-citizenry and gradually abandoned the place due to restrictions coming from the instrumentalists. 

Well, when those sessions were really hot - circa 2010-1012 - there were a few singers who transcended all others. Among them there was Maria Luiza who sang with heart and soul. Listening to Luiza's singing was like reviewing Brazilian popular music's history: 'Aperto de mão', 'O sorriso do Paulinho', 'De conversa em conversa' from Isaura Garcia's repertoire and 'Devolvi' a samba-cancao written by Adelino Moreira for Nubia Lafayette were Luiza's strong points. 


Luiza doing what she did best: to sing her soul. She was respected by the musicians and always carried her little note-book where she kept the titles of her favourite songs alongside with the chords. She used to tell the musicians what chord she would sing this or that. The lady in pink is Silvili, another good singer. 

Maria Luiza was interviewed by journalist Thais Matarazzo once and here are some insights about her life.

Maria Luiza was born and raised on Rua Santo Antonio, in the inner suburb of Bela Vista, Sao Paulo when it was a mostly Italian section of town. She told Thais her Italian father was very strict and she had a few brothers and sisters. Some time later, when Luiza was 10 or 11 years old the family moved to Vila Prudente in the east section of the city. There Luiza started singing at birthday parties or amusement parks. She and her sister used to organize impromptu dances in houses that were still under constructions where Luiza would play the part of the crooner while friends danced. Her father wouldn't dream of what was happening. 

Luiza loved such popular radio singers as Linda Baptista, Ademilde Fonseca and Isaura Garcia and consequently sang their repertoire. Before too long Luiza fell in love with the 'handsomest fellow in the neighbourhood' (o morenão mais bonito do pedaço), they got married and had a boy and a girl. 

Even after married Luiza never stopped singing in public in 'serestas' (Brazilian equivalent to serenades). Luiza and her beau visited Europe once and grew older happily ever having had a  few grandchildren. 

Maria Luiza at 16 years of age; then at 22.
Luiza when she was 60 years old; Luiza on 22 September 2007 at Contemporanea.
Maria Luiza's home-made CD.

Maria Luiza singing with her ever present little note-book on 19 July 2014; this was probably the last time I saw Luiza. Not long after that she said she would be submitted to an operation because of her diabetes. She had the operation but didn't come alive from it. 
Luiza would sing Adelino Moreira's 'Devolvi' recorded originally by Nubia Lafayette. It used to be one of her favourites even though Arnaldinho and other musicians turned their nose when they accompanied her on 'Devolvi' which is considered 'square'.