BOLA SETE

The words Bola Sete are Portuguese for the seventh ball in the billiard game, which is the only black one. He got his nickname after being the only Black man in a small group. From an early age, he was habitual at the Bohemian circles at Praça Tiradentes in Rio de Janeiro, where musicians gathered. 

At 17, he joined singer-song-writer Henricão and his group and went to Marilia-SP for an 8-month season. Returning to Rio, he played at every available venue in town and Niterói-RJ.

In 1945, Rio's Radio Transmissora instituted an acoustic-guitar contest, in which Bola Sete was the winner. He continued playing in Minas Gerais and Rio. 

At last, he was hired contractually by Radio Nacional and he worked in the famous 'Trem da Alegria' radio-show for 3 three years at Theatro João Caetano with Lamartine Babo, Heber de Boscoli & Yara Salles. 

In the late 1940s, he formed his own Bola Sete & seu Conjunto. During that time, Dolores Duran, who went on to be a famous singer-song-writer, was a crooner at the Béguin night-club and once invited, became the group's singer at Drink and Vogue two other popular night-clubs. 

In 1952, Bola Sete went to Italy and played in several night-clubs. He returned to Brazil in 1954, and formed an orchestra, with which he toured through Argentina, Uruguay and Spain. In 1955, he toured again, this time Lima, Peru and Santiago do Chile. 

In 1959, Bola moved to the U.S. and in 1962, was hired directly by the general manager of Sheraton Hotels to play in the several units of that chain. 

In 1960, the label Sinter, which had already recorded several cuts with him, released the album 'Bola Sete'. He had also recorded for EMI's Odeon, which released at the same time 'Bola Sete e Quatro Trombones' with his own compositions and Gershwin standards. 

In November 1962, Bola appeared at the historic Bossa Nova Festival at Carnegie Hall in New York. He also played at the Village Gate and Vanguard. Odeon released 'O Extraordinário Bola Ste' and the US label Fantasy released 'Bossa Nova'. 

He was then playing at New York's Park Sheraton and later in 1962, he moved to San Francisco to play at the Sheraton Palace. Dizzy Gillespie was staying there and listened to him every night. When Gillespie's pianist, Lalo Schifrin, came to the hotel, he met Bola Sete, with whom he had become acquainted and played with when the Brazilian toured Argentina in the 1950s. Invited by Gillespie, Bola played with him at the 9th Annual Monterey Jazz Festival with great success. 

Following tours and a recorded album with Gillespie, Sete moved again to San Francisco and joined Vince Guaraldi's trio. This two-year association, profitable for both artists, consolidated the already expressively popularity of Bola Sete in the U.S. They recorded together 1963's Vince Guaraldi, Bola Sete & Friends (Fantasy).

Then he formed his own trio with Brazilian musicians Tião Neto (bass) and Chico Batera (drums), with whom he performed at the 1966 Monterey Jazz Festival, again with great success. From November 11 to 13, 1966, Bola Sete was featured at the Fillmore Auditorium. 

In 1969, he appeared at the Brazilian and American Music Festival, in Mexico City together with Eumir Deodato, Milton Nascimento and Airto Moreira. 

His releases in the U.S. include 1964's 'Tour de Force' and 'From all sides' (with Vince Guaraldi), 1965's 'The solo guitar of Bola Sete' and 'The incomparable Bola Sete', 1966's 'Live at El Matador' (with Vince Guaraldi) and 'Autentico', 1967's 'At the Monterey Jazz Festival', 1969's 'Shebaba' - all through Fantasy; 1976's 'Working on a groovy thing' for Paramount, 1981's 'Ocean II' for Lost Lake, and 1985's 'Jungle suite' for Dancing Cat. 

A normal day at Radio Nacional in Rio de Janeiro in the 1950s. Some foreign sailors (at the back of the table) visit the great radio station. One can see Dolores Duran chatting with a blonde bespectacled sailor on the left; Emilinha Borba on the right; Bola Sete holds his guitar next to compere Cesar de Alencar... Nora Ney (with closed eyes) is standing up on the right.

at night club Casablanca in Sao Paulo in 1952, with Aracy de Almeida at the microphone while actress Tonia Carrero smokes away next to Dorival Caymmi and ...

At Rio de Janeiro's Hotel Gloria's night club Beguin's programme for the night: Guido de Morais his piano & his combo accompany Irene Macêdo;  Bola Sete & his combo accompany Dolores Duran. Anna Marly is the main attraction.

Bola Sete plays his guitar with singer Jorge Veiga in the back.

Booker Pittman, Lena Horne, Ophelia Pittman & Bola Sete in Rio de Janeiro, 1960. 

Djalma de Andrade aka Bola Sete

* 6 July 1923 in Rio de Janeiro-DF 

+  14 February 1987 in Greenbrae, California  (63 anos)

Djalma de Andrade, o famoso Bola Sete, nasceu em 6 Julho 1923, no Rio de Janeiro-DF. Djalma era o único menino entre seis irmãs de uma família muito pobre e  musical. Aos 6 anos, começou a tocar cavaquinho e, aos 9, ganhou seu primeiro violão.

Em 1933, com 10 anos, foi adotado por um casal de classe média, com o qual conheceu a música clássica. Na adolescência, costumava participar de rodas de músicos na Praça Tiradentes.

Em 1940, com 17 anos, seguiu para Marília-SP, como violonista de um conjunto do qual participava o compositor Henricão. Tocou em parques de diversão em Campinas-SP e em Niterói-RJ.

Em 1943, com 20 anos, sua familia o mandou para uma fazenda do interior para evitar que fosse recrutado e mandado p’ra Guerra na Europa. Na fazenda, Djalma teve contato, pela primeira vez, com a música folclórica, ao mesmo tempo em que continuava a tocar violão clássico.

Em 1945 venceu um concurso de violonista na Rádio Transmissora. Na Radio Nacional trabalhou 3 anos no famoso programa ‘Trem da Alegria’, transmitido diretamente do Teatro João Caetano, comandado por Heber de Bôscoli, Yara Salles e Lamartine Babo.  

No final da década de 1940 organizou o Bola Sete e Seu Conjunto e para cantar, convidou Dolores Duran, que era crooner da Boate Beguin. Atuaram nas boates Drink e Vogue.

DISCOGRAFIA

1949 – ‘Meu sonho’ (bolero) / ‘Carminho no choro’ – ao violão em composições suas; seu 1º 78 rpm pela Star.

1952 – ‘Sem compromisso’ / ‘Tô de sinuca’ (choros) – ao violão elétrico em composições próprias.

1953 – ‘Meditando’ (choro de Garôto) / ‘Baião da Bahia’ (Bola 7) – ao violão elétrico  

Em 1954, formou uma orquestra para atuar no Baile dos Artistas no Hotel Glória. Com este grupo excursionou pela Argentina, Uruguay e Espanha.

Em 1955, fez shows em Lima no Peru e em Santiago do Chile.

1955 - ‘Hora Staccato’ (choro de Dinicu e Heifetz)  / ‘Czardas’ (baião de Monti) – Bola 7 & seu conjunto - Continental

1956 - ‘Accarezzame’ (fox-trot de Pino Calvi e Nisa) / "Scapriccitiello" (baião de F. Albano e Pacífico Vento)

1957 - ‘Bacará’ (Bola 7) / "Aquarela do Brasil" (Ary Barroso) – Bola 7 e seu conjunto

1958 – ‘Mister Jimmy’ (samba-rock de Bola 7) / ‘Mambeando’ (Bola 7)

Em 1959, mudou-se para os EUA, onde atuou por 3 anos nos hotéis da rede Sheraton Hotels & Resorts, com shows diários.

1959 lançou o LP "Bola Sete... É a bola da vez" pela Odeon interpretando "Vai Que é Bom", e "Batucando Mesmo", de sua autoria, "Cadê a Jane" (Erasmo Silva e Wilson Batista), "Minha Saudade" (João Donato e João Gilberto) e "Eu Preciso de Você" (Aloísio de Oliveira e Tom Jobim).

Em 1960, gravou o samba "Batucando Mesmo", e o rock "Ma Griffe", ambos de sua autoria. Por essa mesma época, foram lançados dois LPs seus: "Bola Sete", pela Sinter, com "Um a Zero" (Pixinguinha e Benedito Lacerda) e "Império do Samba" (Zé da Zilda e Zilda do Zé), entre outras, e "Bola Sete e Quatro Trombones", pela Odeon, destacando-se "Mambeando", de sua autoria, e "The Man I Love" (Ira Gershwin e George Gershwin).

Em 1962, participou do Festival de Monterey, na Califórnia, como integrante do conjunto de Dizzie Gillespie. Lançaram um disco nos USA. 

Também em 1962, foi lançado no Brasil o LP "O Extraordinário Bola Sete", pela Odeon, destacando-se as músicas "Menino desce daí" (Paulinho Nogueira), e "Fico triste sem twist", de sua autoria.

Em novembro de 1962, apresentou-se no Festival de Bossa Nova, no Carnegie Hall, ao lado da cantora Carmen Costa, evento famoso que consolidou o novo ritmo nos USA. Apresentando-se ainda no Village Gate e no Village Vanguard.

Também em 1962, organizou seu próprio trio, com Tião Neto (baixo) e Chico Batera (percussão). Lançou, ainda em 1962, pelo selo Fantasy, o LP "Bola Sete Bossa Nova", interpretando "Manhã de Carnaval" (Antônio Maria-Luiz Bonfá), além de outras composições suas como "Sem Você", e "Cingadinho".

Em 1964, lançou dois LPs pelo selo norte americano Fantasy: "Tour de Force", com destaque para a música título, de Dizzy Gillespie, e "Mambeando", de sua autoria e, "From All Sides - Vince Guaraldi And Bola Sete".

Em 1965, lançou mais dois LPs pela Fantasy: "The solo guitar of Bola Sete", com destaque para "Flamenco Fantasy", de sua autoria e "Brazilliance" (Laurindo Almeida) e "The Incomparable Bola Sete", com destaque para "Lamento Negro" e "Be-bossa", de sua autoria, e "Valsa de Uma Cidade" (Ismael Netto e Antônio Maria).

Em 1966, voltou a gravar com Vince Guaraldi, lançando o LP "Live at El Matador - Vince Guraldi e Bola Sete", com "Favela" (Tom Jobim-Vinicius de Moraes), e "Black Orpheus Suíte" (Tom Jobim-Luiz Bonfá). No mesmo ano, gravou o LP "Autentico! - Bola Sete and the New Brazilian Trio", com destaque para "Brejeiro" (Ernesto Nazareth), "Quindim de Iaiá" (Ary Barroso) e "Pau de Arara" (Luiz Gonzaga-Guio de Morais).

Em 1967, lançou pelo selo Verve o LP "Bola Sete at the Monterrey Jazz Festival" no qual interpretou um medley com "Manhã de Carnaval" (Luiz Bonfá-Antônio Maria), "A Felicidade" (Tom Jobim-Vinicius de Moraes), e "Samba de Orfeu" (Luiz Bonfá-Antônio Maria).

Em 1969, ao lado de Airto Moreira, Eumir Deodato e Milton Nascimento participou do Festival de Música Brasileira e Americana, no México.

Em 1971, gravou o LP "Workin' On a Groovy Thing", na Paramount/RGE, com destaque para a música "With a little help from my friends" (Lennon & McCartney).

Ao todo gravou 10 LPs nos EUA, vários com Vince Guaraldi, além de "Ocean I", "Ocean II" e "Jungle Suite". Atuou no regional de Claudionor Cruz. Considerado ao lado de Luiz Bonfá, Laurindo Almeida e Garôto, como um dos "mais talentosos e modernos violonistas brasileiros dos anos cinqüenta", segundo os historiadores Jairo Severiano e Zuza Homem de Mello.

Ao longo de toda a sua carreira, existem relatos de uma forte dedicação ao estudo. Mesmo nos últimos anos de vida, já doente, sua mulher conta que estudava de quatro a seis horas por dia.

No final dos anos 50 mudou-se para os Estados Unidos, onde fez uma carreira de sucesso e viveu até a sua morte em 1987.

Fonte: Dicionário Cravo Albin da MPB e Wikipédia

1960.

1966.

Revista do Radio no. 357.

‘I was transformed’: the power of Brazilian jazz legend Bola Sete

The late guitarist, who would have just turned 100, blew the minds of Carlos Santana, John Fahey and more with his hypnotic technique and expansive creative vision

Beatriz Miranda writes for The Guardian

Monday, 14 August 2023 

San Francisco, early 1962. For Brazilian guitarist Bola Sete – who would have turned 100 last month – a night would hardly go by without a gig in the Tudor Room of the Sheraton Palace hotel. Bossa nova, seen as a classy background music in hotel dining rooms, was in high demand – but hired to play at cocktail hour, Sete would often go ignored by the audience of thirsty diners. Things changed when trumpeter Dizzy Gillespie recognised Sete and his guitar, the pair having met in Rio de Janeiro a few years earlier.

Gillespie was astonished, so much so that he would return to the Tudor Room with pianist Lalo Schifrin to witness what this little-known musician was capable of. “He was sending a message. It was a message very intense,” Schifrin later said.

Sete would soon play on Gillespie’s iconic album New Wave! and shone at the Monterey jazz festival, but he went further still. Now considered a forefather of New Age music, Sete also stood out for his hypnotic performance style, unparalleled guitar technique, and ability to translate the music of the world (from Brazil to India) to his singular jazz language.

The late John Fahey, visionary American folk and blues guitarist, said listening to Sete for the first time was “a turning point … I couldn’t sit still. I’d never heard anything like it since Charley Patton, and this was better. I was transformed, purged – I was not the same.” Carlos Santana, meanwhile, affirmed that the “holy trinity” of guitar playing consisted of Wes Montgomery, Gábor Szabó, and Bola Sete. In a testimonial for a posthumous Sete album, Samba in Seattle, Santana said that the Brazilian musician was “an orchestra by himself”.

Eventually, he would come to be sampled by the likes of Destiny’s Child and A Tribe Called Quest, but his journey began on 16 July 1923, in Rio de Janeiro’s port area. Djalma de Andrade (his birth name) was raised by highly musical relatives – many of whom played music, mostly samba and choro, for a living. De Andrade started venturing on to the guitar at three; at five, he gained a cavaquinho (typical samba string instrument) from his mother.

She died when Sete was five, and aged 10 he was adopted by a middle-class family who helped him to study classical guitar at Rio’s National School of Music. There, the guitarist formed his first Brazilian music ensemble, where, as the only Black member, he earned the nickname Bola Sete (an allusion to the brown billiard ball).

During his professional years in Brazil in the 1940s, Sete played choro with masters including Dilermando Reis, Garoto, and Radamés Gnatalli; learned folk music elements from his time spent in Rio’s countryside; and got inspired by foreigners such as Django Reinhardt and Charlie Christian. After years of performing with different ensembles across Europe and South America, he settled in San Francisco in 1959. Having played with pianist Vince Guaraldi from 1963 to 1966, he was named guitarist of the year by jazz bible DownBeat magazine and “one of the most innovative and eclectic guitarists in jazz history” by Leonard Feather’s Encyclopedia of Jazz in the Sixties.

“He was ascending in prominence among jazz critics and lovers, while the rest of the Brazilian musicians (who then resided in the US) were quickly falling in prestige,” says ethnomusicologist Kaleb E Goldschmitt. “He’s the one who escaped the ‘fad’ discourse.”

This fad was the 1962-3 period when bossa nova broke out of the upper middle-class bubble in those high class hotels and reached a much wider public. By 1964, most Brazilian bossa nova-related musicians were no longer considered cool, but jazz fans and the media were still raving about Sete – “jazz guitarist Charlie Byrd was able to identify his sound with a blindfold on,” says Goldschmitt – long before bossa nova’s second wave came with the Getz/Gilberto album and 'The Girl from Ipanema' hit.

“He used fingerstyle technique, which allowed him to play very independent lines, like a piano player,” says jazz guitarist Scott Hesse, also a music professor at DePaul University in Chicago. “His pianistic approach just wasn’t something that a lot of guitar players were doing to that level at that time.”

He gave that technique (a result of studying his Ramírez guitar in front of the mirror for many hours) a powerful expressiveness, particularly on stage. “He could actually read a room and understand how to make it a meaningful experience,” says Hesse, recalling that 1966 Monterey jazz festival performance. “From the first note, he had the people in the palm of his hand and then took them on a journey throughout the entire set.”

Performing in San Francisco circa 1976. Photograph: Tom Copi.

According to his widow, Anne Sete, “he was quiet most of the time, but had a magnetic presence that attracted others. Sometimes he would walk out on stage with his guitar and the audience would give him a standing ovation.” Anne and Sete met in 1965 when they became neighbors in Sausalito: “He radiated a sense of peace and love.”

Having played numerous gigs with Sete in the late 1960s, Brazilian drummer Chico Batera recalls how their shows always went beyond “mere” bossa nova and jazz repertoire. “There was a moment when the bassist and I would leave the stage, and Sete stayed to solo [Brazilian composer and classical guitarist] Villa-Lobos on his guitar.” Batera, who also played with Frank Sinatra and Ella Fitzgerald, adds: “Sete made history, increasing the prestige of Brazilian music among jazz lovers.”

Sete’s aim to expand music boundaries became even more sophisticated after the 1970s, when, dedicated to solo guitar studies, he opened dialogues with cultures as diverse as Spanish folk music, samba, north-eastern Brazilian baião, blues, and Indian music. Ocean (1975) pre-empts “a lot of what happened in the New Age music from the 1980s and 1990s,” Hesse says.

Before his death in 1987, Sete’s last works reveal a highly spiritual musician, inspired by the philosophy of yoga. “After Bola mastered the full lotus position, he told me that musical information could come in without any obstructions. Music, he said, required him to get out of the way,” says Anne, recalling that they loved going to the Marin County beaches and practising yoga on the sand.

Today, Bola Sete is unfamiliar to most North American and even Brazilian audiences. “People didn’t really know how to categorise him because he brought in so many different influences,” Hesse argues, while Goldschmitt affirms that guitarists have never really been acclaimed throughout jazz history: “Pianists are the most respected, and then brass players. The flute is way down at the bottom. And the guitar? Way, way lower.”

Nevertheless, Sete is present in ways people do not always realise. According to Hesse, “there are things Bola did that, at this point, are a part of every guitarist’s technical repertoire. He was way ahead of his time.”