Jackson Do Pandeiro - No Quebradinho (baião) from Copacabana 78rpm (1955)

Jackson do Pandeiro, along with a few other innovators like Ary Lobo, transformed Luiz Gonzaga's template for baião and forró. There is ample evidence of other acts, especially vocal harmony groups, that took baião to other places in the 1940s and 1950s. Some of these experiments are wonderful and fascinating, most notably 4 Azes e 1 Coringa, but they didn't become the sound of the future. Jackson won the prize. Although not quite as hi-fi, No Quebradinho is not unlike a record from 1974 or 2022. Few artists have ever had such a dramatic impact on the sound of an entire genre. 

Jackson Do Pandeiro - No Quebradinho (baião) from Copacabana 78rpm (1955)

Genival Lacerda - Rojão do trapia from No Forró do Limoeiro - Tropicana (1965)

Rojão do trapia is from Genival Lacerda's first album from 1965. The Tropicana version a reissue. The original cover was less attractive, but featured the exact same tracks. Genival recorded some rare 78rpm records that predate this release. Most were featured on a rare LP called Tomaram O Meu Amor featuring most, but not all, of his 78s. 

Genival Lacerda - Rojão do trapia from No Forró do Limoeiro - Tropicana (1965)

Jacinto Silva - Separação from Eu Chego Já - Tropicana (1973)

Eu Chego Já is a monster 1973 classic from one of one of the masters of forró, Jacinto Silva. His work was consistently strong from his mid-60s CBS material through his albums on the subsidiary label, Tropicana. Jacinto's voice is softer and less punchy than Jackson's or Genival's, but he knew how to connect with a track.

Jacinto Silva - Eu Chego Já - Tropicana (1973)

4 Ases e 1 Coringa - Tudo É Baião from RCA Victor 78rpm (1952)

4 Ases e 1 Coringa sound like they belong to another era. They were the bridge between Luiz Gonzaga and the next generation of acts. In the United States, the era of 4 Ases e 1 Coringa also belonged to crooners like Frank Sinatra, Dean Martin and the Mills Brothers. The Brazilians had their own close harmony vocal stylings. These days, DJs are unlikely to spin 4 Ases e 1 Coringa and you won't hear anything like them on the radio. What was once mainstream now sounds completely strange, with a touch of classical polish. I feel that way about a lot of pre-rock n' roll music. Some of the oddest modern recorded music was released between 1950-1960. 

4 Ases e 1 Coringa - Tudo É Baião from RCA Victor 78rpm (1952)

Zé Do Rojão - Côco De Dona Lili from Berço De Amor (compacto) - Arariboia (1960s)

This week, we feature a rare scorcher from Zé Do Rojão on the obscure Arariboia label. I have been a huge fan after being blown away by his 1975 LP on Premier. Unfortunately, his catalog is sparse and Zé Do Rojão's early compactos are highly desirable.

Zé Do Rojão - Côco De Dona Lili from Berço De Amor (compacto) - Arariboia (1960s)

Jorge Veiga - Cabra Macho (côco-baião Gordurinha) from Copacabana 10" & 78rpm (1955)

It took a while for multiple stars to appear in the wake of Luiz Gonzaga's success from the 1940s. Jorge Veiga, a great voice from 1950s baião, is one of the earliest. Veiga's career extended into the 1970s and included a wealth of great records. Cabra Macho from the self titled 10" was composed by Gordurinha, another great star of forró.

Jorge Veiga - Copacabana 10" & 78rpm (1955)

Jayme Griz / Coral Colégio - Rei Do Congo from Acauã - Mocambo (1968)

Jayme Griz with the Coral Colégio (College Choir) is not a typical post for this blog, but it is connected to northeastern music. The style is Maracatú. 

The Coral Colégio (College Choir) recording of Rei Do Congo from the Acauã LP was recorded in 1968 and is reminiscent of the Quarteto Em Cy's singing from the 1966 Baden & Vinicius LP Os Afro Sambas, which I highly recommend. The effect on record is haunting. It is possible that this album was inspired by the 1963 recording of Missa Luba by Les Troubadours Du Roi Baudouin, a Congolese boys choir that toured Europe and became a sensation. 

Rei Do Congo, written by Griz, was first recorded by Lourdinha Brasil in the late 1950s. Outside of the clear production, Lourdinha's version seems to have more in common with music from the 1930s and sounds dated in the 1950s. Coral Colégio's version sounds spooky and timeless.

 

Jayme Griz / Coral Colégio - Rei Do Congo from Acauã - Mocambo (1968)

Zito Borborema - Tudo Errado (samba-baião) from E Seus Sucessos - RGE (1960s)

Zito Borborema used to be a member of Jackson do Pandeiro's band. He later named his 70s band after the man, calling them "Borborema." This demonstrates the regard that Jackson had for Zito. His fabulous catalog speaks for itself.

 

Zito Borborema - E Seus Sucessos - RGE (1960s)

As Melindrosas - Ciranda, Cirandeiro from compacto - Copacabana (1980)

As Melindrosas combine carimbo, forró and disco packaged as a fun, attractive combo. This is uncommon in a genre either known for gritty, stone-faced, cheaply shot album covers or kinky, staged, double-entendré artistes (men surrounded by scantily clad women) that were becoming popular around this time. As Melindrosas make sense, though. Forró records are for dance floors. Why not add a bit of disco glamour?

As Melindrosas - Ciranda, Cirandeiro from compacto - Copacabana (1980)