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)

Genival Lacerda - A Menina De Campina Grande (rojão) from O Senador Do Rojão - Chantecler (1968)

Genival Lacerda died in January 2021 of COVID. He was one of the few forró greats to survive past the millennium. Genival Lacerda was one of the reasons I started collecting forró. His work recorded between the early 1960s and 1975 is astonishingly good. Lacerda found a commercial niche after 1975, clowning around on television and recording songs laced with double entendre. Lacerda was always interested in comedy and recorded a comedy record in 1970. However, the comedy part of his persona dominated his career after Severina Xique-Xique in 1975. Serious collectors initially scoffed when I expressed interest in collecting Genival Lacerda's records, primarily because they had not heard the period before he became a variety show staple in Brazil. However, this perception may have shifted some in the past 10 years. A Menina De Campina Grande, written by Genival Lacerda and Elino Julião and recorded in 1968, is a gem from his golden era when his skill in the genre was second-to-none. Genival Lacerda was a blazing light. 

Genival Lacerda - O Senador Do Rojão - Chantecler (1968)

Benedito Nunes - O Pai Da Gabriela Levo Saudades - Egal (1968)

Benedito Nunes was well connected and released quite a few records in the 1970s. He also appeared on later volumes of the CBS Pau De Sebo compilation series, with original songs that featured almost all of the big forró artists in the 70s, with a few notable exceptions. His earliest records are scarce. Levo Saudades, from 1968, sports a gorgeous cover and the music is beautifully produced. Egal mainly released vinyl in the 1960s and virtually everything on the label is exceedingly rare. Levo Saudades does not even appear in most Nunes discographies. My friends Samuel noted that the same bird cage appears on an Ary Lobo and a Caxanga LP. O Pai Da Gabriela was composed by Elino Julião.

Benedito Nunes - O Pai Da Gabriela Levo Saudades - Egal (year unknown)

Carlos Diniz - O Pinto Piou, Pá Pul (baião) & Côco No Rio from Forró Do Bom - Rozenblit (1968)

Databases and discographies for forró artists are improving, but haven't been as heavily researched as they need to be. My information about the careers of many of these folks is woefully incomplete. Alas, much of the information from this blog will be revised as more complete histories are published.

What is starting to surface is how intertwined the work may have been. While I knew that there was a tight scene around forró, suggested by the cross-collaborative nature of 1970s CBS records, it seems to be traditional for forró musicians to collaborate and cross-pollinate. Many people like Pedro Sertanejo, Abdias and Carlos Diniz may have been producers, engineers, label owners, songwriters, collaborators and session musicians. Forró from at least the 1950s through the 1970s, seemed to be similar to scenes in Nashville or Los Angeles, with lots of the same brilliant session players popping up on multiple records. Forró was more traditional, like the country Nashville scene, and never got quite as weird as the more experimental records coming out of LA in the 1960s.

Carlos Diniz's career as a recording artist spanned from the late 1950s on 78rpm (some reissued on compilation LPs) until the late 1960s with a string of great compactos and a single LP. Forró Do Bom is one of the stronger albums from the period. Diniz also collaborated with and/or wrote songs for a number of important artists from the day, including Luiz Gonzaga, Gordurinha, Zé Gonzaga, Trio Nordestino and Trio Nortista, indicating that he continued working into the early 1970s.

Carlos Diniz - Côco No Rio from Forró Do Bom - Rozenblit (1968)

Carlos Diniz - Pá Pul (baião) from Forró Do Bom - Rozenblit (1968)

Carlos Diniz - O Pinto Piou from Forró Do Bom - Rozenblit (1968)

Carlos Diniz - Rozenblit (1968)

Trio Mossoró - Quero Ver Se Não Vai Dar from Terra de Santa Luzia - Cantagalo (1968)

Past 1970, it is rare that to find mixed-gender forró groups. However, there were a few combos in the 1950s and 1960s, like Trio Marabá and Marinés e Süa Gente, that performed baioes (sometimes spelled baiãos) and forró. Trio Marabá harkened back to the group sound of the 1930s and 1940s. Trio Mossoró probably modeled themselves off of the more modern Marinés e Süa Gente, although Trio Mossoró featured male and female vocals and Marinés was the only singer in her group. This was highly unusual. Trio Mossoró records seem to be particularly desirable, thanks to the reputation of their De Norte a Sul LP. 

Trio Mossoró - Terra de Santa Luzia - Cantagalo (1968)

Vaudete E Seus Cadetes Do Ritmo - Terra Do Sol (baião) - Maraca compacto (1968)

Here is another rare offering from the Brazilian 1960s (primarily) indie label, Maraca. The first side is a marcha, which is essentially carnival samba, but the b-side is a very appealing baião. 

Vaudete E Seus Cadetes Do Ritmo - Terra Do Sol (baião) - Maraca compacto (1968)

Zenilton - Leão Coroado & Casa Amarela from O Forró Do - Chantecler (1968)

Zenilton is pure roots forró. At his best, he was a master of the haunting style of baião established by Luiz Gonzaga. He often appeared in the famous Lampião costume favored by Gonzaga. Leão Coroado & Casa Amarela originate from the 1968 LP, O Forró Do, the 3rd album released by Zenilton.

Zenilton - Leão Coroado from O Forró Do - Chantecler (1968)

Zenilton - Casa Amarela from O Forró Do - Chantecler (1968)

Zenilton - O Forró Do - Chantecler (1968)

Jacinto Silva - Côco Trocado from Nordeste Cabra Da Peste - Mocambo (1968) reissue of 78rpm (1963)

Released in 1963, this is the second 78rpm that Jacinto Silva recorded. Jacinto Silva 78rpm shellac doesn't seem to show up anywhere, even in Brazil. Côco Trocado would likely be lost to time if it wasn't reissued on a scarce compilation LP from Mocambo in 1968 called Nordeste Cabra Da Peste. 

Nordeste Cabra Da Peste - Mocambo (1968)

Ataulfo Alves - O Requebrado Da Mulata from compacto - Polydor (1968)

I got into forró after discovering the sound via Gilberto Gil weaved throughout Tropicalia. Jackson do Pandeiro, the king of forró along with Luiz Gonzaga, was one of Gil's touted heroes. However, direct links to the artists that influenced Jackson do Pandeiro is cloudy and indirect. The man was incredibly original. Ataulfo Alves, a friend of Jackson's, recorded O Requebrado Da Mulata in 1968 and, although samba, sounds uncannily like Jackson do Pandeiro's O Dono Do Forró from 1971. This may be one of the missing links to Jackson do Pandeiro's later sound.

Ataulfo Alves Eternamente Polydor 1968

Ataulfo Alves Tradição LP 1968

Cabo Tenório - Nasci Para Cantar from Ranchinho Da Alegria - Poema (late 1960s)

Ranchinho Da Alegria is an uncommon LP on a small label called Poema. The incredible Nasci Para Cantar by Cabo Tenôrio is the jewel of the album. Odete Amaral's name name is featured prominently and somewhat confusingly on the cover. Although he seemingly receives top billing, this is various artists compilation. While he is featured on the LP, Amaral did not compose Nasci Para Cantar or tracks for other artists. 

Cabo Tenório from Ranchinho Da Alegria - Poema (late 1960s)

Jota Fonseca - Deixei Meu Cariri (baião) - Cantagalo compacto (late 1960s)

Deixei Meu Cariri is a rare compacto-only cut by Jota Fonseca, an artist who may have been slightly lost in the shuffle during the transition from 78rpm to vinyl. While his output is somewhat negligible, his work is well regarded during the period in which the sound of forró exited the old world and entered the new. 

Jota Fonseca - Deixei Meu Cariri (baião) - Cantagalo compacto (late 1960s)

Nino e seu Trio Paranoá - Mariazinha from Foguete Baiãno - Chantecler (1968)

Compared to the glory days in the mid-1970s, the number of forró LPs from the early to mid-1960s was more sparse. Perhaps the pressings were smaller or the moment wasn't right, but gradually releases began to become more plentiful. Nino e seu Trio Paranoá's lone LP was released at the beginning of the boom. I don't know much about the artist. This appears to be Nino and his Trio's sole release, although it is possible that individual songs were released on the abundant compilations that began to appear at the end of the 1960s.

Nino e seu Trio Paranoá - Mariazinha from Foguete Baiãno - Chantecler (1968)

Jeremias Guimarães - Amei O Samba from Patuá Da Bahia - Aurora (1968)

Patuá Da Bahia is a classic 1960s LP rarity. I don't have much information on Jeremias Guimarães. He released a number of LPs, but this one appears to be the most difficult one to track down. The sound is similar to Jackson do Pandeiro and Zito Borborema LPs from the period. The production on this album is particularly strong and striking, more reminiscent of records from Philips and CBS from the period. 

Jeremias Guimarães - Amei O Samba from Patuá Da Bahia - Aurora (1968)

Trio Luar Do Sertão - Xaxado No Sertão (xaxado) from Os Brasas Do Xaxado - Bemol (1968)

In the coming months, I am going to post music from my rarest forró albums. 

Trio Luar Do Sertão were active for a few years in the late 1960s and toured with Genival Lacerda. It seems that Lacerda liked the group and assisted with the production of their sole album, Os Brasas Do Xaxado. Some of the songs from the album were partially composed by Lacerda, including Xaxado No Sertão. Although Trio Luar Do Sertão were only active for a few years, they eventually become Os 3 Do Nordeste creating a string of classic albums for CBS under Abdias in the 1970s. 

There are a few reasons why Os Brasas Do Xaxado is exceedingly rare. One: Most forró albums from the 60s were pressed in small numbers and there are few copies on the market for most artists. Two: Bemol was a tiny short-lived label and this record was never reissued. Three: Os 3 Do Nordeste are beloved and collectible, so this album is sought by fans of that group along with collectors of deep forró. Four: The album sounds as good as anything coming from major labels in this era. 

Trio Luar Do Sertão - Xaxado No Sertão (xaxado) from Os Brasas Do Xaxado - Bemol (1968)

Trio Luar Do Sertão - Os Brasas Do Xaxado - Bemol (1968)

Ary Lobo - Velho Barqueiro from Quem Vem Lá - Cantagalo (1968)

Like Jackson do Pandeiro, Ary Lobo seemed to be masterful at every Brazilian genre. Lobo had primarily been a forró recording artist before the mid-1960s, but he stretched a bit after that. Velho Barqueiro is listed as a toada canção, which is essentially a traditional Brazilian ballad. The production and Lobo's delivery turns it into something else entirely. It sounds like a sophisticated, mournful cowboy ballad sung on the dusty sertão. The master of this type of ballad may be Aldair Soares, who I will feature next on this blog.

Ary Lobo - Velho Barqueiro from Quem Vem Lá - Cantagalo (1968)

Ary Lobo - Velho Barqueiro from Quem Vem Lá - Cantagalo (1968)

Carlos Diniz - Novinho Em Fôlha (Xaxado) from compacto - Mocambo (1968)

Novinho Em Fôlha had been sitting on my want list for a while. It is fantastic and compacto only, making it very difficult to find and valuable. According to the Dicionário MPB, Diniz's first of 6 known 78 rpm singles was released in 1960. Many of these singles were reissued across volumes of the late 60s Viva São João LP series, preserving early Mocambo 78s from a variety of artists, including Genival Lacerda. Diniz also had a full length LP released on Rozenblit Passarela in 1968. He also appeared on numerous LP compilations. Although it is possible that his career continued into the 1970s, I have not been able to find evidence of this. He passed away in 1982.

Carlos Diniz - Novinho Em Fôlha (Xaxado) from compacto - Mocambo (1968)

Babá Okê Sussú - Preto Velho & Rainha Da Pontaria from Preto Velho - OKeh (1968)

Umbanda is a religion in Brazil that incorporates African, Roman Catholicism, Spiritualism and Native American (likely South American) beliefs. Some Brazilians call Sussú's records Voodoo. Voodoo is another syncretic religion that comes in multiple varieties. I am not an expert on Umbanda or Voodoo, so I can't speak to Sussú's beliefs specifically. I can say that Sussú's music, like his religion, is a combination of musics. Sussú does not play forró or samba specifically, but may incorporate the rhythms and melodies of both. 

Babá Okê Sussú - Preto Velho from Preto Velho - OKeh (1968)

Babá Okê Sussú - Rainha Da Pontaria from Preto Velho - OKeh (1968)

Babá Okê Sussú - Preto Velho - OKeh (1968)

Trio Nagô - Capoeira (y Roberto Luna) - RCA (1968), Solidão from Chansons du Folklore Brésilien - Decca (195_), Baião Do Chofer from Aquarela Cearense - Sinter (1954)

Trio Nagô are part of a tradition of vocal combos performing baião songs that existed from the 1940s until the 1960s. This style seemed to die off as performers like Ary Lobo and Jackson do Pandeiro defined the new style of forró (and baião) beginning in the mid-1950s. This post spans the career of Trio Nagô, with selections from the mid-50's through their stunning Capoeira single from 1968. The growth of the group, as well as the evolving sound of the times, is evident in all of these recordings. Although Capoeira is more immediate and captivating as a performance and production piece, I love the casual grace of Solidão. They are exceptional because they are so drastically different and captivating in their own right.

Trio Nagô y Roberto Luna - Capoeira from compacto simples - RCA (1968)

Trio Nagô - Solidão from Chansons du Folklore Brésilien - Decca (195_)

Trio Nagô - Baião Do Chofer from Aquarela Cearense - Sinter (1954)

Trio Nagô y Roberto Luna - Capoeira compacto simples - RCA (1968)

Trio Nagô - Chansons du Folklore Brésilien - Decca (195_)

Trio Nagô - Aquarela Cearense - Sinter (1954)

Jacinto Silva - Chega Prá Lá Mané from Quero Ver Rodar - CBS (1968)

Jacinto Silva - Chega Prá Lá Mané from Quero Ver Rodar - CBS (1968)

Jacinto Silva, with his breathless, brilliant phrasing, is one of the all-time greats. "Chega Prá Lá Mané has all of his signature greatness and a great back beat, but is more relaxed than some of the most blistering côco songs from Silva's CBS LPs. This EP / compacto contained 4 songs unavailable in any other format.

Jacinto Silva - Chega Prá Lá Mané from Quero Ver Rodar - CBS (1968)

Marinês – Amor é Mais Amor from Mandacarú - CBS 1968

Marinés – Amor é Mais Amor from Mandacarú - CBS 1968

Like Luiz Gonzaga, Marinês always has at least a few excellent tracks on every LP. She also had the best band in the business, along with Jackson do Pandeiro's Borborema. Marinês was married to Abdias, who, outside of Jackson and Gonzaga, may be the single most important musician in all of forró, thanks to his A&R work at CBS in the late 1960s and 1970s. Marinês and Abdias were a killer team and a force of nature.   

Marinês e sua gente - Mandacarú - CBS 1968

Marinês in bandit gear