Jacob Do Bandolim - see artist discography
Mane Do Cavaco "Martinho Da Vila Apresenta Mane Do Cavaco" (RCA, 1973)
Cavaquinho whiz Mane Do Cavaco whirls through a lively set of choro and samba instrumentals, evoking the spirit of Jacob Do Bandolim, though with modernized dips into the pagode samba sound that was emerging at the time, and even shows off a little taking a spin at a Johann Sebastian Bach melody (which he includes in a medley of classic tunes by Pixinguinha and Jacob Do Bandolim...) Do Cavaco's technique is rather emphatic and forceful -- although he's clearly a virtuoso, he doesn't throw in as many of the super-sweet licks that make the best choro music sound so subtle and refined. Regardless, this is a very nice record, packed with dazzling performances and fun melodies... Recommended!
Jair Do Cavaquinho "Seu Jair Do Cavaquinho" (EMI/Phonomotor, 2002)
Do Cavaquinho, a central member of the Portela samba school's velha guarda, is celebrated and spotlighted on this fine, affectionate album, which is, amazingly enough, his first solo album. The driving force behind the album is Phonomotor label head, pop star Marisa Monte, whose father was head of the Portela escola in the 1960s, but while she bankrolled the project, Monte remains very much in the background, content merely to document, not to dominate. All the songs were written or co-written by Jair over his decades-long career, and samba fans may recognize many of them from other artist's albums. The arrangements by Pedro Amorim warmly frame Do Cavaquinho's now-frail voice. These songs don't barrel along at lightning speed, but they also don't have to: the honied lyricism and well-draped nostalgia are enough to evoke the style's glory days. A nice record; if you enjoyed the Velha Guarda da Portela album that came out a couple of years earlier, then you should definitely track this one down as well.
Dodo E Osmar "Jubileu De Prata" (Warner, 1974)
Long before Caetano Veloso and his Salvadoran cohorts plugged in and went all wiggy, the Bahian duo of Adolfo Nascimento ("Dodo") and Osmar Alvares Macedo ("Osmar") had pioneered the use of electric guitars in Brazilian popular culture, inventing the "trio eletrico," where amplified sounds blasted from Bahian Carnaval floats. They started this tradition way back in 1950 -- nearly a decade ahead of the jovem guarda rock fad that brought electrified music into the Brazilian mainstream and, indeed, several years before rock and roll developed up North in the United States. Although the trio eletricos continue to this day, this mid-'70s album was already a bit of a nostalgia curio by the time it came out. And, while it is a nice document of this unique sound, and the pioneers that created it, the music itself is a bit static and blaring. Not really an album you'd want to put on for relaxation, but nice as a reference point if you're delving into Brazilian pop culture: in particular, you can hear where guitarist Moraes Moreira (of the group Novos Baianos) got some of his ideas.
Trio Eletrico Armandinho, Dodo E Osmar "Chame Gente" (RCA, 1985)
Trio Eletrico Dodo E Osmar "Ai Eu Liguri O Radio" (RCA, 1987)
On these two albums (rereleased together on a single CD) the manic pace of Dodo & Osmar's "trio eletrico" sound is slightly tempered by a greater melodic and stylistic range, though it's still a pretty weird, challenging sound. Kind of like Rush backing up Luiz Gonzaga, with a bit of a disco undertow. The Chame Gente album features guest appearances by Luiz Gonzaga, as well as Elba Ramalho, Moraes Moreira and Caetano Veloso -- it's manic, much musically solid, something to check out of you like stuff that sounds just plain weird and unlike most other music you've heard. The 1987 followup album is a bit tackier, but it branches out into reggae and funk, and is a little closer in spirit to the axe scene of the time.
Jorginho Do Imperio "Brilhantes" (Sony-Columbia, 1998)
The son of one of the founding members of the Imperio Serrano samba school, Jorginho is a fine songwriter and stylist, much in the mold of Martinho Da Vila. This best-of collection is a lovely set of pretty-sounding samba-pop of late 1970s/early '80s vintage, much in the classic '70s pagode style of artists such as Clara Nunes and Martinho Da Vila... This isn't as transcendant or magical as some music in the style, but it holds its own withthe best of the style. Consistently pleasant and low-key, with an adequately sexy, laid-back delivery... Worth tracking down!
Domenico +2 "Sincerely Hot" (Pingpong, 2003)
An atypical band, seeking an atypical audience, this trio was known a year earlier as Moreno Veloso +2, gaining widespread praise in Brazil and abroad for an alluring mix of indie rock, electronica and modernized MPB. Part of their acclaim came from the presence of Moreno himself, son of the mega-superstar Caetano Veloso, who showed much of his father's adventurous musical spirit and relaxed performance style. But, having established itself as a "world music" band to content with, the Plus Twos went ahead and followed the ultrademocratic game plan they'd set out with at the start, to have each of the band members record a disc under their name... This time around, it's drummer Domenico's turn, and the shift in musical direction is quite remarkable... This album boasts a pronouncedly modern, American-style tilt towards brash, bright electronic pop and indierock motifs worthy of any critic's darling out of Seattle, Portland or Chicago. The band dips into some softer, textured melodies that borrow from the bossa nova stylebook, but for the most part the point seems to be to make sure that we can see that the kids in Brazil are keeping up with hipsters in the rest of the world. This disc may not have the same mellow, mystic allure as their debut, but it's still pretty darn good, and consistently engaging. Worth checking out!
(See also: Moreno Veloso.)
Dominguinhos "Pe De Poeira" (Warner, 1996)
Later work by one of the foremost forro accordionists, Dominguinhos, who has worked with the legendary Luiz Gonzaga, as well various MPB stars, including Gilberto Gil (notably on Gil's mid-'70s album, Refazenda.) This is pretty solid stuff -- a classic, winning formula of catchy, good-natured melodies and propulsive rhythm, although a few tracks are not that engaging... Includes a nice medley of Gonzaga's "Numa Sala de Reboco" and Dominguinhos' own "Eu So Quero Um Xodo," which Gilberto Gil covered in the early '70s).
Dominguinhos (& Convidados) "Cantam Luiz Gonzaga" (Velas-Brasil, 1997)
A nice, if somewhat moderately-paced tribute to forro founder Luiz Gonzaga. Guest performers include Gilberto Gil, Daniela Mercury, Joao Bosco and Djavan, as well as lesser-known folks, like Nando Cordel and Marines... It's a pleasant album, but as I mentioned, a bit on the plush side, perhaps reconciling the frantic pace of forro with the more languid, glossy pop ethos of the Velas label. Pretty sweet overall, though.
Dominguinhos/Sivuca/Oswaldinho "Cada Um Belisca Um Pouco" (Biscoito Fino, 2004)
Wow!Ê Talk about your accordion music superfests!Ê Three veteran forro stars team up for a giddy, propulsive set of classic forro and baiao instrumentals, all performed at a manic, lightning pace, with each artist adding his own layer to the dense, fast-paced mix.Ê Rhythm piles on rhythm, creating sort of a hyper-syncopation that makes the music simply irresistible.Ê I will readily confess that I often find forro music and (shhhh! don't tell anyone!) accordions themselves a bit monotonous at times, but this is an album that transcends the limitations of the style... It's a really fun, kinda wild little set... well worth checking out!
Dominguinhos "Millennium" (Philips, 1998)
I imagine this is a pretty solid representation of this second-generation forro star, covering his work from 1988-98... It's pleasant, but a little too soft for me. It's a pity they couldn't include Gilberto Gil's version of "Eu So Quero Um Xodo," which the two recorded together in 1975 -- the version on here is okay, but far too soft by comparison. Anyway, this is okay, but ultimately it didn't hold my attention.
Dominguinhos "Focus: O Essencial De Dominguinhos" (BMG, 1999)
Likewise, this sticks to his poppier side, although there are also several sinuous, funky numbers thrown in that are more reminiscent of his early '70s work with Gilberto Gil. Gil guests on one track ("Abri A Porta"), as do Chico Buarque, Gal Costa and Luiz Gonzaga (on a couple of tracks). These 1979-86 RCA tracks are nicer overall than the later stuff on Polygram. Worth checking out, though some of the stuff seems pretty lightweight.
Joao Donato - see artist discography
Donga/Various Artists "A Musica De Donga" (Philips, 1974)
Legendary samba composer Donga (1890-1974) was a Rio native who worked for decades with choro pioneer Pixinguinha, and whose song "Pelo Telefone" is considered to have been the first samba song ever recorded, back in 1917. This album, which was released the year he died, is a tribute featuring artists such as Almirante, Elizete Cardoso, drummer Mestre Marcal, and an up-and-coming Leci Brandao. The disc also features a lengthy interview from 1969 wherein Donga discusses his career and music... Donga can be heard performing with Pixinguinha in the Oitos Batutas group, as well as in their Depression-era band, the Orquestra Tipica Donga-Pixinguinha. But for a more modern, nostalgic look at his work, this disc is pretty nice.
Dona Edith Do Prato "Vozes Da Purificacao" (Quintanda, 2003)
A delicious folkloric set of sambas de roda (circle sambas), featuring an elderly, 87-year old Bahian singer with a remarkably robust voice. Sounds very similar to records by Clementina De Jesus or Ivonne Lara; likewise, Dona Edith has attracted some heavy-hitting "youngsters" to her side, including Maria Bethania and Caetano Veloso, who each contribute sweetly restrained duet vocals, and Mariene De Castro, who sings on several songs. As the head of the Quintanda label, Bethania is the album's executive producer; I believe Dona Edith and her Vozes Da Purificacao ensemble have also been featured on some of Bethania's recent albums. Nice record... recommended!
Joao Do Vale "Joao Do Vale" (Columbia, 1981)
Composer Joao Do Vale had huge commercial success in the early 'Sixties with his politically-oriented songs on various "shows" and theatre pieces (particularly the popular play, "Opinao," co-written with Ze Keti, which made a bossa nova star out of Nara Leao) But for whatever reasons, Do Vale rarely recorded on his own, and this disc was only the second of three albums he completed within his lifetime. Although it starts off on shaky ground, with an overly saccharine MPB arrangement (to "Na Asa Do Vento"), this album quickly settles into more comfortable, classy terrain. Working with the top of Northeastern Brazil's pop crop -- Ze Ramalho, Jackson Do Pandeiro, Luiz Gonzaga Jr., Alceu Valenca -- and other luminaries such as Chico Buarque (who co-produced the album), Tom Jobim, Nara Leao and Clara Nunes -- Do Vale gets a nice cohesive sound out of an all-star cast. May be a bit mushy for some, but there was certainly much worse to be heard in MPB at this time. Worth checking out.
Jackson Do Pandeiro - see artist discography
Agostinho Dos Santos "Convite Para Ouvir" (Parrot, 1992)
Slow-paced ballads from a crooner who was best known for his work on the film Black Orpheus. This disc includes his versions of "A Felicidade", and "Manha De Carnaval," which were originally from the film. For the most part, this collection is full of slower, super-syrupy romantic material, Brazilian boleros, practically... It's okay, but probably not for everyone; similar in tone to Jair Rodrigues's schmaltzier material.
Agostinho Dos Santos "Agostinho Dos Santos" (InterCD, 2000)
Although this cheaply packaged reissue starts off with a drab, later recording, the remainder of the record seems to be earlier material, from the late 1960s (judging from the inclusion of early Chico Buarque tunes, etc. ) and was apparently recorded, at least in part, in Portugal, where Dos Santos spent part of his career. Again, it's fairly underwhelming material, probably of limited interest to the average Brazilian music aficiando. It's skippable.
