Nelson Ferraz – Lamento Negro (1956) Featuring Radames Gnattali

8 09 2013

Link original: Nelson Ferraz – Lamento Negro (1956) Featuring Radames Gnattali
Publicado em: Wednesday, April 08, 2009 by zecalouro


Hello, good evening! I’ve been a frequent parrot at Rio de Janeiro downtown area in the last two weeks or so. The place has several small used book shops that really worth checking. Today I decided to try a store, just because I was 5 minutes early to a meeting in the building next door. I had five minutes and no guarantees, I did not know if the store was working with LPs, for instance. Sometimes I’m lucky, the owner was starting the LP selling business, without the require knowledge for make correct prices. I could make two wonderful bids in 5 minutes, each one for only 2 reais. This is the first, and I’m pleased to make it here, this is a rather curious disc. Let’s see.

This is Nelson Ferraz – Lamento Negro (1956), for Continental, featuring arrangements by Maestro Radames Gnattali. If you are in the mood of a very inquisitive album with a very different music, this is probably the album you were waiting for. Little I know about Nelson Ferraz, which is probably a classical singer, a baritone.

I can read your mind right now making the same association I did with the anthological Orfeu Negro (Black Orpheus). However, it is very unlikely that this disk is part of a theatrical play or movie, is just a career album of a rather unknown and surprising singer backed by Maestro Radames Gnattali. Tracks include:


Track List

01 – Terra Seca (Ary Barroso) Samba
02 – Funeral Dum Rei Nagô (Hekel Tavares / Murilo Araújo) Canto de Alufá
03 – Leilão (Hekel Tavares / Juraci Camargo) Canção
04 – Banzo (Hekel Tavares / Murilo Araújo) Canção
05 – Algodão (Custódio Mesquita / David Nasser) Samba
06 – Navio Negreiro (Alcyr Pires Vermelho / J. Piedade / Sá Róris) Samba
07 – Lamento Negro (Humberto Porto / Constantino Silva “Secundino”) Batuque
08 – Preto Velho (Custódio Mesquita / Jorge Faraj) Samba-canção


Este disco pode ser buscado no Flash Strap.

Radames Gnattali – Joias Musicais Brasileiras (1954)

28 08 2013

Link original: Radames Gnattali – Joias Musicais Brasileiras (1954)
Publicado em: Tuesday, March 24, 2009 by zecalouro


Hello, good evening! My Internet access stills very limited with extremely slow upload rates. I did not want to keep Loronix with no updates today and my solution was gathering a 10-inch album, which is not an issue since we have truly amazing albums to explore in the format. This one is a perfect example, this is the second LP released by Maestro Radames Gnattali at Continental. For reasons that I cannot understand Radames Gnattali name is not available at the front cover, just like the first one. It is necessary to read the back cover for this information. I would like to remember that covers and individual tracks are always available at the end my writings as individual downloads; the covers are available as direct download links with no Rapidshare. Let’s see.

This is Radames Gnattali – Joias Musicais do Brasil (1954), for Continental, featuring Radames Gnattali selections. arrangements and piano. A small and not credited band makes the accompaniement. All my searches on this album failured, which was the way I choose to retrieve credit information on the good musicians we have here, especially the guitar and accordion player. Tracks include:

01 – Rancho Fundo (Ary Barroso / Lamartine Babo)
02 – Despertar da Montanha (Eduardo Souto)
03 – Casinha Pequenina (Tradicional)
04 – Luar de Paquetá (Hermes Fontes / Freire Júnior)
05 – Nuvens (Eduardo Souto)
06 – Carinhoso (Pixinguinha / João de Barro)
07 – Guacyra (Hekel Tavares / Joracy Camargo)
08 – Linda Flor (Henrique Vogeler / Cândido Costa / Luiz Peixoto)


Este disco pode ser buscado no Martoni.

Radames Gnattali – Radames Gnattali (1984)

11 06 2013

Link original: Radames Gnattali – Radames Gnattali (1984)
Publicado em: Tuesday, November 18, 2008 by zecalouro


Hello, good evening! I’m not a big fan of piano solo albums; they use to be very complex, requiring a lot of concentration until you understand everything. I’m not taking in consideration this is a piano solo album played by one of the greatest Brazilian musicians ever. If I took it for a spin without knowing this is Radames Gnattali, I would be also really impressed about this music. I know we had previous piano solo albums played by Radames Gnattali, but what makes the difference here is the repertoire, full of tunes that we know by heart, making easy to understand Radames Gnattali improvisation at a first hearing. I would like to say thank you to Jorge Mello, for another fantastic contribution to Loronix. Let’s see.

This is Radames Gnattali – Radames Gnattali (1984), for Libertas, recorded live at Sala Cecilia Meirelles, Rio de Janeiro, December 1984. I can’t remember what I was doing on December 1984, but if I could travel back to the past, I would like to be at this concert. Front cover is also worth checking out with a Radames Gnattali drawing made by the unique style of Nassara. The back cover also includes a handwriting message by Antonio Carlos Jobim, inviting Radames Gnattali to drink a “chope” with “amendoim”.

radamés B

Tracks include:

01 – Carinhoso (Pixinguinha / João de Barro)
02 – Ponteio (Edu Lobo / Capinan)
03 – Preciso Aprender a Ser Só (Marcos Valle / Paulo Sergio Valle)
04 – Corcovado (Tom Jobim)
05 – Chovendo na Roseira (Tom Jobim)
06 – Manhã de Carnaval (Luis Bonfá / Antônio Maria)
07 – Cochicho (Pixinguinha)
08 – Do Lago à Cachoeira (Sergio Ricardo)
09 – Nova Ilusão (José Menezes / Luis Bittencourt)


Este disco pode ser buscado na Rádio Forma e Elenco.

Radames Gnattali – Radames Interpreta Radames (1958)

16 05 2013

Link original: Radames Gnattali – Radames Interpreta Radames (1958)
Publicado em: Wednesday, August 27, 2008 by zecalouro


Hello, good evening! I don’t know how many friends are facing the same problem, but since noon, I’m not reaching some international domains, including the ones hosted at Loronix dedicated server. I did not receive reports from Loronixers and I’m afraid is only happening with me or at least with the friends that access the Internet via Velox (a ISP in Brazil).

Anyway, I’m sure I will be back to business tomorrow. Meanwhile, this album should fix me. This is the legendary Radames Gnattali LP recorded in 1958 for the legendary Todamerica label, reissued several times as Radames Gnattali e Sua Orquestra – Radames Gnattali e a Bossa Eterna, being also reissued on CD in the year of 1997.

Loronix would be nothing without the help of respected Brazilian music collectors, such like Caetano Rodrigues, which I would like to credit for Radames Gnattali e Sua Bossa Eterna, available at this link. And Jorge Mello, for making available Radames Interpreta Radames, the first Todamerica issue. Let’s see.

This is Radames Gnattali – Radames Interpreta Radames (1958), for Todamerica, featuring Radames Gnattali and Quarteto Continental – not an orchestra as credited on “Bossa Eterna” reissue – including Radames Gnattali at the piano, Pedro Vidal Ramos (bass), Ze Menezes (violao, cavaquinho), Luciano Perrone (drums) and Heitor dos Prazeres (percussion). This album is acknowledged by serious Brazilian music specialists, it brings Radames Gnattali performing 12 popular tunes of his own, in two styles, Choros on Side A and Sambas on Side B. I hope you have the same pleasure I had hearing again this beautiful Jorge Mello’s contribution. Tracks include:


Quarteto Continental

Radames Gnattali
Ze Menezes
(violao, cavaquinho)
Luciano Perrone
Pedro Vidal Ramos
Heitor dos Prazeres

Track List

01 – Papo de Anjo (Radamés Gnattali)
02 – Puxa Puxa (Radamés Gnattali)
03 – Bolacha Queimada (Radamés Gnattali)
04 – Pé de Moleque (Radamés Gnattali)
05 – Zanzando Em Copacabana (Radamés Gnattali)
06 – Gatinhos no Piano (Radamés Gnattali)
07 – Amargura (Radamés Gnattali / Alberto Ribeiro)
08 – Vou Andar Por Aí (Radamés Gnattali)
09 – Cheio de Malícia (Radamés Gnattali)
10 – Escrevendo Para Você (Radamés Gnattali)
11 – De Amor Em Amor (Radamés Gnattali / Silva Costa)
12 – Seu Ataulfo (Radamés Gnattali)


Como já disto pelo Zeca, este disco já havia sido publicado no Loronix, em sua outra versão, Radamés e a Bossa Eterna, que pode ser buscada aqui no Órfãos do Loronix. Pra quem quiser buscar a versão original, ela pode ser está disponível no Um que Tenha.

Sobre este disco, há, também, um excelente artigo na Camarilha dos Quatro.

Dorival Caymmi – Caymmi (1985)

12 05 2013

Link original: Dorival Caymmi – Caymmi (1985)
Publicado em: Monday, August 18, 2008 by zecalouro



I received couple of messages with congratulations to Loronix tribute to Dorival Caymmi. However, I was not comfortable by missing the chance to introduce and remember Dorival Caymmi with music. I woke up this morning with a non schedule Mom’s visit and this album, by the way, a double album featuring Dorival Caymmi on the first LP with his violao and Dorival Caymmi at the second LP with Radames Gnattali. My mother ran to a store on Saturday, getting this one for our tribute. You should thank her for the initiative.

It is important to mention a strange coincidence here, which is the photo used yesterday on the tribute and the speeches of Antonio Carlos Jobim, Jorge Amado, Caetano Veloso and Carybe available at the first LP. Unfortunately, my scanner stills defective, delivering white stripes. I hope I can manage a new one tomorrow and update this post with this really amazing album. Let’s see.

This is Dorival Caymmi – Caymmi (1985), recorded by Fundacao Emilio Odebrecht to celebrate Dorival Caymmi 70th anniversary in 1985. This is not a commercial album, distributed only to Fundacao Emilio Odebrecht customers. Caymmi is 100% made of new recordings with Dorival Caymmi and his violao on the first LP and Dorival Caymmi with Maestro Radames Gnattali on the second LP. I’m confident this is what we need to make the best possible tribute to the Master.

God Bless Dorival Caymmi. Tracks include:


Dorival Caymmi
(music, voice, violao)

Radames Gnattali

(piano, arrangements)

Aloisio Didier
Joel Nascimento
Luiz Otavio Braga
(violão 7 cordas)
Mauricio Carrilho, Joaquim dos Santos
Henrique Cazes
Oscar Bolao, Beto Cazes
Zeca Assumpcao
( bass)
Camerata Carioca

Track List


01 – Depoimento de Jorge Amado
02 – É Doce Morrer no Mar (Dorival Caymmi / Jorge Amado)
03 – Festa de Rua (Dorival Caymmi)
04 – A Preta do Acarajé (Dorival Caymmi)
05 – Canção da Partida (História de Pescadores) (Dorival Caymmi)
06 – A Lenda do Abaeté (Dorival Caymmi)
07 – O Que É Que a Baiana Tem (Dorival Caymmi)
08 – Depoimento de Caetano Veloso
09 – Depoimento de Tom Jobim
10 – Das Rosas (Dorival Caymmi)
11 – Dora (Dorival Caymmi)
12 – Eu Fiz Uma Viagem (Dorival Caymmi)
13 – Peguei Um Ita no Norte (Dorival Caymmi)
14 – Maracangalha (Dorival Caymmi)
15 – Acalanto (Dorival Caymmi)
16 – Depoimento de Carybe


01 – Caymmiana (Radamés Gnattali) Instrumental
02 – Você Já Foi à Bahia (Dorival Caymmi)
03 – João Valentão (Dorival Caymmi)
04 – O Samba da Minha Terra (Dorival Caymmi)
05 – Sargaço Mar (Dorival Caymmi)
06 – A Mãe D’água e a Menina (Dorival Caymmi)
07 – Pescaria (Dorival Caymmi)
08 – Vatapá (Dorival Caymmi)
09 – Marina (Dorival Caymmi)
10 – Dois de Fevereiro (Dorival Caymmi)
11 – Oração de Mãe Menininha (Dorival Caymmi)


Como não está disponível em nenhum local, estamos disponibilizando provisoriamente na forma de um magnet link. OBS: não se esqueça de deixar semeando  depois que você terminar de baixar (uma boa razão seria pelo menos 2 vezes o que você baixar!)

Zeze Gonzaga & Quinteto de Radames Gnattali – Valzinho, Um Doce Veneno (1979) Zeze Gonzaga Tribute

5 05 2013

Link original: Zeze Gonzaga & Quinteto de Radames Gnattali – Valzinho, Um Doce Veneno (1979) Zeze Gonzaga Tribute
Publicado em: Friday, July 25, 2008 by zecalouro


I’m sad to announce the passing of a very important Brazilian singer, Zeze Gonzaga, who died today, 24 July 2008, in the city of Rio de Janeiro. This is Loronix tribute to Zeze Gonzaga, made by one of her most passionate fans, Mr. E., the great collaborator that introduced Zeze Gonzaga to our community.

Mr. E. sent us two albums, the third Zeze Gonzaga LP, Cancao do Amor Distante, recorded in 1967 and Valzinho, Um Doce Veneno, the fourth, recorded in 1979, after a hiatus of 23 years. Mr. E. said she was disappointed with the treatment Philips gave to her fourth album, deciding to terminate the career and open his own business, a school child. Mr. E. also sent a great article written by Aramis Millarch, reviewing Zeze Gonzaga fourth album, a tribute to Valzinho, featuring Quinteto de Radames Gnattali.

This is Zeze Gonzaga – Valzinho, Um Doce Veneno (1979), for MIS, a tribute to Valzinho, a very underrated composer and musician, featuring Radames Gnattali Quinteto, including Ze Menezes, Chiquinho do Acordeon, Vidal and the legendary Luciano Perrone. Herminio de Carvalho is in charge of production, delivering a very nice album that everybody should take it for a listen. Tracks include:



Zeze Gonzaga

Radames Gnattali
(piano, arrangements)

Ze Menezes

Luciano Perrone

Vidal and Chiquinho do Acordeon
(bass and accordion)

Aramis Millarch writing:

Em janeiro de 1979, Curitiba passou a ter um jardim de infância a menos, mas a música popular recuperou, em termos profissionais, a cantora que é adjetivada como “a voz mais afinada do Brasil”: Zezé Gonzaga. Doze anos após ter deixado a Rádio Nacional e após trabalhar (entre 1966 e 67) como jinglista, Maria José Gonzaga (mineira de Manhuaçu, 03/09/1926) tinha decidido por uma vida tranqüila na capital paranaense, onde inaugurou uma escola. Não pensava mais em voltar a gravar: desgostosa com os aborrecimentos que teve na Philips com seu último LP – Canção do amor distante, que levou dois anos para ser lançado – nada animava Zezé a pensar em música em termos profissionais.

Desde 1951, quando fez o seu primeiro 78 rpm, gravou mais de cem músicas, mas raras vezes teve a oportunidade de escolher o repertório – quase sempre formado por versões das mais indignas. E estes fatos fizeram com que Zezé, apesar de ser classificada como “a cantora dos maestros” – por sua afinação extraordinária, embora nunca tenha tido uma única aula de canto – tivesse optado por uma voluntária renúncia artística. E teria ficado em Curitiba, se Hermínio Bello de Carvalho não a tivesse convencido a entrar novamente num estúdio, para fazer um LP. Para tanto, houve alguns argumentos irrecusáveis: um repertório formado exclusivamente por um dos mais injustiçados (e esquecidos) compositores brasileiros – Valzinho (Norival Carlos Teixeira, carioca do bairro do Irajá, 25/12/1914). E os arranjos e participação do maestro e pianista Radamés Gnatalli e quinteto.

O resultado é que, gravado em apenas três dias em janeiro de 79, Valzinho, um Doce Veneno acabou sendo lançado às vésperas do Carnaval, quando Zezé ainda estava em Curitiba, tratando de encerrar as atividades de sua escola. Trata-se de um disco não apenas absolutamente histórico, por marcar o retorno de uma das mais belas vozes do Brasil, amparada no extraordinário quinteto de Radamés Gnatalli, mas que praticamente vem revelar canções de um compositor que permanecia no mais absoluto anonimato. Pois, se Emilinha Borba e sua irmã Nena Robledo, há mais de quarenta anos, já divulgavam “Doce veneno”, só recentemente esta música chegou a interessar uma cantora como Maria Creuza, que a escolheu para título de seu último LP pela RCA. Cantores como Orlando Silva, Paulinho da Viola e Macalé também gravaram músicas de Valzinho.

Mesmo assim, o que explica que um compositor de tanta inspiração e harmonias tão avançadas, e podendo ser classificado na pré-história da bossa nova, tenha permanecido anônimo por tantos anos? Suas harmonias, difíceis mas belas, eram curtidas por vocalistas sensíveis, mas sua timidez, espírito boêmio e total despreocupação material fizeram com que Valzinho nunca se preocupasse com o registro de suas músicas.

Mas, agora, esse disco vem provar uma série de verdades: Zezé Gonzaga continua a ter uma belíssima voz; Radamés Gnatalli e quinteto formam uma unidade especialíssima, que infelizmente só mesmo em ocasiões como esta pode se reunir; e Valzinho é o exemplo do talento que morreria esquecido se não houvesse garimpeiros como Hermínio Bello de Carvalho.

Aramis Millarch

Track List

01 – Óculos Escuros (Valzinho / Orestes Barbosa)
02 – Imagens (Valzinho / Orestes Barbosa)
03 – Tudo Foi Surpresa (Valzinho / Peterpan)
04 – Três de Setembro (Valzinho / Renato Batista)
05 – Felicidade (Valzinho / Reinaldo Dias Leme)
06 – Amar e Sofrer (Valzinho)
07 – Doce Veneno (Valzinho / Carlos Lentine / Goulart)
08 – Teu Olhar (Garoto / Valzinho) with As Morenas do Barulho
09 – Quando o Amor Vai Embora (Valzinho / Evaldo Ruy)
10 – Fantasia (Valzinho)
11 – Castigo (Valzinho / Manezinho Araújo)
12 – Tormento (Valzinho)
13 – Tempo de Criança (Valzinho / Luis Bittencourt)
14 – Não Convém (Valzinho / Jorge de Castro) with Valzinho – Viver Sem Ninguém (Valzinho / Marcelo Machado) with Valzinho

PS.: I am very tired, almost sleeping. Cancao do Amor Distante will appear tommorow. Thank you.


Este disco pode ser buscado no 300 Discos.

Radames Gnattali – Concerto Carioca Nr. 1 (1965)

5 04 2013

Link original: Radames Gnattali – Concerto Carioca Nr. 1 (1965)
Publicado em: Tuesday, May 06, 2008 by zecalouro


Hello, good evening! Before presenting another special release sponsored by our great collaborator Jorge Mello, I would like to announce that we are very close to finish the work of reconstruction of all Loronix archive, and this is really great. What initially was considered a difficult and exhausting accomplishment became a unique opportunity to review all posts on an amazing, funny and really useful virtual tour of Loronix past.

I confess that I will miss these days and also the new resources created to monitor the work in progress, such like the small screens with links to the last finished weeks. These screens were really useful to motivate people to monitor the work in progress, getting along with albums that they never could have the chance without this event. I think less then a few days are necessary to have everything finished.

Meanwhile, I think it is time to check this beautiful album recorded by Maestro Radames Gnattali in 1965 in commemoration of 400 years of Rio de Janeiro city, featuring a fantastic participation of a very special guest, the legendary Ze Menezes. Let’s see.

This is Radames Gnattali – Concerto Carioca Nr. 1 (1965), for Continental, featuring the piano and compositions of Radames Gnattali, Ze Menezes guitar and Orquestra Sinfonica Continental, conduced by Henrique Morelenbaum. This is a self-explanatory release, Concerto Carioca Nr. 1 is among the most acknowledged works of Radames Gnattali and the participation of Ze Menezes guitar is really worth checking. Tracks include:

01 – 1º Movimento – Abertura Marcha-Rancho (Radames Gnattali)
02 – 2º Movimento – Canção (Radames Gnattali)
03 – 3º Movimento Valsa Seresteira (Radames Gnattali)
04 – 4º Movimento “Final” Samba (Radames Gnattali)


Não tinha esse disco. Porém, graças ao amigo Andreas e Martoni ele pode ser buscado aqui.

Radames Gnattali – Ernesto Nazareth (1954)

28 03 2013

Link original: Radames Gnattali – Ernesto Nazareth (1954)
Publicado em: Monday, April 21, 2008 by zecalouro




Hello, good evening! Yesterday, we had a collaboration of cvllos that was supposed to be a never heard album by the legendary Casé, but it was only a reissue of a previous Caetano Rodrigues collaboration. You can check the story below at Brazilian Jazz Quartet – Jazz & Coffee (1958). Today, the tireless cvllos quickly recover all his prestige to our community, sending an anthological album, which is the first LP recorded by Maestro Radames Gnattali in 1954, entirely dedicated to the work of another important Brazilian musician, Ernesto Nazareth. Let’s see.

This is Radames Gnattali – Ernesto Nazareth (1954), for Continental, featuring Radames Gnattali piano and orchestra arranged by Radames Gnattali. I’m the past of Brazilian instrumental music to the forthcoming Enciclopédia Instrumental Brasileira website and the contribution of Radames Gnattali becomes very clear every day that passes. In Ernesto Nazareth tribute, the young maestro delivers piano playing and makes arrangements for the entire session. This album should be taken by its historical importance, I decided to keep the transfer as close as possible to the original album and some noise occurs. Thanks cvllos for this important contribution to Loronix. Tracks include:

01 – Expansiva (Ernesto Nazareth) Valsa
02 – Tenebroso (Ernesto Nazareth) Tango
03 – Ameno Resedá (Ernesto Nazareth) Polca-choro
04 – Odeon (Ernesto Nazareth) Tango
05 – Fon-fon (Ernesto Nazareth) Tango
06 – Apanhei-te Cavaquinho (Ernesto Nazareth) Polca-choro
07 – Confidências (Ernesto Nazareth) Valsa
08 – Batuque (Ernesto Nazareth) Tango


Como não está disponível em nenhum local, estamos disponibilizando provisoriamente na forma de um magnet link. OBS: não se esqueça de deixar semeando  depois que você terminar de baixar (uma boa razão seria pelo menos 2 vezes o que você baixar!)

Radames Gnattali e Laurindo de Almeida – Suite Popular Brasileira para Violao e Piano (1956)

28 02 2013

Linl original: Radames Gnattali e Laurindo de Almeida – Suite Popular Brasileira para Violao e Piano (1956)
Publicado em: Sunday, March 09, 2008 by zecalouro

Radames Gnattali e Laurindo Almeida - Suite Popular Brasileira (1956)

This Sunday is different from all others. Under normal conditions, Sunday delivers a low traffic at Loronix, but not the second Sunday of February, lasting 3 hours to the end, this Sunday is already the busiest one in Loronix history. That’s why I decided to show you a special album at the beginning, sent by my good friend cvllos as of my birthday gift. I don’t need to say more, just look at this cover to understand that we are facing a historical album. Let’s see.

This is Radames Gnattali e Laurindo de Almeida – Suite Popular Brasileira para Violao e Piano (1956), for the underrated Continental label. By the way, I need to say that Continental, a great label that had its peak in the 78rpm years and also in the early 70’s, recorded most of the albums released in the last five days at Loronix, Returning to this nice Continental 10-inch, Radames Gnattali delivers piano playing and all six compositions, while Laurindo Almeida plays violao eletrico “electric acoustic guitar”, which is a really unusual combination. I always thought the first Brazilian album featuring violao and piano was Samambaia by Cesar Camargo Mariano and Helio Delmiro, and then comes cvllos with this one, recorded 24 years before Samambaia in the same concept. Thanks cvllos. Tracks include:


Radames Gnattali
Laurindo Almeida
(violao eletrico)

Track List

01 – Invocação a Xangô (Radamés Gnattali)
02 – Toada (Radamés Gnattali)
03 – Choro (Radamés Gnattali)
04 – Samba Canção (Radamés Gnattali)
05 – Baião (Radamés Gnattali)
06 – Marcha (Radamés Gnattali)


Como não está disponível em nenhum local, estamos disponibilizando provisoriamente na forma de um magnet link. OBS: não se esqueça de deixar semeando  depois que você terminar de baixar (uma boa razão seria pelo menos 2 vezes o que você baixar!)

Paulo Moura – Paulo Moura Interpreta Radames Gnattali (1959)

9 02 2013

Link original: Paulo Moura – Paulo Moura Interpreta Radames Gnattali (1959)
Publicado em: Wednesday, February 13, 2008 by zecalouro

Paulo Moura - Interpreta Radames Gnattali (1959)

AdHoc really rocks! He made my week with this reposting. It seems he reads my mind. I have been wondering last Sunday if I would have a chance to repost this essential album, quite impossible to find on vinyl and for reasons that I cannot explain, very difficult to find on its 1995 CD reissue. Actually, this album deserves to be always commercially available. Thanks once again AdHoc, I can’t stop thinking on your next contribution. Perhaps you will read my mind again. Let’s see.

This is Paulo Moura – Paulo Moura Interpreta Radames Gnattali (1959), for Continental, presented here by AdHoc’s 1995 remastered CD reissue with upgrades on cover artwork, standard MP3s, FLAC files and the previous missing track 08 – Romance. This little 10-inch features Radames Gnattali compositions especially written for Paulo Moura, perhaps the first time in Brazil that a great Maestro and composer writes music to be recorded for a given musician, according with Haroldo Eiras liner notes. AdHoc says something that I totally agree, this album makes us feel very good, in peace, and that’s my wish to everyone engaged on Loronix community today, peace. Tracks include:


Paulo Moura
(sax alto)
Radames Gnattali
Baden Powell
Vidal or Paulo

Track List

01 – Monotonia (Radamés Gnattali)
02 – Devaneio (Radamés Gnattali)
03 – Nostalgia (Radamés Gnattali)
04 – Carioca 1959 (Radamés Gnattali)
05 – Sempre a Sonhar (Radamés Gnattali)
06 – Valsa Triste (Radamés Gnattali)
07 – Penumbra (Radamés Gnattali)
08 – Romance (Radamés Gnattali)


Esse disco pode ser buscado no Parallel Realities.

Antonio Carlos Jobim & Billy Blanco – Sinfonia do Rio de Janeiro (1960)

2 02 2013

Link original: Antonio Carlos Jobim & Billy Blanco – Sinfonia do Rio de Janeiro (1960)
Publicado em: Saturday, February 02, 2008 by zecalouro

Tom Jobim & Billy Blanco - Sinfonia do Rio de Janeiro (1960)

SinfoniaDoRioA research was needed to complete understand this album, which is the reissue of the second recording made by Continental of Antonio Carlos Jobim and Billy Blanco Sinfonia do Rio de Janeiro. Continental made the first Sinfonia do Rio de Janeiro recording in 1954 using the 10-inch format. Continental made it again in 1960, using different performers and taking advantage of the 12-inch format, including more tracks on Side B, an extended version of Sinfonia do Rio de Janeiro on Side A with a whole group of new performers compared with the ones in the 1954 session. This is the 1981 reissue of the 1960 session, an album that I did not know the existence and should amaze everybody, such as I was amazed when found it on one of those R$ 1,00 boxes. Let’s see.

This is Antonio Carlos Jobim & Billy Blanco – Sinfonia do Rio de Janeiro (1960), for Continental, presented here with the 1981 Continental reissue, featuring Radames Gnattali arrangements, orchestra and a constellation of performers, including Maysa, Os Cariocas, Severino Filho, Jamelao, Ted Moreno, among others. Loronix Preview Center brings track 03 – Copacabana, performed by Maysa. Tracks include:

The Performers

Radames Gnattali
Ted Moreno
Os Cariocas
Luely Figueiro
Albertinho Fortuna
Nelly Martins
Coral de Severino Filho

Track List

01 – Sinfonia do Rio de Janeiro (A Montanha, O Sol, O Mar) (Antonio Carlos Jobim / Billy Blanco)
02 – Cidade Maravilhosa (Andre Filho) with Coral de Severino Filho
03 – Copacabana (Joao de Barro / Alberto Ribeiro) with Maysa
04 – Valsa de uma Cidade (Ismael Neto / Antonio Maria) with Coral de Severino Filho
05 – Fim de Semana em Paqueta (Joao de Barro / Alberto Ribeiro) with Albertinho Fortuna
06 – Corcovado (Nazareno de Brito / Steve Bernardi) with Ted Moreno & Coral de Severino Filho
07 – Primavera no Rio (Joao de Barro) with Coral de Severino Filho


Inicialmente pensei que não tinha esse disco. Porém, tenho a versão de 1960, que tem outra capa (ver abaixo) e o título de Rio Cidade Maravilhosa. Ela está disponível no Parallel Realities.   A versão de 1954 também já foi publicada aqui no Órfãos do Loronix.

Radamés Gnattali - Rio - Cidade Maravilhosa

Radames Gnattali e Rafael Rabello – Tributo a Garoto (1982)

24 01 2013

Link original: Radames Gnattali e Rafael Rabello – Tributo a Garoto (1982)
Publicado em: Thursday, January 24, 2008 by zecalouro

Radames Gnattali & Rafael Rabello - Tributo a Garoto (1982)

Hello, good evening! This is the repost of an essential album released in February 2007 featuring two great musicians, Radames Gnattali and Rafael Rabello making a tribute to one of the greatest Brazilian guitar player ever, Anibal Augusto Sardinha, also known as Garoto, a very important artist that in his short life could influence several generations of Brazilian musicians. JOAO-SP provided this record in excellent conditions making possible to make the vinyl transfer with no noise reduction process. Let’s see.

This is Radames Gnattali & Rafael Rabello – Tributo a Garoto (1982), for Funarte, a Brazilian government institute. It is fantastic to hear a very young Rafael Rabello recording an album with the experienced and renowned Radames Gnattali on such unusual formation, piano and violao. The repertoire features on Side A five Garoto compositions while Side B brings a reduced version of Radames Gnattali Concertino para Violao e Orquestra, presented here as Concertino para Violao e Piano. This is a fantastic album and I’m very grateful to JOAO-SP for making this repost viable on perfect conditions, including several scans with lots of information about Garoto and the recording session. Tracks include:



Radames Gnattali
Rafael Rabello
(violao 7 cordas)

Track List

01 – Desvairada (Garoto)
02 – Gente Humilde (Garoto)
03 – Enigmático (Garoto)
04 – Nosso Choro (Garoto)
05 – Duas Contas (Garoto)
Concertino Para Violão e Piano (Redução do Concertino Nº 2 Para Violão e Orquestra) (Radamés Gnattali)
06 – Allegro Moderato
07 – Adágio (Saudoso)
08 – Presto (Com Espírito)

This is Radames Gnattali & Rafael Rabello – Tributo a Garoto (1982), at Loronix.

Hope uEnjoy!


Este disco pode ser buscado no Um que Tenha.

Radames Gnattali & Orquestra Sinfonica Nacional da Radio M.E.C – Brasiliana Nr. 6 | Concerto Romantico (1969)

20 01 2013

Link original: Radames Gnattali & Orquestra Sinfonica Nacional da Radio M.E.C – Brasiliana Nr. 6 | Concerto Romantico (1969)
Publicado em: Sunday, January 20, 2008 by zecalouro

Radames Gnattali & Orquestra Sinfonica Nacional da Radio M.E.C - Brasiliana Nr. 6 - Concerto Romantico (1969)

Hello, good evening! Loronix goes Classic this Sunday. I could not make different, Radames Gnattali is a very requested artist and Loronix has just a few albums among the vast discography of this extraordinary Brazilian musician. As far as I remember, we never had a Radames Gnattali LP covering his music and his awesome piano playing. By the way, Radames Gnattali is a gifted pianist, which is something that I could understand by listening this album today. Let’s see.

This is Radames Gnattali & Orquestra Sinfonica Nacional da Radio M.E.C – Brasiliana Nr. 6 | Concerto Romantico (1969), for Codil Ritmos, featuring two Radames Gnattali concerts for piano and orchestra, performed by Orquestra Sinfonica Nacional da Radio M.E.C, conduced by Maestro Alceo Bocchino and featuring Radames Gnattali at the piano in all tracks. This album took me by surprise; it was recorded in 1969 with a running time of 54 minutes, above the average of 35-40 of that period. I’m wondering why other artists did not take advantage of this “extended” running time. Tracks include:

Brasiliana Nr. 6

01 – I – Sobre Um Tema De Xangô (Radames Gnattali)
02 – II – Sobre Uma Escala Nordestina (Radames Gnattali)
03 – III – Prenda Minha (Radames Gnattali)

Concerto Romantico

04 – I – Allegro (Radames Gnattali)
05 – II – Lento Con Fantasia (Radames Gnattali)
06 – III – Allegro Moderato (Radames Gnattali)


Não tinha esse disco. Porém, graças ao amigo Andreas ele pode ser buscado provisoriamente na forma de um magnet link. OBS : não se esqueça de deixar semeando  depois que você terminar de baixar (uma boa razão seria pelo menos 2 vezes o que você baixar!)

Elizeth Cardoso, Radames Gnattali & Camerata Carioca – Uma Rosa para Pixinguinha – Live (1983)

19 08 2012

Link original: Elizeth Cardoso, Radames Gnattali & Camerata Carioca – Uma Rosa para Pixinguinha – Live (1983)
Publicado em: Monday, September 24, 2007 by zecalouro

There are several reasons for making this repost, but I will stay with the most important ones. This is the third album posted at Loronix, featuring Elizeth Cardoso, an artist with a great identification with this website. Additionally, as a very old post and an excellent album, deserves more visibility. The upgrade covers everything, such like improved scans, additional inserts, ripping, etc.

This is Elizeth Cardoso, Radames Gnattali & Camerata Carioca – Uma Rosa para Pixinguinha (1983), for Funarte, a tribute to Pixinguinha in the tenth anniversary of his passing, recorded live at Sala Funarte Sidney Miller, Rio de Janeiro. I think this album speaks by itself, a concert on a small theater that makes you feel the willing to travel back to the past and watch Elizeth Cardoso and Radames Gnattali performing together. Tracks include:


Elizeth Cardoso
Radames Gnattali
(arrangements, piano)
Mauricio Carrilho, Henrique Cazes, Luiz Otavio Braga

Camerata Carioca

Joel Nascimento
Joaquim Santos
(violao, reco-reco, surdo)
Mauricio Carrilho
(violao, violao-baixo, tamborim, prato, faca)
Luiz Otavio Braga
(violao de 7 Cordas)
Henrique Cazes
(cavaquinho, violao tenor)
(sax alto, flute, tan-tan)
Beto Cazes

Track List

01 – Mundo Melhor (Pixinguinha / Vinicius de Moraes) Isso É Que É Viver (Pixinguinha / Hermínio Bello de Carvalho)
02 – Fala Baixinho (Pixinguinha / Hermínio Bello de Carvalho) – Camerata Carioca / Elizeth Cardoso
03 – Ingênuo (Pixinguinha / Benedito Lacerda / Paulo César Pinheiro) – Elizeth Cardoso / Camerata Carioca
04 – Página de Dor (Pixinguinha / Cândido das Neves “Índio”) – Elizeth Cardoso / Camerata Carioca
05 – Lamento (Pixinguinha / Vinicius de Moraes)
06 – Patrão Prenda o Seu Gado (Pixinguinha / Donga / João da Bahiana) – Elizeth Cardoso / Camerata Carioca
07 – Uma Rosa Para Pixinguinha (Radamés Gnattali) – Radamés Gnattali / Elizeth Cardoso Rosa (Pixinguinha / Otávio de Souza) – Elizeth Cardoso / Radamés Gnattali
08 – Carinhoso (Pixinguinha / João de Barro)
09 – Samba Fúnebre (Pixinguinha / Vinicius de Moraes)


Esse disco pode ser buscado no Um que Tenha. Ele foi publicado posteriormente na série “Acervo Funarte da Música Brasileira” recebendo uma nova capa, que segue abaixo.

Radames Gnattali – Radames Gnattali e a Musica Popular (1990)

14 08 2012

Link original: Radames Gnattali – Radames Gnattali e a Musica Popular (1990)
Publicado em: Tuesday, September 18, 2007 by zecalouro

Here we go on another album where classical music touches popular music. This kind of albums, such like yesterday’s Maria Lucia Godoy, Turibio Santos and others, started on Loronix less than a few months ago. For my initial surprise, they are very popular and downloaded much more than my best estimates. Additionally, our community requests a lot works from Maestro Radames Gnattali and that’s what we have here, a tribute album to Radames Gnattali never released commercially. Let’s see.

This is Radames Gnattali e a Musica Popular (1990), produced by Kuarup for the oil & gas company Atlantic, a tribute to Radames Gnattali featuring Orquestra de Cordas Brasileira, Joao Carlos Assis Brasil, Chiquinho do Acordeon and Beto Cazes, released two years before Radames Gnattali passing. The repertoire brings Radames Gnattali compositions, with track 05 – Sarau pra Radames (Paulinho da Viola) as the exception. Side A features individual performances (as indicated on track list) and side B has a Radames Gnattali accordion concert, performed by Chiquinho do Acordeon, Beto Cazes and Orquestra de Cordas Brasileiras. Tracks include:

The Performers

Chiquinho do Acordeon
Joao Carlos Assis Brasil

Beto Cazes
Orquestra de Cordas Brasileira

Track List

01 – Remexendo – Orquestra de Cordas Brasileiras
02 – Maneirando – João Carlos Assis Brasil
03 – Amargura – Orquestra de Cordas Brasileiras / Chiquinho do Acordeom 04 – Negaceando – João Carlos Assis Brasil
05 – Sarau Pra Radamés – Orquestra de Cordas Brasileiras
06 – Concerto Para Acordeom Tamboras e Cordas – Allegro Moderato – Adagio – Aria Com espírito “Prenda minha” – Chiquinho do Acordeom / Beto Cazes / Orquestra de Cordas Brasileiras.


Esse disco pode ser buscado no Abracadabra.

Jacob do Bandolim & Radames Gnattali – Retratos (1964)

29 06 2012

Link original: Jacob do Bandolim & Radames Gnattali – Retratos (1964)
Publicado em: Friday, August 10, 2007 by zecalouro

Hello, Good Evening! I’m feeling good today, perhaps by hearing another fantastic collaboration by Old Nic. This is an album that I never had the chance to hear or look its cover, in the spirit of he album title, showing a well-known character in Brazil popular known as “Lambe-Lambe”, which is a photographer that holds his equipment on streets making photos of people. They have disappeared with the creation of these automatic photo machines. They were very common in Rio de Janeiro, but I think they were gone a decade or two ago.

This is Jacob do Bandolim & Radames Gnattali – Retratos (1964), for Columbia, featuring Jacob do Bandolim on tracks 01, 02, 03 and 04 backed up by Radames Gnattali and his Orchestra performing Retratos Suite. Radames Gnattali playing piano with no additional accompaniement performs the remaining tracks. Jacob do Bandolim and Radames Gnattali alone makes this album worth checking. Tracks include:

01 – Retratos (Suíte) I – PixinguinhaA (Radamés Gnattali) – Jacob do Bandolim
02 – Retratos (Suíte) II – NazarethH (Radamés Gnattali) – Jacob do Bandolim
03 – Retratos (Suíte) III – Anacleto de MedeirosS (Anacleto de Medeiros / Radamés Gnattali) – Jacob do Bandolim
04 – Retratos (Suíte) IV – Chiquinha GonzagaA (Radamés Gnattali) – Jacob do Bandolim
05 – Uma Rosa Para Pixinguinha (Radamés Gnattali) – Radamés Gnattali
06 – Moto Contínuo (Radamés Gnattali) – Radamés Gnattali
07 – Vaidosa Nº 1 (Radamés Gnattali) – Radamés Gnattali
08 – Canhoto (Radamés Gnattali) – Radamés Gnattali
09 – Noturno (Radamés Gnattali) – Radamés Gnattali
10 – Vaidosa Nº 2 (Radamés Gnattali) – Radamés Gnattali
11 – Maneirando (Radamés Gnattali) – Radamés Gnattali
12 – Porque (Radamés Gnattali) – Radamés Gnattali


Esse disco pode ser buscado no Um que Tenha.

Radames Gnattali e Sexteto – Radames na Europa com Seu Sexteto (1960)

12 05 2012

Link original: Radames Gnattali e Sexteto – Radames na Europa com Seu Sexteto (1960)
Publicado em: Sunday, July 01, 2007 by zecalouro

This is the kind of album that does not need introduction. Radames Gnattali Sexteto, featuring Edu da Gaita, Ze Menezes, Chiquinho do Acordeon and others. Self-explanatory. However, this album has much of Humberto Teixeira, composer, author of Asa Branca, he was a politician in the late 60’s and created a law to enable international promotion of the music from Brazil though international performances sponsored by Brazilian government. Several artists got the benefits such as: Poly, Waldir Azevedo, Leonel do Trombone, Orlando Silveira, Sivuca, Leo Peracchi and Radames Gnattali.

This is Radames Gnattali e Sexteto – Radames na Europa com Seu Sexteto (1960), for Odeon. I don’t know if there are others albums based on Lei Humberto Teixeira, since this one is really amazing, Radames Gnattali has the accompaniment of a Brazilian artists constellation and the music you will hear is really above the average. Do not miss. Tracks include:


Radames Gnattali
Edu da Gaita
Chiquinho do Acordeon
Luiz Bandeira
Ze Menezes
Luciano Perrone
Aida Gnattali

Track List

01 – Aquarela do Brasil (Ary Barroso)
02 – Seu Ataulfo (Radamés Gnattali)
03 – “Capricho Nortista” Baião (Humberto Teixeira / Luis Gonzaga) Asa Branca (Humberto Teixeira / Luis Gonzaga) No Meu Pé de Serra (Humberto Teixeira / Luis Gonzaga) Mangaratiba (Humberto Teixeira / Luis Gonzaga) Juazeiro (Humberto Teixeira / Luis Gonzaga) Siridó (Humberto Teixeira / Luis Gonzaga)
04 – A Felicidade (Tom Jobim / Vinicius de Moraes)
05 – Primeiro Amor (Hernâni Silva)
06 – O Apito no Samba (Luis Bandeira / Luis Antônio)
07 – Batuque (Edu da Gaita)
08 – Foi a Noite (Tom Jobim / Newton Mendonça)
09 – Catete (Humberto Teixeira)
10 – “Na Cadência do Baião” Não Interessa (Luis Bittencourt / José Menezes) Baião da Garoa (Luis Gonzaga / Hervé Cordovil)
11 – Alvorada (Jacob do Bandolim)


Este disco pode ser buscado no Harmonica Perfumada.

Radames Gnattali e Sua Orquestra – Radames e a Bossa Eterna (1964)

12 03 2012

Link original: Radames Gnattali e Sua Orquestra – Radames e a Bossa Eterna (1964)
Publicado em: Tuesday, April 24, 2007 by zecalouro

Caetano Rodrigues is 100% in charge, today’s picks are all decided by Caetano, I’m performing today such like an operator. This is an important warning, get yourself ready for amazing posts today, starting with this one, a very hard to find album of a fundamental Brazilian artist, Radames Gnattali.

This is Radames Gnattali e Sua Orquestra = Radames e a Bossa Eterna (1964), for Continental. Little is known about this beautiful album with 12 Radames Gnattali compositions. However, we know a lot about Radames Gnattali and his important contribution to Brazilian music along several decades, making the bridge between the erudite and popular field, influencing every Brazilian artist we know, such like: Antonio Carlos Jobim, Garoto, among others.

01 – Papo de Anjo (Radamés Gnattali)
02 – Puxa Puxa (Radamés Gnattali)
03 – Bolacha Queimada (Radamés Gnattali)
04 – Pé de Moleque (Radamés Gnattali)
05 – Zanzando Em Copacabana (Radamés Gnattali)
06 – Gatinhos no Piano (Radamés Gnattali)
07 – Amargura (Radamés Gnattali / Alberto Ribeiro)
08 – Vou Andar Por Aí (Radamés Gnattali)
09 – Cheio de Malícia (Radamés Gnattali)
10 – Escrevendo Para Você (Radamés Gnattali)
11 – De Amor Em Amor (Radamés Gnattali / Silva Costa)
12 – Seu Ataulfo (Radamés Gnattali)


Este disco pode ser buscado na Rádio Forma e Elenco do Martoni.

Luiz Eca e Radames Gnattali – Os 6 Mais numa Imagem Barroca (1968)

12 02 2012

Link original: Luiz Eca e Radames Gnattali – Os 6 Mais numa Imagem Barroca (1968)
Publicado em: Tuesday, March 20, 2007 by zecalouro

Hello, Good Night! I had a full day of working, this time, dedicated 100% to Loronix. zecalouro has the energy and runs through ideas. Gimme a nice idea and you will make my day and also get a happy friend. Good ideas works like a jet propulsion turbine for me, I cannot stop until reaching a level of comfort that the idea is viable and the resources to make it working are available. Stay tuned; the forthcoming days will bring exciting news to our community.

Let’s go straight to a great Caetano Rodrigues release. Actually, if you look bellow, you will see an awesome Samba Jazz record provided by Caetano that nobody has already share thoughts about it, with the exception of g picanco and myself. Gentleman, comments are an essential piece. If nobody places comments we cannot evaluate if we are on the right or wrong track. Comments are open to everybody and available to address any doubt or difficulty on it.

This is Luiz Eca e Radames Gnattali – Os 6 Mais numa Imagem Barroca (1968), for CBS, probably another Luizinho Eca LP unknown for many friends. This record is really inquisitive, on a first sight I tought it was recorded live in Minas Gerais, just taking in consideration the cover reproduction. However, we have a studio album here, with Luiz Eca and Radames Gnattali playing cravo on top of a popular repertoire by Chico Buarque, Jonny Alf, Dori Caymmi, Sidney Miller and Milton Nascimento. This record was kindly sent by ClaudiaB from Cantos e Encantos and has Helcio Milito in charge of production. Tracks include:

01 – Carolina (Chico Buarque)
02 – Eu e a Brisa (Johnny Alf)
03 – Morena dos Olhos D’água (Chico Buarque)
04 – Realejo (Chico Buarque)
05 – Travessia (Milton Nascimento / Fernando Brant)
06 – Oferenda (Luis Eça / Lenita Eça)
07 – O Circo (Sidney Miller)
08 – Com Açúcar Com Afeto (Chico Buarque)
09 – O Cantador (Dori Caymmi / Nelson Motta)
10 – Imagem (Luis Eça / Aloysio de Oliveira)
11 – Lua Cheia (Chico Buarque / Toquinho)
12 – A Praça (Sidney Miller)


Este disco pode ser buscado no Um que Tenha.

Antonio Carlos Jobim & Billy Blanco – Sinfonia do Rio de Janeiro (1954) 10-inch

16 12 2011

Link original: Antonio Carlos Jobim & Billy Blanco – Sinfonia do Rio de Janeiro (1954) 10-inch
Publicado em: Wednesday, January 17, 2007 by zecalouro

Here we have another LP that zecalouro is keeping locked inside his cage for months. I would never imagine that today would be the best day to show it to Loronixers, I’m feeling a little dizzy today. Several new friends are visiting our community for the first time today. Loronix was recommended by the Oliver Wang from the awesome and I would like to please our new visitors with this legendary record.

This is Antonio Carlos Jobim and Billy Blanco – Sinfonia do Rio de Janeiro (1954), for Continental, a very early 10-inch recording capturing the early Tom Jobim and Billy Blanco compositions on symphonic format with orchestra directed and arrangement by Maestro Radames Gnattali. Actually, Sinfonia do Rio de Janeiro is not one of the most inspired Tom Jobim works, Jobim was still defining his style and did not meet already his long-term partner Vinicius de Moraes.

The historical aspect, the participation of several renowned artists, such as: Nora Ney, Lucio Alves, Os Cariocas, Dick Farney and Elizeth Cardoso and Radames Gnattali Orquestra worth the admission price alone. You should not miss it. Tracks include:

01 – A Montanha – o Sol – o Mar (Sinfonia Popular Em Tempo de Samba) (Billy Blanco / Tom Jobim) – performed by: Nora Ney / Lúcio Alves / Os Cariocas / Gilberto Milfont / Emilinha Borba / Dick Farney /Doris Monteiro / Jorge Goulart / Elizeth Cardoso
02 – Arpoador (Tom Jobim / Billy Blanco)
03 – Noites do Rio (Tom Jobim / Billy Blanco)
04 – O Samba de Amanhã (Tom Jobim / Billy Blanco)
05 – Hino ao Sol (Tom Jobim / Billy Blanco)
06 – Descendo o Morro (Billy Blanco / Tom Jobim)


Este disco pode ser buscado no Um que Tenha.  

Radames Gnattali – Segredo para Dois (1963)

7 08 2011

Link original: Radames Gnattali – Segredo para Dois (1963)
Publicado em: Wednesday, August 02, 2006 by zecalouro

Radames Gnattali is a Brazilian legend, a true genius that inspired Antonio Carlos Jobim and many others. There are just a few solo LPs released by Ganattali and zecalouro is happy to share this one with Loronixers. Maestro Gnattali is so important and essential to Brazilian music that deserves a complete bio from All Music, as follows:

Radamés Gnattali is a fundamental name in Brazilian music. A classically trained composer, conductor, orchestrator, and arranger, he worked for a living in the popular side of the business, deeply influencing Brazilian popular music with his arrangements and conceptions through his omnipresence at the musical direction of Rádio Nacional, the biggest broadcast outing in Brazil during that time. His compositions, both in the erudite and popular fields, concurred to bridge the gap between the two idioms, a self-imposed task that was always kept in sight throughout his whole life.

Both his father and mother were musicians and he started his musical apprenticeship with his mother at age six; later he also took the violin, with his cousin Olga Fossati. At nine, he was decorated by the Italian consul after conducting a child orchestra with his own arrangements. At 14, he was already playing cavaquinho and violão and began his studies with Guilherme Fontainha. In the same year, he was examined by the Escola de Belas Artes de Porto Alegre and was admitted at once to the fifth grade. At 16, he was employed at the Cine Colombo, accompanying silent movies. His desire was to be a concerto pianist, but his parents didn’t have the means to provide for his training and he had to work in dances and take in pupils. In 1923, he finished his studies with honors and decided to go to Rio. His professor, Fontainha, used all his prestige to appoint a concert by Gnattali on July 31, 1924, at the Instituto Nacional de Música. In front of a selected audience composed of journalists, musicians, critics, and authorities, he disencumbered himself from the task with greatness that registered with the critics from the period. Soon he met Ernesto Nazareth, who played at the Cinema Odeon, and he then became a frequenter of Galeria Cruzeiro, a piano seller that employed Nazareth as a sheet music demonstrator. After a while, Nazareth asked Gnattali to play for him, receiving enthusiastic applause. Mário de Andrade, a respected musicologist, was, at the time, director of the Conservatório Dramático Musical de São Paulo and invited Gnattali for a performance there.

He returned to Porto Alegre and continued to teach while performing extensively with the Quarteto Henrique Oswald, where he exercised and experimented his string quartet skills as the basis for his firm grasp on the symphonic orchestral writing. In 1929, Fontainha scheduled him again to play in Rio. This time, he played at the biggest pantheon of classical music in Rio, the Teatro Municipal, where he was backed by the Orquestra Sinfônica do Teatro Municipal, conducted by Francisco Braga. In that period, he already had a greatnumber of compositions, both erudite and popular. In 1931, he participated in the IV Concert of the Instituto Nacional de Música’s Official Series sided by such composers as Luciano Gallet, Heitor Villa-Lobos, and Lorenzo Fernandez. In the next year, already married, he embraced popular music for a living and was employed by the orchestras of Romeu Silva and Simon Bountman, playing at Carnival balls, operettas, dance parties, and radio shows. In those times, there were virtually no Brazilian arrangements. He began to write arrangements for Brazilian music almost at the same time as Pixinguinha, soon becoming famous for that. Next, he went to Lambari, Minas Gerais, then an elegant watering place, to sub for pianist Mário Martins at the Cassino das Fontes. In that period, he got a job that would profoundly affect his life, at the Rádio Clube do Brasil. In 1932, he become a session arranger and pianist for Victor, debuting there in the recording business with his choros “Espritado” and “Urbano” under the pseudonym Vero (adopted in all his popular pieces). As a pianist, he accompanied Bidu Sayão in 1934, the same year his “Concerto No. 1 para Piano e Orquestra” was conducted by Henrique Spedini, having the very Gnattali as soloist.

In that decade, he also worked for Rádios Mayrink Veiga, Gazeta, Cajuti, and Transmissora. Orlando Silva, the precursor of the colloquial way of singing later re-utilized by João Gilberto and the first to record Brazilian music with a symphonic orchestra, asked Gnattali to write arrangements for him. The association produced top-selling results, while the critics deplored the “American chord,” as they referred to the ninth chord. At this point, it is important to quote Gnattali himself to solve a lot of confusion surrounding Brazilian music, including the so-called bossa nova. “If the ninth chord was also used in jazz, it was because the jazz composers also listened to Ravel and Debussy.”

In 1938, he presented other erudite compositions at the Escola Nacional de Música and in the next year was invited to the New York World’s Fair, together with the popular composers Pixinguinha, Donga, and João da Baiana, and the erudites Heitor Villa-Lobos, Francisco Mignone, Lorenzo Fernandez, and Camargo Guarnieri. Also in 1939, Ary Barroso presented his show Joujoux et Balangandans at the Teatro Municipal, with the Rádio Mayrink Veiga and Rádio Nacional’s orchestras, conducted by Gnattali. The enormously successful, almost unofficial anthem “Aquarela do Brasil,” was modified by Gnattali, which put five saxes playing the counter theme in seconds, originating the all-time classic introduction.

In 1938, Rádio Nacional was created. Initially a modest enterprise, from the very first moment it counted on Gnattali. But in 1940, the radio was expropriated by the Estado Novo, as was known the nationalist dictatorship by Getúlio Vargas. In line with the government’s ideals, the radio changed its profile to represent an important asset in the cultural propaganda, which was based on the best production of the country. In those times, there weren’t Brazilian music orchestras, only small groups (regionais) and salon dance orchestras. Then, in 1943, the Orquestra Brasileira Radamés Gnattali was created, together with the show Um Milhão de Melodias, which remained active for 13 years. It was a show that presented music from the entire world, but with appropriate Brazilian dressings through arrangements by Gnattali that were executed by the orchestra. At that time, Gnattali used to write nine full-scored orchestrations per week. That show was the first to pay tribute to Ernesto Nazareth, Chiquinha Gonzaga, and Zequinha de Abreu. Under the influence of his friend, drummer Luciano Perrone, Gnattali also changed the way of orchestrating Brazilian rhythms. At that time, the strings, woods, and reeds took charge of the harmonic/melodic conduction, and the rhythms were exposed by percussion. On the orchestra’s recorded albums for RCA, there were plenty of rhythmists, but the regular broadcasts counted only with Luciano, who, feeling himself too weak to supply all the rhythmic richness of several percussionists, asked Gnattali to write some of the rhythms to be delivered by the orchestra. In 1941, the show Instantâneos Sonoros was simultaneously broadcast to Argentina, where it was a success, making Gnattali officially decorated in that country. Returning to Brazil, he was also awarded with the Prêmio Roquette Pinto. In 1946, London’s BBC purchased the recording rights for “Brasiliana No. 1” for a large sum. At the request of the Chicago and Philadelphia symphonic orchestras, Arnaldo Estrela performed “Concerto para Piano e Orquestra.” In 1949, while working for the Continental label, he created the Quarteto Continental (soon transformed to a sextet), which toured Europe in the III Caravana Oficial da Música Popular Brasileira, in 1960. In 1953, he presented at the Teatro Municipal his “Concertino para Violão e Orquestra,” conducted by Eleazar de Carvalho. The concertino had been written especially for the great violonista Garoto, who was the soloist. It was the first time in which the violão, an instrument related to low-life sambistas and malandros, climbed such a respectable stage (with the possible exception of a prior Segovia concert there). In 1954. he composed the “Suíte da Dança Popular Brasileira” for electric guitar and piano, dedicated to Laurindo Almeida and executed by Garoto in São Paulo. In the same year, he opened the show When the Maestros Meet Each Other, where Tom Jobim presented himself. Jobim accounted later that he, a novice then, was extremely nervous to be there conducting in front of longtime venerated maestros, but Gnattali, at the piano, was friendly and helped him with some cues. In 1958, during the Festival Radamés Gnattali at the Teatro Municipal, he presented his “Concerto para Harmônica de Boca e Orquestra,” with soloist harmonica player Edu da Gaita. That same year, Gnattali composed the “Concerto para Acordeão (accordion) e Orquestra,” written for Chiquinho do Acordeon. In 1964, Gnattali formed a duo with Iberê Gomes Grosso (violoncello) and toured Europe. The next year, he presented the “Concerto Carioca No. 1.” In 1968, Gnattali was hired by Rede Globo, where he worked as a composer/orchestrator for 11 years. He also composed the soundtracks for several movies, including Bonitinha mas Ordinária, Eles Não Usam Black-Tie, Perdoa-me por me Traíres, and others. In 1983, he received the Prêmio Shell as an erudite artist in a ceremony at the Teatro Municipal, an occasion when he presented his “Concerto Seresteiro No. 3” for piano, orchestra, and “regional” (Camerata Carioca). He continued his extremely active career until he had a stroke a year before his death.


Não tinha este disco. Porém, graças à colaboração do Andreas e do Fulano Sicrano, hoje ele está disponível no Um que Tenha.