Luiz Gonzaga – Quadrilhas e marchinhas juninas (1965)


QUADRILHAS E MARCHINHAS JUNINAS
Luiz Gonzaga
1965 RCA
This vinyl rip from a 1973 RCA Dynaflex repress
(107.0152)

1 Pot-pourri Instrumental:
Fim de festa (Zito Borborema)
Polca fogueteira (Luiz Gonzaga)
Lascando o cano (Luiz Gonzaga – Zé Dantas)
Pagode russo (Luiz Gonzaga)
Fogueira de São João (Luiz Gonzaga – Carmelina Albuquerque)

2 Olha pro céu (Instrumental)
(José Fernandes, Luiz Gonzaga)
3 São João na roça (Instrumental)
(Luiz Gonzaga, Zé Dantas)
4 Fogo sem fuzil
(José Marcolino, Luiz Gonzaga)
5 Quero chá
(José Marcolino, Luiz Gonzaga)
6 Matuto de opinião
(Gonzaguinha, Luiz Gonzaga)
7 Boi bumbá
(Gonzaguinha, Luiz Gonzaga)
8 O maior tocador
(Luiz Guimarães)
9 Piriri
(Ary Rangel, João Silva)

Vinyl -> Pro-Ject RM-5SE turntable (with Sumiko Blue Point 2 cartridge, Speedbox power supply); Creek Audio OBH-15; M-Audio Audiophile 192 Soundcard ; Adobe Audition at 32-bit float 192khz; Click Repair light settings; individual clicks and pops taken out with Adobe Audition 3.0 – resampled (and dithered for 16-bit) using iZotope RX Advanced. Tags done with Foobar 2000 and Tag&Rename.

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Well I had hoped to get this post done yesterday but it just didn’t happen. Yesterday was the official day of São Pedro but since today is the very last day of June, I am barely saved from being a day late and a dollar short. There are still festas juninas going on the northeast, and if you are at one you obviously don’t need this LP, but for everyone else you can entertain yourself with Luiz Gonzaga. Gonzagão must have made a dozen São João-themed LPs in his lifetime (including a “volume two” to compliment this particular record a decade later, which I’ve never seen). The first side of the LP is entirely instrumental, including a medley that rips through tunes both familiar and arcane from his catalog. Gonzaga’s playing never fails to stun but if instrumental forró is not your thing, you might find yourself checking your watch as you wait for the second half. Side Two features six short and sweet vocal tracks. Although none of these probably make it on a ‘best of’ collection (I’m not sure about the CD boxset, which one of these days I will invest in), but I had heard at least a couple of them somewhere before picking up this album. Boi Bumbá and Piriri are Gonzaga at his finest, the latter being a fantastic São João song with a chorus that will stick in your head for hours.

The former track, Boi Bumbá, has a great extended verse/bridge section where the singers divide up cow and deliberate on which parts go to whom. This is actually a vocal duet, trading off with another singer, whose identity is unknown to me. I could try to find this out by reading a biography on Gonzaga, but I am basically lazy and do not know how to read. So I will appeal to any blog followers here for information – does anybody know? It is a double mystery in that the song also has a writing credit (along with preceding track `Matuto de opinão’) given to a Luiz Gonzaga Junior. My first reaction to seeing this was — this CAN’T be Gonzaguinha, the adopted son of Gonzagão who had his own brilliant recording career in the 70s. Well, checking on his birth date, I discovered that he actually would have been twenty years old by 1965, so technically it is possible. But Gonzaguinha’s own work would totally eschew the kind of rustic regionalisms that form the backbone of his father’s repertoire in favor of jagged social commentary and political engagement, having over 50 of his compositions censored by the military government. Even though his recording career had yet to begin in 65, as far as I know he was involved with the student movement of the time and I just can’t imagine him having anything to do with these two tracks. So, it must be a coincidence, right? Or maybe not. Anyone with clues please leave them in the comments here.

I felt so badly about the mediocre O Cavaquinho no Forró album earlier this week having been the only ‘celebration’ for São João or the festas juninas on the blog this year, that I thought I would make it up to you by getting this post up just under the wire. Please accept my peace offering.

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Pra onde vai a barrigueira?
Vai pra Miguel Pereira
E a vassoura do rabo?
Vai pro Zé Nabo
De que é o osso da pá?
De Joãozinho da Fornemá
E a carne que tem na nuca?
É de seu Manuca
De quem é o quarto trazeiro?
De seu Joaquim marceneiro
E o osso alicate?
De Maria Badulate
Pra quem dou a tripa fina?
Dê para a Sabina
Pra quem mando este bofe?
Pro Doutor Orlofe
E a capado filé?
Mande para o Zezé
Pra quem vou mandar o pé?
Para o Mário Tiburé
Pra quem dou o filé miõn?
Para o doutor Calmon
E o osso da suã?
Dê para o doutor Borjan
Não é belo nem doutor
Mas é bom trabalhador
Mas é véio macho, sim sinhor
É véio macho, sim sinhor
É bom pra trabaiá
Rói suã até suar
Ê boi, ê boi
Ê boi do mangangá..

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Jackson do Pandeiro – O Cabra da Peste (1966) (REPOST)

Hi there folks. Today, by request, I resurrect an old dead post from June of 2010, enjoy!

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Jackson do Pandeiro
“O Cabra da Peste”

Original release: 1966, “Jackson do Pandeiro – O Cabra da Peste”, Continental, PPL 12265)

Censored release: 1969

reissue: 1978, “Jackson do Pandeiro – O Cabra da Peste – Edição Limitada”, Popular/GE/Continental, 146411047)

This pressing, Warner/Continental CD, 2001 (092741523-2)

01. Capoeira mata um (Alvaro Castilho – De Castro) Balanço
02. Tá roendo (Figueirôa – Maruim) Samba
03. A ordem é samba (Jackson do Pandeiro – Severino Ramos) Samba
04. Pinicapau (Codó) Baião
05. Forró quentinho (Almira Castilho) Forró
06. Bodocongó (HUmberto Teixeira – Cicero Nunes) Baião
07. Secretária do diabo (Osvaldo Oliveira – Reinaldo Costa) Forró
08. Vou sambalançar (Antonio Barros – Jackson do Pandeiro) Samba
09. Alegria do vaqueiro (Zé Katraca) Baião
10. Forró do Biá (Luiz Moreno – Jeronimo) Forró
11. Papai vai de trem (Ivo Martins – Jackson do Pandeiro) Baião

DELETED TRACK between tracks 10 and 11 above, Polícia Feminina (Severino Ramos – José Pereira) Forró

What a confusing release history this album has had, which utter lack of any information whatsoever on the CD reissue fails to clear up. This is what I was I have been able to piece together for you: “O Cabra da Peste” was released in 1966 (sometimes listed as 1963, which I originally fell for but was thankfully corrected about), censored and re-released without the song “Polícia Feminina” in 1969, then reissued again in limited edition in 1978, from which I suspect this album cover at the top was taken. I am not sure what is meant by the text under the photo, “rerecording with a new cover,” unless they consider the removal of one track to be a rerecording. Or perhaps by 78 they decided to put “Polícia Feminina” (a fairly innocuous and silly song about having your heart locked up in prison, etc) back on the album…. Whatever the case may be, the CD issue is still missing the track. The recording is in mono, so we can at least be glad they didn’t use a version “electronically rechannelled for stereo”…

Jackson do Pandeiro recorded a ton of hit songs that are very important for Brazilian popular music. None of those are on here. (You might, however, want to visit the previous post of O Rei do Ritmo on this site..). I read one review of this album, in Portuguese, that criticized the song selection as being the weakest of any album from Jackson’s career.. Well, if that’s true, I am still pretty impressed by this record and it only shows just how much of a genius this guy to give these tunes so much life. It’s a solid set of forró, samba, and samba de coco. And although there might not be anything that immediately has you singing along like many of his better-known releases, there are some real stand-out cuts here. “Capoeira mata um” totally kicks off right. “A ordém é samba” written by Jackson and and Severino Ramos, and “Bodocongó″ by Humberto Teixeira e Cícero Nunes are catchy tunes and hot performances, showing just how easily Jackson could interpret a variety of styles and have it still come out like, well, Jackson do Pandeiro. One difference between material from this era and his earlier 1950s successes can be found in the suingue (or, swing) of the rhythm section — the influence of bossa nova is felt in the way the drummer lays down some jazzed-out chops on even the forró numbers. While this might not be the place to start for people new to Jackson do Pandeiro, this a fine album on its own. It makes me happy.

Jackson do Pandeiro – A Cabra da Peste (1963) 320 kbs
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Jackson do Pandeiro – Os Grandes Sucessos de Jackson do Pandeiro (1975) 24-96khz vinyl


Jackson do Pandeiro
“Os Grandes Successos de Jackson do Pandeiro”
Released 1975 on Tropicana / CBS Records (01320)
[which was also Columbia – Epic – Sony in Brazil…]

1. Morena Bela
(Juarez Santiago / Onildo Almeida)
2. Tum Tum Tum
(Ari Monteiro / Cristóvão de Alencar)
3. Casaca de Couro
(Rui de Morais / Silva)
4. Lamento Cego
(Jackson do Pandeiro / Nivaldo da Silva Lima)
5. Forró De Surubim
(Antônio Barros Silva / José Batista)
6. Mané Gardino
(Ari Monteiro / Elias Soares)
7. Cantiga Do Sapo
(Buco do Pandeiro / Jackson do Pandeiro)
8. Tem Mulher, Tô Lá
(J. Luna / Zé Catraca)
9. Penerou Gavião
(Jackson do Pandeiro / Odilon Vargas)
10. Sina De Cigarra
(Delmiro Ramos / Jackson do Pandeiro)
11. Chu Chu Beleza
(João Silva / Raimundo Evangelista)
12. Forró Em Campina
(Jackson do Pandeiro)

Tracks 1, 10, 11, and 12 are in stereo
Track 2 through 9 are in mono

This is a rather generic compilation of Jackson’s material released on the CBS subsidiary Tropicana in the mid-70s, without any indication of the provinence of any of the material included on it. It has all the tell-tales of a contractural obligation album, which in the case of Jackson is much less of a straight-forward thing than the phrase suggests. I know much less about his life than I would like (and am still waiting to find myself a copy of his biograpy, O Rei do Ritmo), but one bit of wisdom I’ve collected over the years is that Jackson had a nasty habit of entering into business deals with a record label while still under contract to another.

Thus, around the mid-70s we see Jackson leave CBS/Sony and begin recording for smaller or independent labels like Chantecler/Alvorada or Continental – however, CBS continued to release anthology after anthology of his material, leading me to the impression that he still owed them some albums…

My guess is that, with this particular release called “Os Grandes Sucessos” (The Greatest Hits..) which in fact lacks pretty much all of his biggest hits, they were trying to promote some of his newer material included here by capitalizing on some of his earlier, albiet lesser-remembered hits (many of them released as 78 RPM`s on another US-owned label, which were collected and shared HERE although the links were taken down so quickly I have been too spooked to put up new links). Jackson’s discography is so confusing, and the plethora of labels he recorded for so baffling in number, that I wouldn’t be surprised if the executives Tropicana (and their conglomarate corporate overlords) were counting on this chaos in order not to have to pay out on royalties — there are composer credits here, but absolutely nothing on the publishing rights. A little fishy. And though any single-LP collection of Jackson do Pandeiro is going to lack some favorites, there are obvious glaring omissions here of ANY of the recordings that were synonomous with him as a `household name.` So what we get is a mixture of his lesser-known hits and some songs that I don’t think were ever hits at all — namely, material from recent CBS releases like the LP`s “Sina de Cigarra” and “Tem Mulher, Tô Lá.” All of Jackson’s discography on vinyl is frustratingly rare — and even more frustrating, badly represented on compact disc for someone who represents such a huge part of Brazil’s musical patrimony – that I want to make it clear I am not making a critique of those early 70s albums from Jackson. Because in fact I still have yet to hear them! In that sense, I would have been happier if this had been strictly a collection culled from those early 70s discs, rather than a haphazard, somewhat random stroll through his career.

All that being said, this is still Jackson do Pandeiro and ipso facto a truly enjoyable listen. It includes some of my favorites from him like “Tum-tum-tum,” “Cantigo do sapo” (the best song ever about improvising frogs), and “Lamento cego.” And the newer material is also high-caliber stuff.

Some technical notes of interest for those who care… The chaotic nature of this weird collection presents some challenges for somebody wanting to do a decent digitalization of it. The album mixes songs recorded and mixed in MONO (the majority here) with song in stereo, all of them mastered at different maximum volumes, and seemingly all thrown together without much attention to detail. My solution involved a change from my usual workflow for vinyl digitalization. The first part, the actual vinyl transfer, is identical to the usual; it’s in the editing and post-processing that things get weird:

Vinyl original pressing -> Pro-Ject RM-5SE turntable (with Sumiko Blue Point 2 cartridge, Speedbox power supply) > Creek Audio OBH-15 -> M-Audio Audiophile 2496 Soundcard -> Adobe Audition 3.0 at 24-bits 96khz -> Click Repair light settings, additional clicks and pops removed in Audition ->

-> For tracks 2 THROUGH 9, a second pass in Click Repair solely to use its Stereo->Mono fold-down feature
-> Checking for aditional blemishes in Audition again, and comparing to “false stereo” source for differences

-> Normalizing the amplitude of each track, individually, to 0 decibels.

I’ve been skipping the step of normalizing on a lot of my recent vinyl rips, because I believe one of the great things about vinyl/analog is how much you can turn up the volume on a system before you start to hear distortions, and normalizing everything to 0db kind of defeats this pleasure to my ears. However, the tracks on this compilation are so all-over-the place in terms of their overall levels, I think I’ve actually made an improvement over the original vinyl mastering (or should I say, lack therein).

dithered and resampled using iZotope RX Advanced -> ID Tags done in foobar2000 v.1.0.1 and Tag & Rename.

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Zenilton – Meu Casamento (1980) 24-96khz vinyl

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ZENILTON
“Meu Casamento”
Released 1980 on Copacabana Records (COELP 41299)

01. Meu casamento (Zenilton – Januário Gonçalves)
02. Ela está na minha (Severino Ramos – G. Amorim)
03. Nunca fui mal (Zenilton – Zé Mamede)
04. Quiabo crú (Gatinho – Roderiki)
05. Forró das véias (Severino Ramos)
06. Todo mundo lá tem culpa (Marcelo Reis – Belinho)
07. A vida dos animais (Zenilton – Guriatã de Coqueiro)
08. Fuxico do povo (Jorge de Altinho – Coroné)
09. Mudanças das capitais (Zenilton – Guriatã de Coqueiro)
10. Destino do jumento (Tio Jovem – Zenilton)
11. É melhor cair (Marcelo Reis -Hernandes)
12. Motorista amigo (Zenilton – Guriatã de Coqueiro)

Produced by Luiz Mocarzel and Talmo Scaranari
Recorded in Rio de Janeiro by Luiz Paulo at Sigla Estúdios
Photo credit – Marinho Gusman

Vinyl original pressing -> Pro-Ject RM-5SE turntable (with Sumiko Blue Point 2 cartridge, Speedbox power supply) > Creek Audio OBH-15 -> M-Audio Audiophile 2496 Soundcard -> Adobe Audition 3.0 at 24-bits 96khz -> Click Repair light settings, additional clicks and pops removed in Audition -> dithered and resampled using iZotope RX Advanced -> ID Tags done in foobar2000 v.1.0.1 and Tag & Rename.

If one were to rely solely on his album covers, where forrozeiro Zenilton is invariably shown alongside some barely-legal young lady in a short skirt, a person might be tempted to dismiss him as fluff. In truth I know next to nothing about him – but on these early albums of his, at least, he was a first-rate practitioner of forró pé-de-serra. In his case the traditional zabumba, triangle, and sanfona have been augmented by a cavaquinho (a instrument that Gonzagão first began including), electric bass guitar, and a full drum kit. The drums are given to cheesy fills on the tom-toms (the kind, when I was a youthful musician, we used to satirize with our onomatopoetic “doo-do-do-do-do-do-do”, always the same fill no matter the song…). But I love the production on this – crisp and clean and very “live” sounding. Working from a pretty clean vinyl copy, I felt like I was listening back to the master tapes.

The songs are all well-written and tightly-arranged, and filled with the ribald and clever wordplay endemic to classic forró, with some odd twists of his own. The dangers of eating raw okra; rhymes about crocodiles, spiders and piranhas; the confusing geography of changes in state and federal capitols (and praise for Quito for always being the capitol of Equador); and some scathing socioeconomic critique about not selling donkey meat to Japan (?). And a homage to the working men (and women, but mostly men) who keep Brazil’s economy moving – the truck drivers (Motorista amigo). Sort of pandering to his fan base here but it’s a smart song and sincere enough. With a few entries from composers Severino Ramos and even one from Jorge de Altinho (very much a more famous personage these days than Zenilton), the bulk of the repertoire here was written by Zenilton.

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Luiz Gonzaga – São João Quente (1971) 24-96khz vinyl

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Luiz Gonzaga
“São João Quente”
1971 on RCA Camden (107.0097)

1 Fuga da África
(Luiz Gonzaga)
2 De Juazeiro a Pirapora
(Luiz Gonzaga)
3 São João do Arraiá
(Zé Dantas)
4 O xote das meninas
(Luiz Gonzaga, Zé Dantas)
5 Macapá
(Luiz Gonzaga, Humberto Teixeira)
6 Impertinente
(Luiz Gonzaga)
7 Vira e mexe
(Luiz Gonzaga)
8 O coreto da pracinha
(Risério Valente, Altamiro Carrilho)
9 Ovo de codorna
(Severino Ramos)
10 Dia de São João
(Rildo Hora)
11 Coronel Pedro do Norte
(Nelson Valença)
12 Lulu vaqueiro
(Nelson Valença)
13 O urubu é um triste
(Nelson Valença)

Vinyl RCA-Camden (107.0097) -> Pro-Ject RM-5SE turntable (with Sumiko Blue Point 2 cartridge, Speedbox power supply) > Creek Audio OBH-15 -> M-Audio Audiophile 2496 Soundcard -> Adobe Audition 3.0 at 24-bits 96khz -> Click Repair light settings, additional clicks and pops removed in Audition -> dithered and resampled using iZotope RX Advanced -> ID Tags done in foobar2000 v.1.0.1 and Tag & Rename.

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A São João party record from the king of baião, this might be a minor entry in his vast discography if not for a few curiosities. The entire first side (tracks 1 – 7 here) is one long instrumental, fifteen-minute jam where Gonzaga reminds us he’s equally adept at xôte, valsas, quadrilhas, and just showing off his instrumental prowess on the difficult 8-button sanfona (accordion). It’s pretty entertaining, and he makes it a point to touch on some of his successes like ‘O xote das meninas’ and ‘São João do Arraiá’, but it all lacks his booming, commanding voice. This is rectified on the second side of the LP which is split into individual compositions. Aside from Rildo Hora’s “Dia de São João” (which sounds an awful lot like a certain composition by Gonzaga’s protege, Dominguinhos), the rest of these tunes are fairly unknown. And the particular surprise comes at the end: Gonzaga, known for his famous parternships with Zé Dantas and Humberto Teixeira, chose to record not just one but *three* songs from an unknown Pernambucan composer, and put them all together at the end of the LP. Nelson Valença, who seems to have been born, lived, and died in the town of Pesqueira in the agreste of Pernambuco, never had much of a professional career in music, and his biggest claim to fame is having these compositions (and a precious few more that would follow in years to come) recorded by Gonzagão. The first of the them “Coronel Pedro do Norte” is a light satire of the archetypical ‘coronel’ of an interior town, a guy with a big mustache who seems to own everything and everyone, and who just can’t come to terms with the ‘new generation’ and its shaggy-haired youths, and is particularly flustered when his own daughter pays a visit home and steps off the train holding hands with one of these hairy delinquents (cabeludos). “Lulu Vaqueiro” is quite a beautiful ballad, and “Um urubu é um triste” brings us back in that particularly northeastern territory where humor and profundity mix with infectious dance-ability. It is quite a homage to have three of your compositions close out an album by the great Gonzagão, and I would like to find out more someday about the back story on what let up to this – chance encounter, friendship, or whatever. Whatever the case may be, this album must have got a lot of spins in Pesqueira, and these tunes rescue what is otherwise a bit of a bland album from the master.

(*note that in the fielset I have mistakenly dated this album as 1972 thanks to not paying attention to the actual label on the vinyl… sorry about that).

Dominguinhos – Programa MPB Especial 1974

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DOMINGUINHOS
“A música brasileira deste século por seus autores e intérpretes”
SESC São Paulo / JCB Produções Artisticas

Recorded for the Programa MPB Especial on February 8, 1974, directed by Fernando Faro

Dominguinhos – sanfona de oito baixos
José Braz dos Santos – zabumba
Domingos P. Neres – triângulo

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Some years ago the SESC organization of São Paulo released a number of boxsets of interviews and music with musicians and composers. This disc is from the second boxset (the discs themselves are not numbered or in any way chronological). Only a fraction of the stuff filmed for this series has found its way onto DVD, such as Nara Leão, Cartola (very recently), or Elis Regina. If you’ve seen those then you know the format — a little bit of playing, a little bit of talking, some more playing, very relaxed. In fact one curious production technique is that you never (or at least I haven’t yet) hear the actual questions being posed to the artists. This used to really annoy me. Now I see it as some of form of editorial self-erasure, an attempt to efface the interviewer’s subjective presence and keep the focus on the artists. In that sense the technique is mildly admirable. But there are still times when I knew what the hell they had been asking about..

But in this case, Dominguinhos, who is as relaxed and good-natured in an interview as you might expect from his music, tells us a little about growing up in Garanhuns, Pernambuco, his father being a small farmer (pequeno agricultor, not “small” like Azulão) who also worked as a tuner of sanfonas de 8 baixos (eight-button accordions) and playing in the feiras where so much business gets conducted in the interior. He tells of meeting as a young boy with the master Luiz Gonazaga, who would become his mentor and protector throughout this life.

forro

We then get something of a musical travelogue of his life, with him playing some of the different types of music he played to get by when living in Rio – samba, música romantica, boleros, show tunes. Songs by Tom Jobim, Johnny Alf, Jack Lawrence. We even get a short snipped of chansón with “La vie em Rose” immortalized by Edith Piaf. It’s not as if Domiguinhos is alone in knowing this repertoire as it was more or less required of working musicians, but as he demonstrates in this casual setting it is not hard to imagine that his emotive capacity to connect with whatever material he plays is at least part of how he grew to be such a sought-after session player, apart from his association with Gonzagão. This TV program was filmed as Dominguinhos was ‘hot stuff’ with the post-tropicalia scene, having both recorded on my ex-girlfriend’s album “India” (1973) and also touring in her live presentation of it. I may be partial because I am still in love with Gal Costa after all these years in spite of her breaking my heart, but I really think the India tour performance should see a legit DVD release (there is a bootleg pimping itself out over at YouTube…), because I would rather go blind from stroking myself than from squinting my eyes at a blurry image *while* stroking myself, damnit. Anyway, if the only thing Dominguinhos ever did in his entire career was to play on that album, he would still deserve top props from me. But he was also working on Gilberto Gil’s ‘Refavela’ album which would yield one of the most beautiful songs either man would write, “Lamento Sertanejo (Forró de Dominguinhos.” But he opens the show with his most famous and instantly-recognizable song “Eu só quero um Xodó,” which is a staple in the forró song book now, both pé de serra and electric… I had always thought it was co-written with Gilberto Gil because of its appearance on the latter’s “Cidade de Salvador” album (underrated and rather hard to track down, unfortunately), and because the melody seems so obviously GIL to me.. But it’s not, its Dominguinhos and Anastácia. There is however, the Gil/Dominginhos collaboration “Abri a porta” later on, and the fantastic song written with Chico Buarque “Tantas Palavras.” There is even a song he co-authored with his nine year-old daughter Liv titled “Vários caminhos.” And it’s amazing.

forro

I think this box has something like 13 discs in it and a book which transcribes all the interviews and has some commentary by the likes of Tarik de Souza and Sergio Cabral who worked on the SESC project. They are all pretty consistently good but this one is really special and definitely my personal favorite. It’s recorded with the sparseness and simplicity that really brings out the best in Dominguinhos without the frills of (over)production, and to hear him play some of these tunes *entirely* by himself (by which I mean, with the zabumba and triangle players sitting them out in the corner) is a privilege, like having him come by to your house and play for you on your veranda on a crisp autumn evening. Some of the other volumes in the SESC boxes seem to be made from second or third generation back-up tapes or transferred off the video reels, whereas this one has incredibly detailed and warm sound. And, of course, he has some anecdotes peppered between the songs that prove how any good sanfoneiro is also a good storyteller. He ends the show appropriately enough with an homage to his mentor, Luiz Gonzaga, and shows us why is truly the only one worthy of being Gonzaga’s successor and ‘filho postiço’.

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RESPOTED ON MARCH 27, 2013