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Choro Brasileiro _ 1906 - 1947 * Pixinguinha / Grupo Chiquinha Gonzaga / Orlando Silva do Bandolim-Flamengo 0:00 Lacerda-Jurity 3:14 ís Americano-Tocando pra Você 5:47 Lacerda-André de Sapato Novo 8:10 Vida é um Buraco 10:35 De Almeida-Flauta Cavaquinho 13:27 ápio Silva-Primeiro Amor 16:25 Nazareth-Apanhei-te Cavaquinho 19:35 Nazareth-Escovado 21:49 24:26 Lacerda-Myrthes 27:07 Lacerda-Mistura e Manda 29:59 Lacerda-Minha Flauta de Prata 32:37 Ele 35:08 Carioca-São João Debaixo d'Água 38:32 41:51 Oito Batutas 45:21 Chiquinha Gonzaga-Falena 48:45 Lacerda-1x0 51:44 ão Pernambuco-Interrogando 53:53 ão Pernambuco-Sonho de Magia 56:31 Miranda-Naquele Tempo 59:19 do Bandolim-Gloria 1:02:22 Rato 1:05:26 de Rosas 1:08:18 Oito Batutas-Graúna 1:12:14 do Bandolim-Treme Treme 1:15:38 de Almeida-Engomadinho 1:18:26 Silva-Caprichos do Destino 1:20:56 Silva-Página de Dor 1:24:13 Lacerda-Ingênuo 1:27:57 Lacerda-Vou Vivendo 1:30:22 Lacerda-Ainda Me Recordo 1:32:51 Lacerda-Sofres Porque Queres 1:35:07 Fonseca-Tico Tico No Fubá 1:37:45 do Bandolim-Remeleixo 1:40:37 Brazilian Popular Music was individualized around the second half of 19th century, and the end of that century witnessed the presence of the African rhythmic tradition in an urban setting. Humble people from the carioca hills created their own musical instruments, percussion generally, consisting of frying pans, cans filled with sand or stones, cuícas, tamborins, and atabaques, the latter made of cat skins. The Portuguese colonization brought elements of European culture with it, including musical forms and orchestral instruments. Brazilian musicians who already played the European repertoire on pianos, flutes, violins, and Spanish guitars naturally transposed the rhythms of the percussion to their instruments. Around 1875 the generic title “choro“ was already being used to designate any small orchestra with a solo instrument performing popular music, especially in the open. Alfredo da Rocha Vianna, Jr., nicknamed the “Pixinguinha,“ had a prominent role in the definition of the so-called regional development of choro, as the typical small groups of this genre are called. A virtuoso flutist at a tender age, he composed his first song at age 13, the choro “Lata de Leite,“ dedicated to his friends with whom he used to play tricks like stealing milk cans from the front of neighboring houses. Starting with the small, chamber-like groups which were common by then and utilized flute, acoustic guitar, and cavaquinho (ukulele), Pixinguinha modified their structure and created what would be his fundamental group, Os Oito Batutas. With this revolutionary ensemble, he introduced jazz-based instrumentation in Brazil, with trumpet, trombone, saxophone, and banjo, in addition to the varied Brazilian percussion. Born in Piedade, carioca suburb, on April 23, 1898, Saint George's Day, (also known as Ogum's Day) he was a recognized master of the flute at 22, with several records. It was September, 1920. After touring São Paulo and Minas, Os Oito Batutas were invited to work at the Theatro Municipal's Assírio cabaret, accompany the performances of Duque and Gabi, a dance couple who became famous in Europe dancing to maxixe (a Brazilian genre derived from Lundu and a direct precursor of choro). At Duque's suggestion, millionaire Eduardo Guinle, a huge admirer of the Batutas, decided to sponser the group for a tour in Europe. They arrived in Paris in the winter of 1922 to play in the Scheherazade cabaret, where Duque had already danced successfully. With the main concern of simply having his sound heard in the ample Parisian rooms (which were much larger than the carioca ones), Pixinguinha started to think of an instrument with a more powerful sound. Because of this, he bought a Selmer soprano sax, introducing this instrument into the genre of Brazlian jazz. Besides this radical transformation in the traditional instrumentation of the choro, Os Oito Batutas was the first group to employ (in addition to the traditional flute, acoustic guitar, and cavaquinho) instruments like the reco-reco, the pandeiro, and the ganzá. The season touring, initially intended to be one month long, was extended to six months. Paris lapped up the cabaret, raving with the hallucinatory rhythms of the Brazilians. Rave reviews from audiences and critics alike, Pixinguinha was honored by famous musicians, including Harold de Bozzi, first-award winner flutist from Paris Conservatories.
