Jacob do Bandolim
14/02/1918
13/08/1969
The most influential Brazilian artist on the instrument that became part of his name, Jacob elevated the mandolin (bandolim, in Portuguese) to a place of honor within BPM. Predecessors like Luperce Miranda had been trying to do that before, but Jacob was the one to definitely establish the mandolin as an adequate instrument for solos. Born in Rio de Janeiro, he got his first mandolin in his teens. In spite of having played with instrumental groups from the very beginning, he never really became a professional and always held jobs unrelated to music: he worked as a sales person, a pharmacist, an insurance broker and a scrivener. Not depending on music to make a living allowed Jacob to compose more freely, without being pressured by recording companies or publishers. He was very disciplined, both personally and professionally, having researched and rescued part of the traditional choro repertoire, which eventually would embrace his own production in songs like "Noites Cariocas", "Receita de Samba", "A Ginga do Mané", "Doce de Coco", "Assanhado", "Treme-treme", "Vibrações" and "O Vôo da Mosca". After lining up the band Jacob e sua Gente and participating in historic recording sessions with Ataulfo Alves ("Ai, Que Saudade da Amélia", by Ataulfo/Mario Lago)) and Nelson Gonçalves ("Marina", by Dorival Caymmi), he made his first solo album in 1947, followed by other two in the next couple of years on Continental. In the 50s, he made albums on Victor. In 1966, he lined up the group Época de Ouro, with big choro names like Dino 7 Cordas, César Faria and others. Reaching expressive popularity, Jacob and Época de Ouro helped promoting the traditional choro in shows and discs like the emblematic "Vibrações" (1967). The group is still in activity. One of Jacob’s last live performances - a show with Elizeth Cardoso and Zimbo Trio in 1968 -, was recorded and released as a double album, but hasn’t been re-released on CD in Brazil. Other collections have been produced, but only for the international market. Jacob’s son, songwriter Sérgio Bittencourt, did homage to his father with the song "Naquela Mesa", a hit in Elizeth Cardoso’s interpretation. In 1997, professor Ermelinda Paz put out the book "Jacob do Bandolim" on Funarte publishing house.
Discography
Discos de carreira
AO VIVO NO TEATRO JOÃO CAETANO - VOL. II - ELIZETH CARDOSO, ZIMBO TRIO, JACOB DO BANDOLIM e ÉPOCA DE OURO
Museu da Imagem e do Som - 1968
AO VIVO NO TEATRO JOÃO CAETANO - VOL. I - ELIZETH CARDOSO, ZIMBO TRIO, JACOB DO BANDOLIM e ÉPOCA DE OURO
Museu da Imagem e do Som - 1968
Extras
FRAGMENTOS INÉDITOS DO HISTÓRICO RECITAL REALIZADO NO TEATRO JOÃO CAETANO EM 19 DE FEVEREIRO DE 1968 - ELIZETH CARDOSO, JACOB DO BANDOLIM, ZIMBO TRIO e ÉPOCA DE OURO - VOL. 3
Museu da Imagem e do Som - 1977
Coletâneas
Tributos
MEMÓRIAS - OBRAS DE JACOB DO BANDOLIM VOL. 2 - EVANDRO E CONJUNTO RODA DE CHORO
Tartaruga (Japão) - 1994
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