Benedito Lacerda & Pixinguinha - Benedicto Lacerda & Pixinguinha

Where else to start, but with the most prolific composer in the genre, Pixinguinha. Every one of the other albums on this list is indebted to him. He was once the greatest flute player of a generation, but his most famous recordings came after he picked up the tenor sax - Benedito Lacerda had a record deal in place and wanted to play flute. In finding a space for himself musically he created a language of counterpoint which to this day remains key to the genre.

Jacob do Bandolim e Seu Conjunto Época De Ouro - Vibraçōes

A seminal album of the genre. Jacob Pick Bittencourt (affectionately Jacob do Bandolim after his instrument, the Brazilian mandolin) can comfortably claim to be the second most prolific composer of choro. Receita de Samba and Noites Cariocas in particular continue to be two of the most played sambas in rodas, and Jacob’s intuitive ornamentation of melodies sets him apart as the reference for those who play bandolim.

The work of Chiquinha Gonzaga

A pianist known for her skill across genres - she also wrote one of Brazil’s most loved carnival marches and made most of her money selling music to theatres - she has contributed several works to the choro canon, with 'Gaúcho - O Corta Jaca' by far the most famous. Since she was active before the days of easy recording there is no album to point to, but her compositions live on in the recordings of others. The sheer amount she accomplished is only rendered more impressive when considering the additional struggles she faced as one of few female musicians of the time.

Altamiro Carrilho - Bem Brasil

The compositions of flautist Carrilho are some of this writer’s favourites, often containing some fun and memorable compositional trick that you can’t help but smile at. While Deixe o Breque Pra Mim contains lots of musical breaks, allowing musicians to take turns filling them, and Tres Beijos asks performers to make 3 ‘kisses’ near the end of the first section, the chosen track creates a piece from the information jingle at Rio de Janeiro’s Galeão Airport.

Agua de Moringa - Saracoteando

More recently, the band Agua de Moringa was created by musicians studying together at Rio de Janeiro’s state university, Uni-Rio. Their expert interpretations of compositions both old and new have made them a reference for the current sound of choro. In the linked track they give a sensitive yet passionate rendition of 'Choro pro Zé', a modern classic by modern master composer Guinga. They know exactly when to leave a note hanging, and when to reach a satisfying resolution.

Nailor Proveta - Brasileiro Saxofone

Despite Pixinguinha’s famous artistry on saxophone, it isn’t all that common in choro instrumentation. Performed without care it can too strongly evoke the sounds of jazz, in the process losing some of the unique beauty of choro - at least according to traditionalists. Proveta however has masterfully tamed the saxophone to allow it to exist in choro beside his similarly expert clarinet playing. Here he plays 'Linda Érika', a composition by another saxophone great, Luiz Americano.

Luciana Rabello - Luciana Rabello

There are sadly not many women to choose from on a top 10 of choro list, however Luciana Rabello sorely deserves her place. The modern reference for cavaquinho playing in the genre, a well-respected composer, and highly sought after as a recording artist, she should be regarded with all the more reverence given she achieved this without the privilege afforded to her male counterparts.

Paulinho da Viola - Samba e Choro Negro

The worlds of samba and choro are somehow separate, yet inseparable. It was from choro after all that samba first blossomed, and many of choro’s best known tunes are indebted to the rhythmic structure of samba. Yet Paulinho da Viola is the only composer to truly live in both camps. This album sees the two genres sitting beautifully alongside each other, with Paulinho’s soft vocals and sensitive cavaquinho make both a delight for the ears.

Maurício Carrilho - Choro Impar

It is only natural that as music develops, musicians start to push the boundaries. After guitarist Maurício Carrilho (nephew of Altamiro, above) had proved his skill on several ‘traditional’ choro records, he released Choro Impar. Literally translated as ‘odd choro’, this a disc of tracks with 3, 5, 7 and 9 beats per bar - a real contrast from the usual 2. Above, you can hear 'Maluquinha'.

Hamilton de Holanda e o Baile do Almeidinha - Hamilton de Holanda e o Baile do Almeidinha

Of course different people push boundaries in different ways. Bandolim player Hamilton de Holanda has become famous for his bailes - dance parties, where choro meets many dance rhythms from around Brazil, and perhaps some jazz. While traditionalists may consider his music too far from Pixinguinha’s groundwork to even be considered part of the genre, the choro influence is clear in his playing and he has undeniably brought a fresh, younger audience to a centuries old tradition worthy of a new generation of listeners.

Alvorada - First Light

You may be surprised to learn that choro is alive in London too. Alvorada unites top musicians from London and Brazil, whose varied backgrounds bring a unique and innovative sound to match the wonderfully diverse city we live in. Our debut album “First Light” is full of original works and new interpretations of classics, and received a 5-star review from Songlines Magazine. Listen for Rachel Hayter’s infectious cheekiness shining through on flute, Andrew Woolf’s sensitive storytelling on clarinet and Alua Nascimento locking everything together on pandeiro. Alvorada have since won awards from both LUKAS and Focus Brasil, and been featured on BBC Radio 3 and Jazz FM. We’ve previously enjoyed bringing the energy of choro to stages around the UK and occasionally Europe, and we’re excited to be finally lining up shows for this year. If you’d like to see Alvorada in action or buy an album, check out www.alvoradamusic.com.

DJ Amir

Legendary selector DJ Amir presents his monthly show The Kronicles from New York.

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