Jacob do Bandolim

Biography

Jacob Pick Bittencourt, known professionally as Jacob do Bandolim ("Mandolin Jacob"), was born on December 14, 1918, in Rio de Janeiro to a Brazilian-Jewish mother and a gentile father.[1] He began his musical journey in elementary school playing harmonica and singing in the choir, but at age 12, frustrated with violin lessons, he switched to the mandolin after receiving one as a gift from his mother's friend.[3] By age 15, he was already performing on Brazilian radio as a self-taught child prodigy, and within a year, he and his band were winning contests judged by renowned choro composers and musicians.[3]

Throughout his career, Jacob maintained a dual professional life, working variously as a pharmacist, insurance salesman, street vendor, and ultimately as a notary public, while simultaneously pursuing music with unwavering dedication.[1] He founded the ensemble "Época de Ouro" (Golden Epoch) in the 1960s, which became his most famous group.[3] From 1949 to 1969, he composed and recorded over 100 compositions that facilitated a major choro revival, helping establish the genre as a central symbol of Brazilian national identity.[2][4] His recording career began in 1947 with Continental Records and continued with RCA Victor from 1949 onward.[3] Jacob died on August 13, 1969, leaving behind a legacy as Brazil's greatest mandolinist and one of the most influential Brazilian composers of the 20th century.[3][4]

Jacob was a perfectionist who elevated choro from its traditionally relaxed folk status to a realm of virtuoso performance, comparable to what Andrés Segovia accomplished for classical guitar worldwide.[3] He rejected the stereotype of the "dishevelled, drunk folk musician" and required his band members to maintain impeccable dress and professional commitment, despite all holding day jobs.[1] His compositions ranged from lyrical melodies like "Noites Cariocas" and "Receita de Samba" to aggressively jazzy pieces like "Assanhado," reminiscent of bebop.[1] Beyond his virtuoso playing and prolific compositions, Jacob dedicated himself to researching and preserving the older choro tradition and other Brazilian music styles.[1]

Fun Facts

• Jacob was a child prodigy who became frustrated with violin at age 12 and switched to mandolin after receiving one as a gift, eventually becoming self-taught and already performing on Brazilian radio by age 15.[3]
• Despite being a full-time musician in spirit, Jacob never worked as a professional musician for his primary income; instead, he held various day jobs including pharmacist, insurance salesman, street vendor, and notary public to support himself while pursuing music.[1]
• In 1934, Jacob won a contest at Guanabara Radio Station's "Programa dos Novos" (New Talents Program) by beating 28 other contestants and receiving the maximum grade from a prestigious jury, leading to his radio station contract.[5]
• Jacob's hectic schedule sometimes required him to perform at three different radio stations on the same day (Educadora, Clube do Brasil, and Sociedade) in downtown Rio de Janeiro during the 1930s-1940s.[5]
• His last radio show was recorded on the eve of his death on August 13, 1969, but was never aired.[5]

Associated Acts

• Época de Ouro (1964–1969)
• Jacob do Bandolim e conjunto - eponymous
• Jacob do Bandolim e quarteto - eponymous

Musical Connections

Mentors/Influences

• Luiz Americano - Famous clarinetist and composer who discovered Jacob at a musical instrument store and invited him to perform at Phillips Radio Station; his recording of 'É DO QUE HÁ' profoundly inspired young Jacob in 1931 (É DO QUE HÁ (This is what there is to it)) [1931 onwards]

Key Collaborators

• Benedito Lacerda Ensemble (Gente do Morro) - Jacob took turns with this famous ensemble at Guanabara Radio Station, accompanying major artists of the time (Radio broadcasts and performances with artists including Noel Rosa, Augusto Calheiros, Ataulfo Alves, Carlos Galhardo, and Lamartine Babo) [1934 onwards]
• Ataulfo Alves - Invited Jacob to participate in recordings of his compositions (Leva Meu Samba, Ai, que Saudades da Amélia) [1941]
• Época de Ouro (Golden Epoch) - Jacob's own ensemble, his most famous group known for achieving the highest levels of quality under his perfectionist direction (Recordings from the 1960s) [1960s]
• César Moreno Ensemble - Jacob performed with this ensemble at Nacional radio station (Radio broadcasts) [1955-1959]

Artists Influenced

• Subsequent generations of Latin American mandolin performers - Jacob's performing skills and compositions had a huge impact on all subsequent generations of Latin American mandolin musicians, facilitating a considerable wave of mandolin fashion throughout Latin America in the 20th century (His entire body of work (over 100 compositions from 1949-1969)) [1950s-1969 and beyond]
• Brazilian music identity and choro revival - In the 1950s, Jacob led a choro revival that helped make the style a central symbol of Brazilian national identity, influencing how the genre was perceived and performed (His compositions and recordings that facilitated the choro genre revival) [1950s onwards]

External Links

• Spotify
• [Wikipedia](Not found in search results)
• MusicBrainz

Tags: #choro, #composer