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Jacob Pick Bittencourt (1918-1969) Jacob do Bandolim
	Jacob Pick Bittencourt was born in February 14, 1918 in the Maternity-School of the University of Brazil (today's Federal University of Rio de Janeiro). He was the only son of Francisco Gomes Bittencourt, pharmacist, from Cachoeiro do Itapemirim, state of Espirito Santo and Rachel Pick, housewife, originally from Russia. Jacob, who played harmonica, was strongly influenced by music between 12 and 13 years old (1930-31).
Residing in the neighborhood of Lapa, he always heard his French neighbor, who was blind, play the violin. Later Jacob said:"(...) That French guy was the one who put the musical feeling inside me: he played so well that I asked my Mother to buy a violin for me.(...)". With this instrument, Jacob used to reproduce by ear the waltzes and Brazilian folk songs that were sung by his mother and the people on the street. However, Jacob didn't get comfortable with the using of the bow and started to pick the strings with hair clips. A lot of strings were broken because of that. Then a friend of his mother explained that there was a proper instrument to play with a pick, a fact that motivated Jacob to buy a European mandolin.

Jørgen Larsen

He graduated in 1937, with a degree in Accounting, but he never worked in this area. The music "spoke louder". But at that time, to be a musician wasn't a respectable job and Jacob worked selling everything on the streets -- from insurance titles to soap. During the 30's Jacob was torn between being a musician and working in different jobs.

Jacob was a leader in his time. His way of composing and playing with harmonic, phrasing and style innovations represented a revolution within Choro music. As an extension, he definitely left to the mandolin an authentic Brazilian soul.

He was employed as a public servant (Registrar of the Justice Department of Rio de Janeiro), what guaranteed him a certain independence in terms of money. This independence allowed him to refuse recording deals that didn't please him. Jacob also worked in all of Rio de Janeiro's radio stations and was an exclusive artist of recording label RCA Victor in Brazil. He died in August 13th, 1969, when he was walking back home from his Master's house, Pixinguinha. Jacob was a victim of a heart attack.

Jørgen Larsen


Career of Jacob do Bandolim
Jacob do Bandolim is one of the first names in the history of the choro genre. A serious and dedicated musician, he instilled a high degree of professionalism in the traditionally relaxed music. He struggled to preserve Brazilian roots, and fought to impose his artistic sincerity on the music industry. He left important compositions that were incorporated in the repertory of chorões. His first performance as an amateur was in 1933, at the Grêmio dos Estudantes Israelitas. In December of that year, he performed for the first time on Rádio Guanabara. In those times, he was already a brilliant mandolinist, and also a good violonista (acoustic guitarist) and cavaquinho player. In the next year, he won his first important contest at Rádio Guanabara, invited by Benedito Lacerda. Accompanied by Carlos Lentine, Luís Bittencourt, Canhoto, and Russo do Pandeiro, his group was named Jacob e Sua Gente by the show director, and was awarded the maximum grade given by the professional jury in a contest disputed by other 27 participants. Jacob e Sua Gente became a regular on Rádio Guanabara in the accompaniment of professional singers and musicians.
In 1935, he joined the Conjunto da Rádio Ipanema, one of the three important groups of his life, initially directed by Mário Silva and later directed by himself. The group featured César Faria (after 1939) and Claudionor Cruz (violões, or acoustic guitars), Léo Cardoso (afoxê), and Candinho (drums). In 1943, by insistence of his future father-in-law, he abandoned his radio work, returning at the explicit desire of his wife, Adylia, in 1945 at Rádio Mauá. His first album was recorded in October 1947 with Continental (a company for whom he worked until 1949), having the hit "Remeleixo." In July 1949,		do Bandolim moved to RCA Victor, recording eight albums until October 1950. From March 1951 on, for the next ten years, he was accompanied by the Regional do Canhoto. In July 1961, the recording of Chorinhos e Chorões marked the opening of the group Época de Ouro, the third important group of his life, and one of the most prominent of all time in the genre. The group used other names until the LP Vibrações, which was released in October 1967 and is considered one of the best of all time.
Do Bandolim's imposed weekly rehearsals on Fridays and sometimes on Saturdays were rigorous. During those rehearsals the musicians sweated profusely, because the slightest mistake was accompanied by terrible admonishing in do Bandolim's resounding voice. In addition to his virtuoso playing, he is famous for his many choro compositions, which range from the lyrical melodies of "Noites Cariocas" ("Carioca Nights") and "Doce de Coco" to the agressively jazzy "Assanhado", which is reminiscent of bebop. He also researched and attempted to preserve the older choro tradition, as well as that of other Brazilian music styles.
Jørgen Larsen