Bola Sete
Bola Sete's name means "ball no. 7". In Brazilian billiard, ball no.7 is the only black ball on the table, and Bola got this nickname when he was the only black member of a small jazz group. He studied guitar at the Conservatory of Rio and he started performing with his own sextet while he was still a student. His early infuences were guitarists Django Reinhardt, Charlie Christian & Oscar Moore (of the Nat Cole Trio), while he was also captured by the sound of the big bands that were touring South America at that time (Dizzy Gillespie, Tommy Dorsey, Woody Herman). His career started in Italy, where he played in various clubs & hotels for 4 years (1952-1956). Then, he returned to Brazil and started touring all of South America. That's when the manager of the Sheraton hotels noticed him and decided to bring him in the US to play in the hotels (1962). He played for a while in New York's Park Sheraton, and later he moved in San Francisco to play in the Sheraton Palace. Dizzy Gillespie was staying there at the time, so he was listening to Bola Sete playing every day. When Dizzy decided to bring his pianist (Lalo Schifrin!) to the hotel, he discovered that Lalo & Bola had already met & played together in Argentina. That's how Dizzy met Bola, and this meeting was the beginning for Bola's success in the US. In the fall of 1962, Dizzy took the talented guitarist to the Ninth Annual Monterey Jazz Festival, where he enjoyed a huge success. After that, he toured for a while with Gillespie and finally he returned to San Francisco where he joined Vince Guaraldi's trio. Bola Sete was already well-known in the US, and his partnership with Vince was another huge success for both of them. After staying for a couple of years with Guaraldi, Bola Sete formed his own trio with his fellow Brazilians Sebastian Neto (bass) and Paulinho (drums). With his own trio, he appeared once more in Monterey (1966) with equal success.
Today, this soulful figure of the Brazilian guitar seems to be completely forgotten. As far as I know, none of his recordings is available on CD (except his 13 min "Orpheus suite" that is available as a bonus track in the "Orfeo Negro" soundtrack). Yet, by listening to his most important (early) recordings, one will be captivated by his playing. They used to call him a "true entertainer", and that's exactly what he was. Although he had solo recordings too, he has always touched better the jazz audiences than the classical guitar fans.