Seu Jorge and his children accompanying a local singer, in Ribeirão Preto.
The music sessions, however, were long, and the boys—despite their talent—were still children. While Sérgio handled the long hours better, Odair often grew sleepy. In this intense coexistence, Seu Jorge gradually discovered how to be a teacher as well: by observing his sons, he created his own methods to sustain their attention and enthusiasm. One of these curious gestures—among other simple and effective ones—became a habit: stopping at the bakery to buy timely chocolate bars before the late-night musical gatherings.
As his pleasure in playing with his sons grew, Seu Jorge discovered reel-to-reel tape recorders and, fascinated by the possibility of documenting the boys’ progress, managed to acquire a Grundig machine. From then on, he used it frequently to record not only his sons, but also the musicians who visited them—after all, their home had become a constant meeting point.
Among these visitors was Aparecido, a traveling salesman and guitar virtuoso, able to interpret classical pieces like “Seville,” by Isaac Albéniz, and “Capricho Árabe,” by Tárrega, with mastery. Through him, they had their first contact with classical guitar— introduced to a musical universe until then unknown, one that, in the not-too-distant future, would become part of daily family life.
But before that happened, the chorinhos began to fill reel after reel of tape. One day, Garcia— friend from the choro circles and soloist of the Regional do Dauria, famous for accompanying Jacob do Bandolim—visited the family and played with the boys. The recording of that meeting, available on this page for listening, reveals his excitement at what he had witnessed: it was moving to see two children master, with such naturalness, a musical style that was already fading into time. Garcia then promised he would speak with Jacob.
***
The death of Dona Francesca, Seu Jorge’s mother, in 1956, left a deep mark on him. Over the years, the desire to return to São João da Boa Vista—to be closer to his father and to his own roots—remained latent. Years later, with the children growing musically and the financial situation more stable, Seu Jorge felt that this move had finally become possible.
Thus, in mid-1964, the family returned to São João da Boa Vista, bringing some capital and the expectation of good fortune.
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Sérgio, Odair and Garcia. Music: "Homagem à Velha Guarda", by Sivuca.
