Os Carioquinhas
Waldir Azevedo (1923–1980)
Jorge do Fusa
Garoto (1915–1955)
Flor de Jacarandá / Velhos Chorões
Luciana Rabello (1961)
I. Se Ela Perguntar
II. Dr. Sabe Tudo
Dilermando Reis (1916–1977)
Choro Negro
Paulinho da Viola (1942)
I. Corta-Jaca
II. Lua Branca
Chiquinha Gonzaga (1847–1935)
O Voo da Mosca
Jacob do Bandolim (1918–1969)
Pisa Firme
Zé de Elias (unknown)
Inesquecível
Paulinho da Viola (1942)
Mafuá
Armando Neves (1902–1976)
Lamentos do Morro
Garoto (1915–1955)
Um Choro pro Waldir
Cristóvão Bastos (1946)
Paulinho da Viola (1942)
Carinhoso
Pixinguinha (1897–1973)
Brasileirinho
Waldir Azevedo (1923–1980)
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Founded by Fernanda Silveira (cavaquinho), Fabio Oliveira (percussion), and Gabriele Leite
(guitar), Regional Samaúma is a New York–based choro and samba ensemble. Inspired by
legendary groups such as “Regional do Benedito Lacerda”, “Regional do Canhoto”, and
“Época de Ouro”, the ensemble collaborates with experienced musicians dedicated to
Brazilian music. Since February 2023, Regional Samaúma has served as the resident
ensemble and coordinator of the weekly Roda de Choro, held every Sunday at Barbès in
Brooklyn, New York. The ensemble has performed throughout New York City, including
appearances at Barbès and Lincoln Center, and has collaborated with leading Brazilian and
international artists. In June 2026, Regional Samaúma opened for Hamilton de Holanda and
the Jazz at Lincoln Center Orchestra, led by Wynton Marsalis, at the Rose Theater.
Fernanda Silveira, cavaquinho
Fábio Oliveira, percussion
Gabriele Leite, guitar
https://www.regionalsamauma.com/
Program Notes
Born in Rio de Janeiro in the late nineteenth century, choro developed from the meeting of
European dance forms and Afro-Brazilian musical traditions. This program brings together
works by composers from different generations, tracing the evolution of choro through its
repertoire and instrumental traditions. While some of these composers helped define the
genre’s fundamental musical language, others expanded its expressive and virtuosic
possibilities. The guitar compositions of Garoto, Dilermando Reis offer a distinct perspective,
drawing on the deep lyricism and harmonic of Brazilian music.
Furthermore, works by Paulinho da Viola, Cristóvão Bastos, and Luciana Rabello reflect the
continuous evolution of choro, integrating its foundational traditions with subsequent
generations of composers and performers. Through this repertoire, Regional Samaúma
explores the dynamic interaction between melody, accompaniment, and improvisation that
remains at the very heart of choro.
