" One of the most popular and commercially successful samba interpreters in the '60s and '70s, Jair Rodrigues had his first radio experience in 1958 on a novice show in his hometown. Moving to São Paulo, he won a contest in another novice show on Rádio Cultura. Becoming a crooner in several nightclubs, he recorded for the first time in 1962 ("Marechal da Vitória"). His first LP came in 1963, O Samba Como Ele É. In 1964, he had his first hit with "Deixa Isso Pra Lá," which helped solidify his "malandro" (street smart) style. Rodrigues replaced Baden Powell in 1965 on a show with Elis Regina at the Teatro Paramount (the first place where the bossa nova was presented in São Paulo), which opened the way for the live recording with her of three anthological LPs (the Dois Na Bossa series) ..... more .
" Maria Bethânia, sister of Caetano Veloso , is a renowned singer . Her scenic, dramatic abilities, in a profoundly Brazilian tradition, make her performances quite personal, which has brought her a massive and faithful audience over the decades.... ( more )
Recorded live at the theatre Guaíra, Curitiba - Paraná - Brazil.
Grupo Fato is influenced by the old Paraná tradition known as "fandango." Fandango is a dance of Spanish origin and influenced by the Brazilian native Carijós. Fato using wooden clogs to keep the beat of the song and adding handclapping along with fiddles and guitars.
Daily newspaper O Globo called the attention to producers and record labels in Brazil to "pay attention to the sound coming from Curitiba," capital city of the Brazilian southern state of Paraná. Jornal do Brasil hailed Fato as a "positive surprise... with its sound from the south." ( MusicaBrasileira.org)
Elza Soares and Miltinho - "Samba do Ziriguidum" ( 1997 ). Tribute to Jackson do Pandeiro's work . 04:41 .
Owner of a distinctive, harsh voice (even if considering the conspicuous Armstrong mannerisms), Elza Soares is one of the most swinging samba singers... ( more , Alvaro Neder, Rovi )
In 2009 , Casuarina was nominated at the Tim Music Award in the category “Best Samba Group”. In 2006, they won the Rival BR Music Award for “Best Group”. The critics often praise the way the group combines tradition and modernity, making contemporary versions of old sambas and keeping the rhythm alive amongst young people. ( The Rio Times, 2010 )
Zélia Duncan - vocals, Hamilton de Holanda- Bamdolim and Nilze Carvalho- Cavaquinho. From the DVD "Samba Social Clube 4" .
Born: October 28, 1964
Zélia Duncan is a phenomenon as a high-selling singer/composer and has sold 160,000 copies of her Zélia Duncan album. Since 1994, she has been a major national success, touring through countries of Europe in 1996 and also winning awards from critics in Brazil. ( More )
Mixing samba with dub and drum'n'bass with funk, O Rappa has as its most visible features social criticism, racial awareness, and in attacks against police violence. The first album, O Rappa (1994), was celebrated only in small circles of the initiated, mostly in working-class suburbs of Rio de Janeiro. Only the third CD, Lado B Lado A (1999), sold well: 150,000 copies in three months. In the same year, the music video for "Minha Alma" was nominated for seven categories on MTV Brasil's Vídeo Music Brasil, winning six of them; in the same year, the same music video won the Seventh Multishow Music Awards. In November 2000, drummer/composer Marcelo Yuka was shot and became parapalegic after he tried to avoid an assault by throwing his car against the bandits.( Alvaro Neder, All Music Guide )
One of the highly popular singers in the '40s and '50s throughout Brazil, Isaurinha Garcia recorded over 50 rpm and more than ten LPs during her career. The first Rainha do Rádio Paulista (Queen of São Paulo's Radio), in 1953, Garcia had hits in the '40s with "Aperto de Mão," "Mensagem," "De Conversa em Conversa" ( more )
" Rosinha de Valença was at her peak during the '60s when she was performing at the Bottle's nightclub in Rio (one of the focal points of bossa nova). In that decade, she was celebrated by important artists like Baden Powell, Maria Bethânia, Aloysio de Oliveira (who invited her to record her first album), Sérgio Mendes (with whom she and his band, Brasil 65, performed during an eight-month American tour), Sivuca, Martinho da Vila, and others. She was forced to abandon her artistic career prematurely in 1992 due to brain damage caused by a heart attack. She left her hometown for Rio de Janeiro in 1963, sitting in several nightclubs until she became acquainted with de Oliveira, who at the time owned the Elenco recording company. .... more
Samba de Elegua; 04:00 - Gostodo Venono / Gotas de Veneno / Senhora Liberdade
" A professional composer since 1972, Nei Lopes is respected for his partnership with Wilson Moreira and his research on samba, having had his compositions recorded by many important contemporary interpreters of the traditional samba. Lopes abandoned his career as lawyer to dedicate himself to music and writing in the early '70s. In 1972 he had his first composition recorded, "Figa de Guiné" (w/ Reginaldo Bessa), by Alcione. In 1973 he debuted as interpreter, recording two tracks for the LP Tem Gente Bamba Na Roda de Samba (Continental).... more
Brazilian interpretation of Pink Floyd's " Money ", live in Belém . 03:09
A net-released cover of " Dark Side of the Moon" by a Belém collective of musicians based around the group La Pupuña. The album has a strong brega influence amid the carimbo and other styles.
La Pupuña, who play a kind of psychedelic Amazonian surf rock broken by sound effects from the river– like the chug of long-tail boats and the call of birds. They have released a carimbó version of “Dark Side of the Moon” called “Charque Side of the Moon ” .
There are favela slums in Belém too – as marginalised and close-knit as those in Rio or Recife. And the music of the Belém favelas is equally dynamic and militant - but with a quite different sound to Nação Zumbi or Afro Reggae. Bands like Coletivo Rádio Cipó fuse local carimbó rhythms with Hip Hop, reggae and Amazon guitar to produce a sound that explodes out of the speakers like a rat-a-tat of gunfire and pounds with rhythm as energising as an intravenous shot of Guaraná. Lyrics denounce corruption, violence and complacence. ( Mondomix )
Born in Rio de Janeiro, Brazil, to a family deeply rooted in the samba tradition, Paulinho met and befriended much of Rio's samba elite as a child. His father was a guitar player and musicians like Pixinguinha and Jacob do Bandolim would often come to his house for rehearsals, which Paulinho watched for hours on end. After the rehearsals, Paulinho would pick up his father's guitar and strum the few chords he knew. Later, as a teenager, he was frequently seen at jams at Jacob do Bandolim's house, quietly and attentively observing the older, more experienced musicians. He began writing his own songs as a teenager, but never considered a career as a professional musician until he met poet Hermínio Bello de Carvalho in 1964. By then, Paulinho was working as a teller at a bank in Rio de Janeiro, and recognised Hermínio from the jam sessions at Jacob do Bandolim's house. The two became close friends and soon began writing music together. The first song they wrote together was Duvide-o-dó, recorded by singer Isaurinha Garcia. He then began performing his own songs at a restaurant in Rio, owned by samba legend Cartola and his wife.
He got his famous nickname in 1965, when he was a member of the samba group A Voz do Morro (the voice of the hills), alongside Zé Keti and Oscar Bigode. After their first recording session, a publicist from the record label reportedly told him "'Paulo César' is not a samba name!". Zé Keti and journalist Sérgio Cabral eventually came up with the nickname "Paulinho da Viola" (something to the lines of "Guitar Paul").
By the 1970s, Paulinho was at the most prolific stage of his career, releasing an average of one album per year. He was already a household name in samba, choro and MPB circles and broadened his audience by touring all over Brazil and also playing at festivals in Europe and the US. His productivity and popularity had waned by the mid-80s, when he decided to focus more on his songwriting. In 1996 he regained notoriety after releasing the much-acclaimed album Bebadosamba, in which he once again joined forces with Hermínio Bello de Carvalho and Elton Medeiros, his early songwriting partners. ( Discogs.com ) . Posted by "pugaman77".
Luísa Maita & Dr Morris Live at the SESC POMPÉIA ,16/03/2010 .
..." Luísa's started working at her uncle Benjamin Taubkin's record label, helping to sell CDs at concerts and generally learning the ropes of the music business. It was at her uncle's office that she met producer and musician Morris Picciotto (who now goes by the name Dr. Morris) and after taking some guitar lessons with him they began to perform together in local bars. Another uncle, Daniel Taubkin, invited Luísa to sing with his group, and Luísa was also making an impression as the vocalist for the group Urbanda, who released an album in 2003.
In 2006, the Brazilian singer Virginia Rosa recorded two of Luísa's compositions, and in 2009 popular singer Mariana Aydar's version of a song co-written by Luísa and frequent collaborator Rodrigo Campos was selected as "Song of the Year" by Rolling Stone Brazil magazine. Luísa was also the featured vocalist on a widely-viewed promotional video directed by acclaimed filmmaker Fernando Meirelles (City of God) that was used in Rio's successful bid for the 2016 Olympics. While these projects kept her active and greatly expanded her profile on the national scene, Luísa was still seeking her own voice..." ( More, ArtistData.com )
Guitarist Luiz Bonfa (1922-2001) gained international fame in 1959 as his acoustic samba instrumental, "Manha De Carnaval," echoed worldwide through the minds of moviegoers who had seen the French film, Black Orpheus. Although he was linked to the birth of bossa nova through this famous film, Bonfa had worked on the earlier stageplay version, and helped compose and record the earlier version of the soundtrack, and, starting in the 1940s, had a long career as a radio performer in the decade before. Riding the bossa wave of fame, Bonfa left Brazil for the United States and shifted towards a more overtly jazz and pop direction. Many of his records released in the US and Europe have not been issued in Brazil itself; likewise, many of his older Brazilian albums remain out of print as well. ( Slipcue.com ). Uploaded by "samix23" .
Scene from the documentary "Ginga no Asfalto" from Germano Mathias, produced and directed by Guilherme Vergueiro and André Rosa.Posted by "gvergueiro" .
"Long before his 30th birthday, Lucas Santtana had absorbed more music than most professionals would encounter in their lifetimes, having traveled around the world with the biggest names in Brazilian Tropicalia. The sheer volume of influences, including Afro-Brazilian rhythms, Motown funk, Brazilian metal (à la Sepultura), and European electronica would allow him to conceive of sonic textures later that no one else would even consider. More amazing, though, is that he originally came to prominence as a mere flautist.
The young man from Bahia was first introduced in his early twenties, when he was discovered by Brazilian super-heavyweights Gilberto Gil and Caetano Veloso. After playing on both Gil's resurgent Acoustic and Veloso's controversial Tropicalia 2 in 1994, he was invited to join them on a tour of Europe. When he returned, he would work alongside Chico Science, another adventurous group of radical Brazilians, and spend time in the studio recording other artists' projects, including Arto Lindsay." ...( Kieran McCarthy, All Music Guide )
" In 1992, in the Bar de Dona Edna, in Recife, Pernambuco, Brazil, the musician and cultural agitator Francisco de Assis França announced to his friends, “I mixed a hip-hop beat with a maracatu groove and it turned out awesome. I’ll call it mangue.” ‘Mangue’ means ‘wetlands,’ a type of landscape common in Recife, where lots of people take their livelihood from, especially catching crab. França, a.k.a. Chico Science, was surrounded by the central figures of a cultural movement that would become the most important engine of innovation in Brazilian popular music for the following 20 years, Mangue Beat. They had a few more beers to discuss the concept, and off they went, for the following months, to write manifestoes in Ecology, Music, Art, and Technology.
The movement was finally named “Mangue Beat.” Chico Science and his loose crew also wrote songs. When they recorded those songs, it was like a revelation for many: nothing in Brazilian music sounded like that before, and yet it was utterly familiar: hip-hop beats, heavy metal guitars, punk rock, funk, and the folk music of the Northeast, a region often seen as the cultural heart of Brazil.
The local rhythms of maracatu, coco, samba de roda, and ciranda were neglected by the urban youth, and yet for many playing rock didn’t feel authentic. For that generation Tropicalia sounded stale and too hippie and joyful. That 1970s mix of samba, bossa nova, forró and psychodelia was a marriage made in heaven. Mangue Beat’s hardcore rock anger and energy from the maracatu drums is a marriage made in hell ".... ( Eloisa Aquino, soundsandcolours.com )
" Baixada Fluminense is the birthplace of this samba-reggae band. Reggae was the main music you heard in this rather aggressive neighborhood. Cidade Negra was one of the many bands exploring that music. Their lyrics didn't lie about life in the baixada, something that wasn't always appreciated by radio stations and record labels. The group adjusted a little to that and got a record deal with Sony. Their records were a huge success, even more after lead vocalist Ras Bernardo was replaced by Toni Garrido. The group immediately sounded more polished, both in music and lyrics. Now they're one of the main bands in Brazil with their mix of pop, reggae and soul. Critics love referring to Cidade Negra as far too soft, nothing compared to the original reggae. Nevertheless the band's appearance at the Sunsplash festival in Jamaica was a big success. Their danceable reggae with definite Brazilian accents is a joy to listen to. Toni Garrido's charismatic stage appearance and voice may be the band's main attraction" ... ( Musicabrasileiro.org )
. Dominguinhos and Mariana Aydar Uploaded by "pizzatarian", Oct 2009 .
One of the greatest accordion players of “forró” music, he was musically adopted by the Great Luiz Gonzaga, the King of Baião (brazilian northeastern music). A very accomplished musician, singer and composer, faithful to the roots of forró, yet with a jazzistic approach to his playing. ( Last FM )
" Ana Costa is a singer, composer and guitarist who got her start singing in the rough and tumble bars of Baixada Fluminense, a region just north of Rio de Janeiro. In 1994, she founded with Bianca Calcagni the all female group Samba O Roda, later known as O Roda..." ( "Black Star Liners" Blog " ).
Note: One hour videoclip of Monica Salmaso live performance in Washington. Uploaded by "edgararruda" Sept. 2010 . 04:50 , 10:00-Canto em Qualquer Canto , 16:40 , 21:00, 25:00 .
"Just barely into her 30s, the São Paulo singer is already high on the list of her country's vocal artists. Her velvet-toned sound, focused intonation and understated but tenaciously lively rhythms are the hallmarks of a gifted, natural performer. Salmaso could easily have used those gifts in a typically high-voltage Brazilian setting....." ( The Los Angeles Times ).
América Contemporânea is a project to celebrate an encounter between 9 musicians from 7 South American Countries. Brazilian pianist Benjamim Taubkin idealized and performed in this project that united 9 musicians on stage, 4 of them Brazilian, and 6 from other Latin-American countries.
Each artist presents a rhythm from his or her country, and is accompanied by the other musicians. "The diversity and the affluence of the music made in South America is impressive. The musical wealth is much more than anyone imagines. People need to know about this," Taubkin explains. And declares: "These places are as sophisticated as anywhere else. There is life, music, and creativity. All this based on tradition, of course, but with eyes on the future,"
América Contemporânea has already participated in several festivals in Brazil, Europe and North America. The CD was released in Brasil in 2006 by Núcleo Contemporâneo label, in the United States in 2007, by Adventure Music, and in Europe in 2007, by Connecting Cultures.
Alceu Valença is a composer, writer, performer, actor, and poet.
Alceu Valenca was born in countryside Pernambuco, Northeast Brazil. He is considered the most successful artist in achieving an aesthetic balance between traditional northeastern Brazilian music and a broad range of electronic sounds and effects from pop music. One can find traces of maracatu, coco and "repentes de viola" (improvising fast-paced Brazilian folk music) in most of his songs. .... ( Wikipedia )
Gogol Bordello - Morena Tropicana
Morena Tropicana as part of "Start Wearing Purple".
Live at Tim Festival, Marina da Glória, Rio de Janeiro RJ, Brazil . 2008.
Gogol Bordello is a Gypsy punk band from the Lower East Side of New York City, formed in 1999 and known for theatrical stage shows and persistent touring. Posted by "zanerohr".
Virada Cultural is an annual event held since 2005 by the Municipality of São Paulo, promoting 24 hours of non-stop cultural activities held during the month of May, every year, always starting on a Saturday night and ending on a Sunday afternoon. The event was inspired by the annual event named " Nuit Blanche " in Paris, with many cultural entertainment events throughout the night. The activities include music shows, dance shows, classical & orchestra presentations, theater plays, cinema, poetry, anime/comics fans meetings and acrobatic performances. The event takes place in several parts of the downtown area, as well as some cultural centers, clubs and selected schools. On 2010, according to Sao Paulo's Municipality, the event attracted around 4 million people.
"Trem das Onze" ("The 11 PM Train", 1964), which has been ranked one of the five best samba songs ever, the protagonist explains to his lover that he cannot stay any longer because he has to catch the last train to the Jaçanã suburb, and besides his mother will not sleep before he arrives.
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... " To get a sense of where Marcio Local’s sound comes from, we might begin by noting that he was born in 1976 in Realengo, a working-class neighborhood on the north side of Rio. Realengo is also home to the samba school Padre Miguel, widely regarded as having the tightest and most inventive bateria, the massive drum corps that parade behind the lavish floats during carnival..... By the time Marcio Local was born, the north side had emerged as the epicenter of a new cultural movement dubbed “Black Rio,” which attracted thousands of young people, mostly black, to all-night dance parties with soundtracks that were heavy on soul and funk. ...... The house band of this movement was the famous Banda Black Rio, led by a family friend, saxophonist Oberdan Magalhães, who used to take Marcio to hear the group at the community center of Realengo. He came of age in a neighborhood where you could start your evening at midnight gyrating to one of Rio’s best samba schools and watch the sunrise over a hundreds of kids with the latest moves grooving to James Brown and Brazil’s legendary soul singer Tim Maia. In the 1980s rock and reggae also entered the mix and by the 1990s, a vibrant home-grown dance hall culture exploded around the electronic beats of the bailes funk. All of this—roots samba, soul, funk, reggae, rap and the bailes funk—all inform Marcio’s sound. There is a touch of nostalgia in his music, but he also succeeds in rereading soul samba in innovative and even unusual ways. ( Last FM ).
" Orquestra Imperial is a Brazilian Big Band was formed in 2002 with the goal of becoming a typical Gafieira samba bands group together leading names from the new Carioca pop scene as Rodrigo Amarante (from the group Los Hermanos), Moreno Veloso Domenico Lanceloti and Kassin (from 2 project), Nina Becker, Thalma de Freitas , Max Sette and Rubinho Jacobina. Experienced musicians such as Nelson Jacobina , samba singer and percussionist Wilson Das Neves (composer of Imperio Serrana Gres) . Other musicians who have contributed to include the Orquestra Berna Ceppas Rodrigo Bartolo (who plays with Arnaldo Antunes and Duplexx) Pedro Sa (guitarist Caetano Veloso), Bidu Cordeiro (that came with the Lama do Sucesso Paramore reggae and B) and DJ Marlboro has received official title Orquestra Imperial DJ"... ( Artistwiki )
Posted by " senhorlawless" 2007.
Waltel Branco - Tema De Zorra ( Popcorn With A Feeling ) Uploaded by "HateRunDeep"July 2009
Waltel Branco ( Paranaguá, 1929 ) is a Brazilian conductor, composer and arranger .
From a family where music was a part, began this art very early, through the drums, guitar and cavaquinho and later the cello, has been studying harp and organ. His childhood and adolescence was marked by the study of music and religion alternating between the cities of Curitiba and Rio de Janeiro. His musical studies were consolidated in the period when he was in the seminary with the Chilean joquin Zamacois. Among his teachers of the time, names like Benedict Mossurunga, Padre José Penalva, Jorge Koshag, Stanley Wilson and Alceo Bocchino contributed to its formation. ( Discogs )
Céu interpreting Adoniran Barbosa's work at the TV program "Som Brasil".
Posted by "veigadaiana" May 2010 .
Adoniran Barbosa and Elis Regina ( 1978 ) - " Iracema", "Um Samba no Bexiga" and " Saudosa Maloca".
..." In spite of the success of his songs and radio characters, Adoniran only became a star of sorts after 1973 when he recorded his first own album. That made him respected as a major composer, and gave him some media exposure. Nevertheless, through his career he continued living a simple and happy life. He had earned a private table at the Bar Brahma, one of the city's most traditional bars.
While he never lost his love of São Paulo, towards the end of his life he became increasinly sad about the disappearance of its traditional character. "Until the 1960s," he once said, "São Paulo still existed, but since then I have been looking for it, and could not find it. Brás, where is Brás now? And Bexiga, where is it? I was told to look for the Sé. Could not find it. all I see is cars and concrete."
While his music continued to be played, Adoniran himself was gradually forgotten by the public; so that when he died in 1982, in relative poverty, he had at his side only his wife and a brother in law." ( wikipedia )
In 2000, Mariana Aydar made her professional debut in Miltinho Ediberto's band, an extraordinary folk guitar player. She naturally became acquainted with young and talented musicians, which led to the creation of Banda Carua, where she teamed up as a vocalist for two years, performing alongside Chico Cesar and Virginia Rosa.
In 2004, Mariana wanted to broaden her horizons. She moved to Paris, at the time a scene of high cultural effervescence that mixed Brazilian music, young talents, alternative radio stations, Frenchmen in love with our music and a great desire of creating new things. During this time of discoveries, Mariana met Seu Jorge, who invited her for the opening act of his European tour. “In Paris, after listening to Minha Missao [My Mission], by Joao Nogueira and Paulo Cesar Pinheiro, I realized how much the samba songs are part of the Brazilian essence and I felt that I needed to come back to produce something that would share this soulfulness”, she tells us.
With all this inner motivation, Mariana returned to Brazil in 2005, with the intention of starting up work on her first album. Meanwhile, she was slated as guest artist in concerts of some big names like Joao Donato and Dominguinhos.
One could unmistakably say that Mariana Aydar is the perfect translation of a contemporary feel that searches for the reencounter of tradition and also of its transformation. More than ever, Brazilian music is alive and kicking and audiences are increasingly interested in it. Samba songs are being rediscovered and traditional beats have invaded the territory of electronic music. The lyrics are once again singing about candomble and samba-rock is cheering up the warm nights and the dance floors.
At 26, Mariana Aydar is considered one of the most promising singers of her generation. Not limited to passing fads or prudish purisms, she drinks from the fountainhead with no fear of putting her own mark to it. Totally at ease, her voice gracefully moves from samba rhythms to classic songs, from forro music to contemporary sounds. Her acknowledged influences are, among others, Roberto Ribeiro, Joao Nogueira, Jackson do Pandeiro, Luiz Gonzaga, Marina Lima, Lulu Santos, Leci Brandao, Elis Regina and Lenine.
At the celebration of Adoniran Barbosa's musical legacy , Altas Horas' special program featured Demônios da Garoa, Jeito Moleque, Casuarina, Zélia Duncan, Ana Cañas, Teresa Cristina, Negra Li, Maria Rita, Bruno & Marrone, Di Ferrero, Gabriel, O Pensador, Dominguinhos, Lenine, Jorge Aragão, Emannuelle Araújo, Lan Lan e Tony.
Uploaded by "mircmirc15" August 2010 .
Adoniran Barbosa ( 1910 - 1982 )
Adoniran Barbosa's favorite musical style is the "samba paulista", the samba of São Paulo, generally despised by the "sambistas" of Rio de Janeiro. A feature of this style is the "samba de breque" ("brake samba"), where the music is suddenly interrupted to make space for a few spoken words, or a sudden reversal in the melodic line.
Among his compositions included "Trem das Onze" ("The 11 PM Train", 1964), which has been ranked one of the five best samba songs ever .
Roberta Sá interpreted Ary Barroso's work " Foi Ela " . Som Brasil progam .
" Sometimes good things do come from very unexpected places. Take, for example, the TV show Fama from Globo TV in Brazil. The show is similar to American Idol in which contestants struggle for a chance to make it big with a brand new solo career. Roberta Sá (Natal, Rio Grande do Norte) was one of such contestants, and even though she was not the winner in that 2002 show, she has started off on the right foot....
Outside the show, Roberta Sá first got the attention of critics when she recorded Dorival Caymmi's "A Vizinha do Lado" for a Globo TV novela soundtrack. That led her to meet with producer and guitarist Rodrigo Campello. He is responsible for the production of her debut album, a good release with a balanced repertoire of classic and contemporary Brazilian music, including sambas, côco and a waltz. ( Musica Brasileira }
Ney Matogrosso and PLAP ( Pedro Luis e A Parede ) from the DVD " Pedro Luis e A Parede - Vagabundo Ao Vivo " released 2008 .
Ney de Sousa Pereira, known as Ney Matogrosso, is a singer who is distinguished for his uncommon sopranino voice. In 1971, he moved to Sao Paulo, adopting the artistic name Ney Matogrosso, and joined the glam rock group Secos & Molhados, which in less than 18 months became a phenomenon, selling 1 million records. Endowed with a unique counter-tenor voice and a striking stage presence, Ney's career soared.
After the group Secos e Molhados split up, Ney pursued a successful solo career in Brazil and abroad, obtaining several Gold and Platinum records.
Famous for his outlandish costumes, make-up, daring movements and singular high-pitch voice, Ney has always been regarded as a polemic character. ( Wikipedia )
Dandara ( Rio de Janeiro ) at the CIEE 06/08/2010. Work composed by Ary Barroso. André Lima, Bruno Silveira, João Paulo Deogracias and Mauricio Caruso.
"Carnival 2009 Warm-up with Beija-Flor" from the 2008 televised Roberto Carlos' Christmas Special, featuring special guest Beija-Flor's samba musicians and dancers, Neguinho da Beija-Flor performs his songs conducted by Meister Paulinho, and dancer, Raíssa de Oliveira, among other members of the band as well as Roberto Carlos on back vocals.
The singer-songwriter Ceumar is not only blessed with a wonderful voice but also with a very special name. Ceu stands for heaven and Mar signifies the sea. In the early nineties she was discovered in São Paulo by Zeca Baleiro, who produced her first album. The album Dindinha received excellent reviews worldwide and ever since Ceumar has been recognized as one of the pearls of the Musica Popular do Brasil (MPB). In her music Ceumar combines in a unique way Brazilian folk with influences from pop, jazz and samba. ( cdbaby.com ).
Os Tincoãs, with their hauntingly beautiful vocals, were named for a suitably beautiful bird common to their area (the tincoã) reputed to have the power to warn humans of impending danger...the group comprising three vocalists hailing from Cachoeira, Bahia. 1960 was their first year of existence, but they really found their footing three years later when Erivaldo left the ensemble and Mateus Aleliua -- bringing with him an ethos founded principally in Bahia's houses of candomblé -- joined Heraldo and Dadinho.
Promotional video from the group Mametto, Bahia. With the participation of Mateus Aleluia ( Os Tincoãs' original member ) and Nara Couto.
TONHO CROCCO is a songwriter, lead singer and guitarist of ULTRAMEN , a band from south Brazil - Porto Alegre - that started in 1991 , mixing elements from reggae, hip hop, rock with brazilian music roots and so far released 5 albums by different Brazilian record labels. Ultramen disbanded 2008 .
ULTRAMEN -1998 Rock it! Records, OLELÊ - 2000 Rock it! Records, O INCRÍVEL CASO DA MÚSICA QUE ENCOLHEU E OUTRAS HISTÓRIAS - 2002 Sum Records, MTV BRAZIL ACOUSTIC BANDAS GAÚCHAS - 2005 Sony Music, CAPA PRETA - 2006 Antidoto/Acit Records.
Ana Paulina da Silva from Joinville, Santa Catarina ,Brazil. Recorded live March 26th, 2010 in the "Jobim Vinicius Project" tour in Mar del Plata, Argentina. Posted by "anaquinteros" .
Mestre Ambrósio at the aniversário de 5 anos do selo Chaos , 1998. Reinterpretation of Nação Zumbi's Rios, Pontes e Overdrives.
Mestre Ambrósio is a band that figures prominently both in the mangue movement and in the forró scenario. Mestre Ambrósio came out of Recife in October 1992 with the concept of bringing Northeastern dances, rhythms, and instruments—especially Pernambucan—up to date. By performing a repertoire of cocos, emboladas, maracatus , reisados, cirandas , and baiões on instruments indicative of these styles: sanfona, rabeca (a type of rustic violin), triangle, and zabumba as well as electric guitar and bass; Mestre Ambrósio embraced a broad spectrum of musical styles, while retaining a foundation firmly fixed in forró. Where Chico Science's sound was a blend of external influences, which were developed with incremental touches of regional music; Mestre Ambrósio started with these "incremental touches" and evolved with external influences. Their music is tinged with traditional forms though not bound by them.
This is a group of "musicians' musicians" that has continually experimented with new sounds and new ways of expressing traditional forms, a band that has searched for original music that is deeply rooted in their heritage. Mestre Ambrósio's endless reservoir of energy and determination has made them an important influence and stimulus for new groups while their timbric coloring and original harmonic treatments has drawn established artists to go out of their way to hear and to record with them. Ambrósio's singular purpose—playing today's Pernambucan music—has sparked a tremendous increase of interest in traditional rhythms throughout Brazil and catapulted the band into the international spotlight. Among experts, Mestre Ambrósio is considered "the band."
Each member of Mestre Ambrósio has a long list of performing, teaching, and recording credits that spans from traditional street theater and Carnaval to composing and recording sound tracks for feature films. All have played with ensembles of the most diverse genres from jazz to Afro-Brazilian to samba-reggae to rock. A blow by blow (or note for note) rundown of each player's career would be too exhaustive as all have been stalwarts on the scene for years. I have included only abbreviated biographical sketches at the end of this article. Suffice it to say that these musicians are among the elite talent in Brazil. Mestre Ambrósio is: Maurício Alves, percussion; Sérgio Cassiano, percussion and voice; Mazinho Lima, bass, triangle, and voice; "O" Rocha, percussion; Siba, rabeca, electric guitar, folk acoustic guitar, and voice; and Hélder Vasconcelos, fole de oito baixos percussion, and voice. ( Bruce Gilman, Brazzil.com )
This band formed in Recife (Pernambuco) in 1984, out of the remains of three deceased punk bands (Trapaça, Serviço Sujo, and Câmbio Negro). Mundo Livre S/A spent several years playing under massive booing, especially when they played the tamborim (a percussion instrument traditional in the samba genre). In 1987, the band's instruments were stolen, thus causing the dissolution of the group. Bandleader Fred 04, a journalist by profession, went to São Paulo and worked there for one year. Upon his return, the city was changing with the formation of an alternative audience for unorthodox acts like his.
Regrouping again, Mundo Livre opened in 1990 with the show Mundo Livre Strikes Again, at the same time that Chico Science , Jorge du Peixe, Alexandre Dengue, and Lúcio Maia were developing the sound of Nacao Zumbi. In mid-1991, something resembling a movement began to take hold in the city. The idea was to connect the mangues (mangroves) of Recife with a worldly network of pop concepts. It was symbolized by the image of a parabolic antenna stuck in the mud. It was Fred 04's mission (together with Renato L.) to conceive the movement's manifest, the Manifesto do Movimento Mangue Bit. In the same period, Mundo Livre, Loustal, Chico Science & Nação Zumbi, and Lamento Negro recorded the compilation Caranguejos Com Cérebro (Brained Crabs, another strong image used by the movement, which began to be known as mangue beat).
Finally, after ten years of anonymity, Mundo Livre exploded in 1994 as a revelation with the album Samba Esquema Noise. Despite its national presence on TV shows, the band didn't reach commercial success and continued with difficulties. In 1996, they participated, along with Banda de Pifanos de Caruaru and Chico Science & Nação Zumbi, in the Brazilian Music Festival at Prospect Park in Brooklyn, NY. The Brazilian bands received rave reviews from the American press. Unfortunately, it happened again: the critics loved it but the public didn't buy it. The Mundo Livre saga continued on their third album,Carnaval Na Obra , which was included in many best-of-the-year lists (and considered by a Showbizz magazine critics poll as the best CD of 1998). ~ Alvaro Neder, Rovi
From the DVD : MTV 2010 " Zeca Pagodinho Ao Vivo "
Zeca Pagodinho is regarded by the samba traditionalists as a rare talent in the partido-alto lineage. At the same time he is a commercial success.
Born in the working-class suburb of Irajá, Rio’s north side, from an early age he was a regular at the rodas de samba (samba get-togethers) of the suburbs, singing and presenting his compositions. Since the ’70s, with the local emergence of the samba style (and also get-togethers practiced in the backyards, or fundo de quintal) known as pagode, which would enjoy a boom in the ’80s, Pagodinho became known in the circle. It was in the most important of these pagodes, the one that gathered the bloco carnavalesco Cacique de Ramos, that he became acquainted with Beth Carvalho, who became his madrinha, or protector. Carvalho invited him to participate in her album, where he sang his samba (with Arlindo Cruz) “Camarão que Dorme a Onda Leva.”
In 1986, he recorded his first solo LP, Zeca Pagodinho, recording 13 more albums by 2000.
The Kolosko-Dimow Duo consists of guitarist Nathan Kolosko and Carl Dimow on flute and bass flute. The duo formed in 2005 and has released their first recording, Nostalgia - music from Brazil, Venezuela & Argentina on Fleur de Son Classics label.
..."Traveling to Bahia, Powell stayed there for six months and researched the Afro traditions developed on Brazilian soil, especially the musical tradition emanating from the ancient sorcery rituals of candomblé and umbanda. The next phase of his compositional association with Vinícius would be called by Powell as the Afro-sambas, mirroring the findings of that period: 1965's "Tristeza e Solidão" and "Bocoché" and 1966's "Canto do Xangô" and "Canto de Ossanha," the latter recorded by Elis Regina in 1966 with great success. Taking Bahia folklore, Powell added his Carioca touch, bringing the Afro tradition a more Brazilian feeling. In 1999, Powell, recently converted, regretted and deplored the Afro-samba phase as "devil's music" in a controverted and disappointing interview. "...
One of the most important historical sambistas of Brazil, Riachão is -- along with Batatinha, Walmir Lima, Ederaldo Gentil, Nélson Rufino, and Edil Pacheco -- the cream of the Bahian samba. A successful artist of the radio in the 1940s and 1950s.
His picturesque way of writing songs transformed him into the musical chronicler of the old Salvador (Bahia's capital). Every relevant happening in the city, including the arson in the Mercado Modelo ("Incêndio do Mercado Modelo"), was portrayed by him in the rhythm of the Bahian samba and a straight-ahead and popular language. His approach has other excellent examples in sambas like "Retrato da Bahia," "Bochechuda," and "Papuda," compositions that brought to him the Gonzaga trophy.
Born and raised in the Garcia borough, since age nine Riachão was already frequenting serenatas and batucadas around the neighborhood, writing his first composition, a samba, at 12. In 1944, he was hired by the Rádio Sociedade, where he performed in a vocal trio at the Show Pindorama auditorium program. Launched by Antônio Maria with the song "Vida da Semana," Riachão became a solo singer. Influenced by Dorival Caymmi, he decided to devote himself to samba. After Caymmi, Riachão was the first Bahian composer to have songs recorded in Rio de Janeiro in the '50s: "Meu Patrão," "Saia," and "Judas Traidor," all by Jackson do Pandeiro. ~ Alvaro Neder, All Music Guide
Clara Francisca Nunes Pinheiro, best known simply as Clara Nunes, (1943 - 1983) was a samba singer, considered one of the greatest interpreters of her country. Researcher of Brazilian popular music, rhythms and folklore, she also traveled several times to Africa. Her Knowledge of Afro-Brazilian dances and traditions has made the Umbanda. Clara Nunes was one of the singers that more serious composers of the songs Portela, her favorite samba school. She was the first Brazilian female singer to sell over 100 thousand copies, overturning the supposed taboo, according to which women were unable to sell so many records. She remains one of the most popular and beloved musicians in Brazil.
Tom Zé (born Antônio José Santana Martins, 1936 in Bahia) is a songwriter, multi-instrumentalist, and composer who was influential in the Tropicália movement of 1960s Brazil. After the peak of the Tropicália period, Zé went into relative obscurity: it was only in the 1990s, when the musician and label head David Byrne discovered an album recorded by Zé many years earlier, that he returned to performing and releasing new material.
In the early 1990s, Zé's work experienced a revival when American musician David Byrne discovered one of his albums, Estudando o Samba (1975), on a visit to Rio de Janeiro. Zé was the first artist signed to the Luaka Bop label and has so far released a compilation and two albums, all of which received positive reviews from critics in the United States.
Remaining true to the experimental and Dada impulses of Tropicália, Zé has been noted for both his unorthodox approach to melody and instrumentation, employing various objects as instruments such as the typewriter. He has collaborated with many of the concrete poets of São Paulo, including Augusto de Campos, and employed concrete techniques in his lyrics. Musically, his work appropriates samba, Bossa Nova, Brazilian folk music, forró, and American rock and roll, among others. He has been praised by avant-garde composers for his use of dissonance, polytonality, and unusual time signatures. Because of the experimental nature of many of his compositions, Zé has been compared with American musicians such as Frank Zappa and Captain Beefheart. ( Wikipedia )
Guilherme de Brito ( 1922 – 2006 ) , birth name Guilherme de Brito Bollhorst, was an important Brazilian sambista, singer, songwriter, and painter.
Guilherme wrote 153 songs, the great majority being sambas, almost all of them in partnership, being 75 with Nelson Cavaquinho. They were recorded by many samba artists besides himself, such as Cartola, Elizeth Cardoso, Paulinho da Viola and especially Beth Carvalho, who had a great reverence for the work of the duo Guilherme-Nelson. Some of their most famous songs include "A Flor e O Espinho", "Quando eu me Chamar Saudade", "Pranto de Poeta", "Folhas Secas" and "Minha Festa". ( Wikipedia )
