"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 )
Alcione Dias Nazareth (1947) (better known as simply Alcione, also nicknamed as A Marrom (the brown one)) is one of the most successful female sambistas in Brazil who first claimed international recognition in the late 1970s, and has had 19 gold records and two platinum records.
Carvalho is a very important artist in the history of samba, for she has celebrated and brought stronger light, with great reverence, to the work of legendary composers such as Cartola, Nelson Cavaquinho & Guilherme de Brito in times where they weren't receiving the attention they deserved. Almost all of her records have songs by these composers, among other legendary sambistas such as Nelson Sargento and the Old Guard of Portela. Her samba school is Mangueira, but that didn't stop her from revering and recording dozens of songs from composers of Portela, the other most traditional samba school in Rio de Janeiro. ( Wikipedia )
Novos Baianos was a Brazilian rock and MPB group from Salvador, Bahia. It was formed in the 1960s and enjoyed success throughout most of the 1970s. The band members were Paulinho Boca de Cantor ( vocals) , Pepeu Gomes ( electric guitar), Moraes Moreira ( vocals and acoustic guitar ), Baby Consuelo ( vocals and percussion) and Luiz Galvão ( lyrics ). The group always counted with the collaboration of the band A Cor do Som, composed by Pepeu Gomes ( guitar ), Dadi ( bass ), Jorginho ( cavaquinho, drums and percussion ), Baixinho ( drums and percussion ) and Bolacha ( percussion ). Novos Baianos is considered one of the most important revolutions in Brazilian music . ( Wikipedia )
