June 10, 2012
June 9, 2012
Baiana System | Oxe, Como Era Doce
Baiana System is a musical project aimed at spreading and exploring new
possibilities through the sounds of the Guitarra Baiana. This singular
electric guitar - created in Bahia in the forties - was responsible for
the creation of the Trio Eletrico (a big moving sound system). It was
also responsible for introducing a new musical richness to frevos,
choros and several other musical styles.
It was from the need to expand this fullness of sound - while attempting to incorporate it into other musical genres, thereby opening up a range of influences and offering the public a new dialogue with this instrument - that the Baiana System project emerged, where the Guitarra Baiana is the starting point. Created by Robertinho Barreto, guitar player with rock band Lampironicos, the Baiana System does not have a defined format but can assume many different arrangements. The underlying idea is the presence of a live P.A. whereby the DJ interacts with the Guitarra Baiana to produce a new musical arrangement. The DJ will work with the sampler, fitting in sounds and effects with freedom for improvisation. It uses resources such as layers, effects and loops, in a conception inspired by the freedom of Dub.
It was from the need to expand this fullness of sound - while attempting to incorporate it into other musical genres, thereby opening up a range of influences and offering the public a new dialogue with this instrument - that the Baiana System project emerged, where the Guitarra Baiana is the starting point. Created by Robertinho Barreto, guitar player with rock band Lampironicos, the Baiana System does not have a defined format but can assume many different arrangements. The underlying idea is the presence of a live P.A. whereby the DJ interacts with the Guitarra Baiana to produce a new musical arrangement. The DJ will work with the sampler, fitting in sounds and effects with freedom for improvisation. It uses resources such as layers, effects and loops, in a conception inspired by the freedom of Dub.
June 8, 2012
June 7, 2012
Vanessa Moreno | Um de Três
Vanessa Moreno - Vocal & triangle, Filipe Maróstica - Electric bass, Zé Pitoco - zabumba .
June 6, 2012
Caçapa | Coco-Rojão no. 4
Caçapa‘s debut album Elefantes Na Rua Nova was released on June 12th, 2011. It’s a real taste of northeastern Brazil with Alessandra Leão appearing on a number of tracks.
The term “manguefolk” has recently been give to this style of music by Mais Um Gringo and this is something we will continue here. Elefantes Na Rua Nova is an album of folk music from the north-east of Brazil (i.e. forró, maracatu, coco, baião) given a fresh update by Caçapa and the musicians on this album.
Russ Slater, " Sounds & Colours - South American Music & Culture Magazine
June 4, 2012
Alessandra Leão
Luzia-Tombo do Navio
From aguere de ode to baião to coco, ‘Mangue-Folk’ is a journey through the A-B-C of folk styles from the northeast of Brazil – ciranda, baianado/coco, baião, coco-rojão & aguere de ode.
Mangue-folk is from the state of Pernambuco and in particular capital city Recife – famous for its mangues – swamps.
Atirei
June 3, 2012
Marginals feat. Mauricio Takara | Ewi Groove (extended)
Thiago França - Ewi, Marcelo Cabral - Bass , Tony Gordin - Drums, M. Takara: synthetizer & vibraphone .
Soukast | Choro Bororo
Soukast
is the meeting of two giants of Brazilian percussion, Guilherme Kastrup and Simone Sou . The duo, who met in 2000, develops a
musical partnership they
call "Percuteria".
June 2, 2012
Marginals, Lurdez da Luz & Criolo @ The Casa de Francisca, Sao Paulo .
Marginals:
Thiago França - saxophone, Marcelo Cabral - Bass , Tony Gordin - Drums .
June 1, 2012
Carimbó ( 15mins )
Grupo da cidade de Ananindeua formed by people of Marapanim, birthplace of Carimbó.
The Carimbó is considered an indigenous musical style, however like other Brazilian cultural manifestations, it mixed with and received other influences. Its name in Tupi refers to the drum (curimbó) with which the rhythm is marked. The carimbó itself as African origins which are present in the percussive rhythm and both its Portuguese (the snapping sound made with the fingers and the palms in certain parts of the dance) as well as European influences, or rather the melodies of the colonizers. Appearing in the area of Belém in the Salgado region (Marapanim, Curuça, Algodoal) and on the Island of Marajó, it became a traditional dance which later, when influenced by a more modern rhythm, lent to the creation of the Lambada and the Zouk (a musical style from the French West Indies). ( more )
The Carimbó is considered an indigenous musical style, however like other Brazilian cultural manifestations, it mixed with and received other influences. Its name in Tupi refers to the drum (curimbó) with which the rhythm is marked. The carimbó itself as African origins which are present in the percussive rhythm and both its Portuguese (the snapping sound made with the fingers and the palms in certain parts of the dance) as well as European influences, or rather the melodies of the colonizers. Appearing in the area of Belém in the Salgado region (Marapanim, Curuça, Algodoal) and on the Island of Marajó, it became a traditional dance which later, when influenced by a more modern rhythm, lent to the creation of the Lambada and the Zouk (a musical style from the French West Indies). ( more )
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