Elizeth Cardoso – A Enluarada Elizeth (1967) with Pixinguinha, Clementina de Jesus, Cartola


A ENLUARADA ELIZETH
Elizeth Cardoso (1967)
With special guests Pixinguinha, Clementina de Jesus, Cartola, and Codô
Copacabana
CLP 11509

1 Meu consolo é você
(Roberto Martins, Nássara)2 Depois de tanto amor
(Paulinho da Viola)

3 Amor e lágrimas
(Cláudio Santoro, Vinicius de Moraes)

4 Canto de Pedra Preta
(Baden Powell, Vinicius de Moraes)

5 Modinha
(Antônio C. de Brito, Hermínio Bello de Carvalho, Maurício Tapajós)

6 Carinhoso (with Pixinguinha)
(Pixinguinha, João de Barro)

7 Capoeira três (with Codô)
(Codó)

8 Isso é que é viver (with Pixinguinha)
(Hermínio Bello de Carvalho, Pixinguinha)

9 Demais
(Tom Jobim, Aloysio de Oliveira)

10 Melodia sentimental
(Lobos, Dora Vasconcelos)

11 Seleção de Sambas da Mangueira (with Clementina de Jesus and Cartola):

Fiz por você o que pude (Cartola)
Pranto de poeta (Nelson Cavaquinho-Guilherme de Brito)
Mangueira (Assis Valente-Zequinha Reis)
Mundo de zinco (Wilson Batista-Nássara)
Semente do samba (Hélio Cabral)
Lá em Mangueira (Herivelto Martins-Heitor dos Prazeres)
Onde estão os tamborins (Pedro Caetano)
Levanta, Mangueira (Luiz Antônio)
Sabiá de Mangueira (Benedito Lacerda-Eratóstenes Frazão)
Exaltação à Mangueira (Enéas Brites-Aloísio Augusto da Costa)
Praça Onze (Herivelto Martins-Grande Otelo)
Despedida de Mangueira (Benedito Lacerda-Aldo Cabral)

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Grupo Fundo de Quintal – Seja Sambista Também (1984)

I had been planning a different samba album for today, a vinyl rip of a somewhat-scarce album, but I just couldn’t manage to finish editing it before the weekend. So instead I am bringing you yet another title from Fundo de Quintal, their fourth LP, and the second on which Arlindo Cruz plays a huge roll (appropriate for a huge guy) as a player and songwriter. The band is really hitting its stride here. I had the honor of seeing him play a live show for free this year and I have never seen so many women going crazy over a large man. I swear I saw some panties thrown on stage although the night is kind of hazy in my memory. Among the great “in-house” songwriters in the group there is also a collaboration between Zeca Pagodinho and Cruz in the credits, as well as a closing number from Jorge Aragão who had left at this point.

Not a dull moment here, folks!
For more info — and for more great music — be sure to visit the page for “Samba é no Fundo de Quintal” (1980) also here at Flabbergasted Vibes

Grupo Fundo de Quintal – Seja Sambisa Também (1984) in 320kbs

Grupo Fundo de Quintal – Seja Sambisa Também (1984) in FLAC LOSSLESS AUDIO

Demônios da Garoa – Trem das 11 (1964)

Demônios da Garoa
“Trem das 11”
Released 1964 on Chantecler
This reissue, 1995 – Warner / Continental

1. Saudosa maloca
2. Barracão pegou fogo
3. Abrigo de vagabundos
4. A promessa de jacó
5. Prova de carinho
6. Chum-chim-chum
7. As mariposas
8. Trem das onze
9. Iracema
10. Lenço na molera
11. Conselho de mulher
12. Samba do arnesto

The Demônios in 1964 were: Arnaldo, Atoninho, Claudio, Narciso and Roberto.

This is THE classic record from the Demônios da Garoa, one that could easily be titled “Adoniran Barbosa’s Greatest Hits,” since 8 of the 12 tracks are authored by him. The Demônios have always been most recognizable by their impeccable harmonies and uplifting sense of silliness and humor. I admit I don’t always get the regional colloquialisms and jokes, but it would be hard not to be in a better mood after putting this album on. I had been thinking this album was a collection, because a lot of these tunes appear on earlier records of theirs, but I seem to be wrong. It appears that they re-recorded a lot of the songs they had previously committed to tape. The result is a solid listen of huge historical importance to São Paulo samba. And virtually all of my favorite compositions by Adoniran are here — the title cut Trem Das Onze, Saudosa Maloca, Iracema, Abrigo de Vagabundos, As Mariposas… I first heard most of these tunes on Adinoran’s own albums from 1974 and 1975, so hearing these renditions was a bit jarring the first time. But a generation of Brazilian samba fans grew up on these versions from the Demônios da Garoa, I’ve grown to love them more with every listen.

 

Biography by Alvaro Neder

The Demônios da Garoa recorded 26 78 albums and, in total, 67 singles, LPs, and CDs, enjoying massive national popularity in the ’50s and ’60s with a revival in 1994. Mentioned in the 1994 edition of the Guiness Book of Records as the oldest popular music group in activity, they completed 58 years of work in 2001. Interpreting the samba done in São Paulo with a very peculiar style, they chronicle the way of life of Brazil’s biggest metropolis and its characters as seen by a common person of the streets, where the corrupted Portuguese of the São Paulo state redneck and of the Italian descent paulistano perform a prominent role.

They formed in São Paulo in 1943 as Grupo do Luar, playing as amateurs in parties and serenatas. They opened in radio that same year in March at a novice show at the Rádio Bandeirantes. As the group won a radio contest, they were hired by Emissoras Unidas. The initial formation was Francisco Paulo Gallo (tam-tam), Artur Bernardo (violão), the brothers Cláudio Rosa (pandeiro) and Arnaldo Rosa (the oldest one, 15 at the time, percussion/vocals), and Antônio Gomes Neto (violão tenor). Gallo and Cláudio departed after a while and Artur died in 1955. In 1949, the group’s recording for the folkloric “Mulher Rendeira” was included in Lima Barreto’s film O Cangaceiro. The first 78 had the balanceio “Siri Malvado” (Jair Gonçalves) and the maracatu “Rio Verde” (Antônio Diogo/Juraci Rago). It was released in June 1950. In 1951 and 1952, they won the Carnival contest of the city of São Paulo with two Adoniran Barbosa sambas, “Malvina” and “Joga a Chave” (with Osvaldo Molles). The history of Barbosa and the Demônios is intertwined, as the Demônios made the basis of their repertory from Barbosa’s compositions. The first recordings of Barbosa’s later megahits “Saudosa Maloca,” “Samba do Arnesto,” and “Trem Das Onze” were by the Demônios. “Saudosa Maloca” and “Samba do Arnesto” were performed for the first time in 1954 at the Rádio Nacional (São Paulo) and recorded in the next year. In 1958, the group participated in the film Vou Te Contá (Alfredo Palácios), and, in the next year, in Dorinha No Society (Geraldo Vietri). In 1958, they recorded the first 8″ LP, Saudosa Maloca (Odeon), which had two hits with “Iracema” and “As Mariposas.” In 1964, they presented “Trem Da Onze” (Adoniran Barbosa) at the Rio de Janeiro Carnival contest, winning the competition. They continued to record extensively during the ’60s, ’70s, ’80s, and ’90s. In 1993 and 1994, they entered the Guiness Book of Records as the oldest popular musical group active in the world (in 1993 just as the oldest group in Brazil). The Demônios da Garoa continue their activities with the following formation: Arnaldo Rosa (afoxê), Sérgio Rosa (Arnaldo’s son, pandeiro), Antônio Gomes Neto, the Toninho (violão tenor), Ventura Ramirez (seven string violão), Osvaldinho da Cuíca (cuíca) and Sidney Cláudio Thomazzi, the Simbad (cavaquinho). Demônios da Garoa – 50 anos (Warner, 1994), commemorating 50 years of activity, was awarded with the Prêmio Sharp and had the hit “Seu Querer” (Sílvio Mury/Bembeco). The group also was paid homage by São Paulo’s municipality, which instituted the Demônios da Garoa Week. In 2000, the group recorded the CD Mais Demônios do Que Nunca.

Discografia

* 55 Anos de Garoa (1997)
* Demônios da Garoa Hoje (1995
* 50 Anos (1994)
* Esses Divinos Demônios da Garoa (1990)
* O Samba Continua (1980)
* 34 Anos de Música Brasileira (1977)
* Samba do Metrô (1975)
* Torre de Babel (1974)
* Abre a Gira (1973)
* Eu Sou de Lá (1972)
* Agüenta a Mão, João (1971)
* Sai de Mim, Saudade (1971)
* Doido Varrido (1969)
* Ói Nóis Aqui Tra Veis (1969)
* É De Samba Vol. 2 (1968)
* É De Samba (1968)
* Leva Este (1968)
* Eu Vou Pro Samba (1965)
* Trem das Onze (1964)
* Mas Demônios Que Nunca (1962, Argentina)
* Demônios Em Sambas Infernais (1961)
* Pafunça (1958)
* Demônios da Garoa (1957)
* Saudosa Maloca (1957)

Maiores Sucessos (ordem cronológica)

* 1951 – Malvina
* 1955 – O Samba do Arnesto
* 1955 – Saudosa Maloca
* 1956 – Iracema
* 1965 – Iracema (regravação do antigo sucesso de 1956)
* 1965 – Trem das Onze

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Os Originais do Samba (1969)


1969
RCA Victor
BBL 1475
2004 Reissue
RCA Victor Essential Classics1 Cadê Tereza
(Jorge Ben)
2 O rapaz do violão
(Dida)
3 Enlouqueci
(Luiz Soberano, João Sale, Waldomiro Pereira)
4 No morro é assim
(Carlos Magno)
5 Bacubufo no caterefofo
(Bidi, Velha)
6 Despertar do lavrador
(Neoci, Dida)
7 Sei lá Mangueira
(Hermínio Bello de Carvalho, Paulinho da Viola)
8 Domingo da Rosa
(Neoci Dias)
9 Larga meu pé, reumatismo
(Ataulfo Alves)
10 Não ganha se não quiser
(Carlos Magno)
11 Canto chorado
(Billy Blanco)
12 Até meu final
(Bidi, Dida)From the back cover:”Considered the pioneers of the “Pagode” groups (samba with a romantic pop twist) that took our music scene by storm in the late 1980s, Os Originais do Samba were really “original” as their name says, with their joyful, pop samba tracks, with a lot of vocals and percussion. The band’s premier album released in 1969 made instant hits of upbeat samba tracks like Jorge Ben’s “Cadê Tereza”, and instilled a new kind of “swing” to traditional samba tracks. — Rodrigo Fauor”Well well… its a dubious legacy to say the least when you claim late 80s ‘pagode’ as a POSITIVE thing.. Nor would I credit Os Originais with adding some swing to samba as quite a few others were already working on that. Anyway, the review above is right about this being a more pop-oriented samba, but not in a negative way. They are a samba vocal group first and foremost, with a focus on entertaining us with well-executed songs and light humor — not unlike Demônios da Garoa, in that sense. One of their members was even involved in the famous Brazilian comedy TV show Os Trapalhões that ran for many years. They owed a lot of their early popularity to the explosive growth of television as a means of influencing popular tastes in culture consumption. They were a huge hit on the first samba festival televised on São Paulo’s channel 7 (1 Bienal do Samba), after which they became a highly-sought after commodity on TV. I will admit that I prefer their 1970s material to this debut album, as they were influenced by the 70s samba revival to lean towards a rootsier, less-orchestrated sound. But this album is great, and their version of Jorge Ben’s Cadê Tereza is pretty famous and important, so it`s worth having this album for that track alone!

Biography by Alvaro Neder

With a particular blend of traditional samba and humor, Os Originais do Samba became a commercial success, achieving three gold records for their hits “Tá Chegando Fevereiro” (Jorge Ben/João Melo), “Esperanças Perdidas” (Adeílton Alves/Délcio Carvalho), “O Lado Direito da Rua Direita” (Luís Carlos/Chiquinho), “É Preciso Cantar,” and “Tragédia No Fundo do Mar” (Zeré/Ibraim). They also had hits with “Cadê Teresa” (Jorge Ben), “A Dona do Primeiro Andar,” and “Nego Véio Quando Morre.” They performed shows with such artists as Elis Regina, Duke Ellington, Earl Grant, Paulinho da Viola, and Jorge Ben Jor, among others, and recorded albums with Chico Buarque, Toquinho/Vinícius de Moraes, Martinho da Vila, and Jair Rodrigues. Os Originais do Samba was the first samba group to perform and record at the Olympia in Paris, France, also performing at the Carnaval Friends of Brazil Club in San Francisco, CA. The group enjoyed continued success in Brazil and abroad in its second formation. The group started in 1960 as Os Sete Modernos do Samba. The next year they were invited by Carlos Machado to perform the show O Teu Cabelo Não Nega, about Lamartine Babo, and they changed their name to Os Originais do Samba. It was followed by a six-month stay in Mexico and performances in Puerto Rico and Brazil. After settling in São Paulo in 1968 they were invited to back Elis Regina in the I Bienal do Samba on the winning samba “Lapinha” (Baden Powell/Paulo César Pinheiro). Their first album came the next year, Os Originais do Samba (RCA Victor), followed by 18 others through 1997. In 1977 the group’s formation was: Bigode (leader/pandeiro/vocals), Zeca do Cavaco (cavaquinho/banjo), Sócrates (guitar), Rubinho Lima (percussion), Valtinho Tato (percussion), and Gibi (reco-reco, tamborim).

——————————————

From Cliquemusic

Grupo formado na década de 60 no Rio de Janeiro por ritmistas de escolas de samba, começou a se apresentar em teatros e show, incluindo o palco do Copacabana Palace, onde realizou o espetáculo “O Teu Cabelo Não Nega”. Fixaram-se em São Paulo depois de excursionar pelo México, e em 1968 acompanharam Elis Regina na música vencedora da I Bienal do Samba, “Lapinha”, de Baden Powell e P.C. Pinheiro. No ano seguinte gravaram a música “Cadê Teresa”, de Jorge Ben, que fez grande sucesso. Participaram de festivais e ganharam discos de ouro pela vendas de suas gravações, principalmente nos anos 70, combinando o canto uníssono, a roupa padronizada e boa dose de humor. Um dos integrantes do grupo, Mussum, sairia para formar Os Trapalhões ao lado de Renato Aragão e Dedé Santana. Tocaram com grandes nomes da música brasileira – como Chico Buarque, Jair Rodrigues, Vinicius de Moraes – e mundial – Earl Grant. Excursionaram pela Europa e Estados Unidos, e foram o primeiro conjunto de samba a se apresentar no Olympia de Paris. Alguns de seus maiores sucessos são “Tá Chegando Fevereiro” (Jorge Ben/ João Melo), “O Lado Direito da Rua Direita” (Luiz Carlos/ Chiquinho), “A Dona do Primeiro Andar”, “O Aniversário do Tarzan”, “Esperanças Perdidas” (Adeilton Alves/ Délcio Carvalho), “E Lá se Vão Meus Anéis” (Eduardo Gudin/ P.C. Pinheiro), “Tragédia no Fundo do Mar (Assassinato do Camarão)” (Zeré/ Ibrahim), “Se Papai Gira” (Jorge Ben), “Nego Véio Quando Morre”. Em 1997 gravaram um CD comemorativo pelos 30 anos de carreira, e atualmente continuam se apresentando no Brasil. Fizeram parte do grupo: Mussum, Rubão, Bigode, Bide, Chiquinho, Lelei, Zeca do Cavaquinho, Sócrates, Rubinho Lima, Valtinho Tato e Gibi.

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Nelson Cavaquinho – Nelson Cavaquinho (1973)

nelson cover

1973
Odeon
SMOFB 3809

1 Juizo final

(Élcio Soares – Nelson Cavaquinho)

2 Folhas secas

(Guilherme de Brito – Nelson Cavaquinho)

3 Caminhando

(Nourival Bahia – Nelson Cavaquinho)

4 Minha festa

(Guilherme de Brito – Nelson Cavaquinho)

5 Mulher sem alma

(Guilherme de Brito – Nelson Cavaquinho)

6 Vou partir

(Jair Costa – Nelson Cavaquinho)

7 Rei vadio

(Joaquim – Nelson Cavaquinho)

8 A flor e o espinho

(Alcides Caminha – Guilherme de Brito – Nelson Cavaquinho)
• Se eu sorrir (Nelson Cavaquinho-Guilherme de Brito)
• Quando eu me chamar saudade (Nelson Cavaquinho-Guilherme de Brito)
• Pranto de poeta (Nelson Cavaquinho-Guilherme de Brito)

9 É tão triste cair

(Nelson Cavaquinho)

10 Pode sorrir

(Guilherme de Brito – Nelson Cavaquinho)

11 Rugas

(Garcêz – Ary Monteiro – Nelson Silva)

12 O bem e o mal

(Guilherme de Brito – Nelson Cavaquinho)

13 Visita triste

(Anatalicio – Guilherme de Brito – Nelson Cavaquinho)

nelson cavaquinhonelson cavaquinho

Nelson Antônio da Silva, aka Nelson Cavaquinho. October 28, 1911 – February 17, 1986

“My voice, you know, is really raspy. But…. what is the name of that guy over there in North America? Ah, Armstrong is also raspy. There are people who like my voice more than many other singers. I don’t know why, but I think its because I feel it. There are singers that have killed my music. I have feeling when I sing.”

-from an interview with Sergio Cabral on the album’s back cover

Nelson Cavaquinho’s amazing gift for memorable melody meant that there was never any shortage of famous artists wanting to record his sambas. Just a glance at the jacket of this one and you see a quick handful, tunes that are better-known if not immortalized in the sweet tones of Clara Nunes, Elis Regina, Elza Soares, Elizeth Cardoso… Surely Nelson was not talking about THEM when he referred to people “killing” his songs. Pelo amor de deus, he couldn’t have been!

Whoever he might have had in mind, his point is well-taken. There is something about his songs, and maybe just samba in general, that particularly suits it to being sung by grissled old men and women. And I say that with love in my heart, of course. Nelson, who carried Cartola’s coffin at his funeral, did not have the sweetened vintage pipes of his close friend. His is more of a croak, but nonetheless endearing for it.

This 1973 record is a classic. It has made the rounds on the ‘blogosphere’ but I like it too much not to share it here, with my own rip of ‘primera qualidade’. The dynamic Odeon duo of Milton Miranda and Maestro Gaya are in the production seats on this one too. Guilherme de Brito, who had taken up his place as Nélson’s main songwriting partner at this point, sings on the medley of songs on Track 8. It’s also worth noting that Nélson plays guitar on the record, and *not* cavaquinho, which he more or less quit playing fairly early on. Nicknames tend to stick, I guess.

A lot of the highlights of this album have been recorded by other artists as well – Juizo Final, Folhas Secas, Vou Partir are especially well-represented songs in the broader samba discography.

nelson cavaquinho
Nelson Cavaquinho and Cartola, 1963, Carnaval in Rio. Photo by Walter Firmo

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Nelson Sargento – Sonho de um Sambista (1979)

The first album on his own from Nelson Sargento, sambista of the Mangueira samba school (and sometimes Portela) is an excellent addition to any Brazilian music collection!

Faixas:

1. Triângulo Amoroso
2. Falso Moralista
3. Agoniza Mas Não Morre
4. A Noite se Repete
5. Muito Tempo Depois
6. Minha Vez de Sorrir
7. Sonho de um Sambista
8. Infra Estrutura
9. Primavera
10. Por Deus Por Favor
11. Falso Amor Sincero
12. Lei do Cão

Biography
He moved to the Mangueira hill as a child, and there he met Cartola and Nelson Cavaquinho, with whom he learned to play the guitar. The nickname “Sargento” (Sergeant) came up when he was in the Army. He joined Mangueira’s composers group by the hand of Carlos Cachaça, and wrote sambas-enredo (theme-sambas) for the school during the 1950s, such as “Cântico à Natureza” (with Jamelão/Alfredo Português), from 1955. In the 60s, he became a regular at the bar Zicartola, where he met other samba artists and musicians. Nelson became a member of the group A Voz do Morro, recording the emblematic album “Roda de Samba 2”. His greatest hit, “Agoniza Mas Não Morre”, was released in 1978 by Beth Carvalho and turned into an anthem of the samba culture in Rio. Other hits are: “Idioma Esquisito”, “Falso Amor Sincero”, “Vai Dizer a Ela” (with Carlos Marreta), “Nas Asas da Canção” (with Dona Ivone Lara). In the 90s, he made albums in Japan which included previously unreleased Cartola songs. Sargento was the subject of the awarded documentary “Nelson Sargento” (by Estêvão Pantoja). Nelson is also a writer – having published two books -, an actor and a naïf painter.
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from Sacudinben blog

Só o nome do álbum já chama atenção e aguça a curiosidade pra ser ouvido, a expectativa de que tem coisa boa aí nos leva a correr até o aparelho mais próximo na ânsia de confirmar a suspeita. Basta o primeiro acorde. De fato têm coisas muito boas aí.

Primeiro disco solo do sambista, compositor, ator e artísta plástico carioca Nelson Sargento lançado em 1979. O repertório é composto por verdadeiras preciosidades, diamantes em forma de samba. Ao todo são 12 faixas, é desse álbum o clássico “Agoniza, mas não morre” uma espécie de hino de resistência do samba, coisa finíssima. O álbum é excelente de cabo a rabo, outras que são interessantíssimas: “Falso Moralista” que se não me engano foi gravada por Paulinho Da Viola, “A Noite Se Repete” poesia pura, singela ao extremo, “Infra Estrutura” que Nelson diz ter sido o primeiro a usar tal palavra num samba rsrsrsrs e “Falso Amor Sincero” samba realmente genial.

Acho que é isso…

“…Samba, agoniza mas não morre, alguém sempre te socorre, antes do suspiro derradeiro…

Photobucket
Includes full artwork at 600 dpi and all the rest

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