Zé Keti – Ensaio / MPB Especial (1973)

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Zé Keti
MPB Especial / Ensaio, 1973

Released as part of the series A MÚSICA BRASILEIRA DESTE SÉCULO POR SEUS AUTORES E INTÉRPRETES by SESC São Paulo

1 Máscara negra
(Pereira Matos, Zé Kéti)
2 Amor de carnaval
(Zé Kéti)
3 Meu pai morreu
(Zé Kéti)
4 A voz do morro
(Zé Kéti)
5 Leviana
(Zé Kéti)
6 Diz que fui por aí
(H. Rocha, Zé Kéti)
7 Opinião
(Zé Kéti)
8 Malvadeza Durão
(Zé Kéti)
9 Acender as velas
(Zé Kéti)
10 Mascarada
(Elton Medeiros, Zé Kéti)
11 O meu pecado
(Zé Kéti)
12 Não sou feliz
(Zé Kéti)
13 Peço licença
(Zé Kéti)
14 Natalino
(Zé Kéti)
15 A jaqueira da Portela
(Zé Kéti)
16 Decepção
(Zé Kéti)
17 Desquite lá no morro
(Zé Kéti)

Eduardo Guidin – guitar
Zé Keti – vocal and box of matches (fósforos)

Quote from Clique Music:

Zé Kéti gravou o programa EnsaiO, dirigido por Fernando Faro, em 1973, aos 51 anos de idade, em plena forma, esbanjando simpatia. O disco, lançado agora pelo Sesc-SP, abre direto com a voz de Zé Kéti – acompanhada apenas pelo violão de Eduardo Gudin e pela caixinha de fósforos do próprio sambista – cantando “Quanto riso, quanta alegria/ Mais de mil palhaços no salão”. Ao final da música ele explica que Máscara Negra foi o seu maior sucesso, em 1967, mas faz a ressalva: “Dinheiro? Bom, não deu pra fazer a minha independência financeira, mas deu pra ganhar alguma coisinha, né?”. Logo em seguida emenda o sucesso seguinte, Amor de Carnaval, de 1968 (“Uma música que pegou e até hoje a turma canta”). “A turma” continua até hoje cantando muitos sambas de Zé Kéti gravados nessa entrevista musical, como Diz que Fui por Aí, Mascarada, Opinião, Acender as Velas, Malvadeza Durão ou A Voz do Morro, seu primeiro sucesso, gravado por Jorge Goulart. Mas no disco também é possível encontrar relíquias, como Meu Pai Morreu, que Zé Kéti canta sozinho, só com a caixa de fósforos, e que compôs para a memória do pai, que morreu envenenado tomando uma xícara de café. As diversas fases de sua carreira são resumidas no disco. A participação no espetáculo Opinião, ao lado de João do Vale (“um caboclo nordestino muito bom”) e Nara Leão (“representando a mocinha de Copacabana, bacana e grã-fina”), a atuação como diretor musical do bar Zicartola, ou a organização do grupo A Voz do Morro (“o primeiro grupo de samba autêntico do Brasil”) – que juntava Elton Medeiros, Paulinho da Viola, Anescarzinho do Salgueiro, Jair do Cavaquinho, Nelson Sargento, Oscar Bigode –, com quem gravou Peço Licença (que o portelense Zé Kéti fez para poder namorar uma pastora da Mangueira), Não Sou Feliz (gravada por Cyro Monteiro, que “introduziu a caixa de fósforos no cenário da música popular brasileira”), Leviana, ou a belíssima Jaqueira da Portela. Autenticidade aqui é algo que não pode ser posto em dúvida. Tendo por todo o disco o acompanhamento apenas do violão de Gudin – adiantando uma espécie de “acústico” intimista – Zé Kéti mostra versões bem particulares de suas composições, imprimindo a este disco a qualidade de preciosidade. (Nana Vaz de Castro)

All of the SESC releases from the old MPB Especial / Ensaio program are wonderful, indispensable documents of Brazil’s rich cultural patrimony. But this one from Zé Keti is truly something special. Like most sambistas of his generation (or, truth by told, most), he is better known as a composer than a performer or recording artist in particular, but he was also one hell of a singer and as is evident here – a great interview subject. He lived a storied life that encapsulated so much of the trajectory of samba and intersection of different generations, different currents and changes in Brazilian society. In this interview he talks about his compositions that are still sung during Carnaval (speaking in 1973 but still true today), about his participation in the collective of samba composers and musicians at Zicartola (the bar run by Cartola and his wife Zica), the formation of the group Conjunto A Voz do Morro, and his involvement with the theatre group Arena which became Show Opinão and later just Opinão, with João de Vale and Nara Leão, which had as its centerpiece his composition “Opinão.” As the review in Portuguese points out, alongside the classics you would expect here (Acender as velas, Peço licença, Não sou feliz), the album also has the rare intimicacy of Zé singing a capella a song about the death of his father, killed by a poisoned cup of coffee (!!), called simply “Meu pai morreu.” As one volume in a series of releases that I can’t say enough good things about, this one really stands out!

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Cartola – Verde Que Te Quero Rosa (1977)

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Cartola
“Verde Que Te Quero Rosa”
1977 RCA Records

Angenor de Oliveira, otherwise known as Cartola, was without doubt one of the greatest songwriters that ever lived. You don’t need the many tribute records with star-studded lists of participants to know this. You just need to listen to the man perform his own music. A founder of the Mangueira Samba School and the composer of their first samba, Cartola was a prolific composer in the 30s and 40s, with artists such as Carmen Miranda, Mário Reis, Francisco Alvez, and Silvio Caldas all recording his songs. He was esteemed by Hector Villa-Lobos, who invited him to visit with and perform for Leopold Stokowski when that composer visited Brazil in 1940 and wanted to know the “authentic” popular artists of Brazil. He recorded “Quem me Vê Sorrindo” on that occasion, on the S.S.Urugai! Cartola was also responsible for running the famous but short-lived samba venue Zicartola (a combination of his name with his wife’s, Zica, who ran it with him). Sadly, in a story all too similar to many a North American blues or jazz musician, Cartola himself dropped out of musical visibility and ended up working odd jobs such as a clerk for the Ministry of Agriculture and at a car wash. It was at the latter where he was “rediscovered” by a musical journalist and old friend who brought him back into active involvement with the music world.

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A classic. An essential. A staple that your home should no more be without than rice, beans, or OxiClean products. And in fact in many Brazilian homes this album is just as common as arroz or feijão and is kept on the same shelf. (OxiClean, on the other hand, stays under the sink).

This album, the third long-player he recorded, was his first record for RCA, and features material ranging from 1958 up to its release in 77. The majority of tunes are written by him, some with cowriters like his old friend Carlos Cachaça. One exception to that is “Pranto de Poeta” written by Guilherme de Brito and Nelson Cavaquinho, with Nelson sitting in on the performance.

The record was produced by music writer Sergio Cabral. My first impression of this album, after hearing the first two released on Discos Marcus Pereira, was that it was too slick and overproduced. On subsequent listens I found it to be….. still too slick and overproduced. But I have to admit that it actually does not distract from the merits of the incredible songwriting and strong performances throughout. However, you can take a wonderful song like “Autonomia” and orchestrate it, open it with an intro on a (very well-recorded) grand piano, and it sounds beautiful. But you can also take it to its bare knuckles, like on the posthumous EP-length album “Documento Inédito.” It’s up to the individual preference I suppose, but I prefer the latter. As much as the album might be over-produced, nothing is *ruined* here. There’s no synthesizers, or rocked-out drums, or any number of other things that could have been done to mangle it. Sergio Cabral’s intention, as insinuated in the liner notes, was to give Cartola the magisterial, kingly treatment and carinho that so many felt he deserved. And the record successfully does that. I hesitate to make such a broad generalization, especially as an ‘outsider’ to a culture, but if there was ever an artist and songwriter in Brazil who seems to have left virtually nobody untouched in a deeply meaningful, emotional way with his music, that would be Cartola.

“Verde que te quero rosa” also has one of the best album covers of all time in any genre.

If you are still not convinced, watch THIS CLIP
Cartola playing the song “Os Dois” for his wife Zica, for whom he wrote it on the eve of their marriage. One of the many amazing moments in the documentary CARTOLA: MUSICA PARA OS OLHOS, recently released on DVD (finally!!).

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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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Monarco featuring A Velha Guarda de Portela – Terreino (1980)

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1 Homenagem à velha guarda (Monarco)

2 Temporal

(Doca)
• Mulher, vai procurar teu dono (Rufino)
• Caco velho (Antônio Caitano)
• Serei teu ioiô (Paulo da Portela)

3 Sofres por querer liberdade (Mijinha – Monarco)

4 Estácio de Sá, glória do samba (Monarco)

5 Conselho de vadio (Alvarenga)

6 Feliz eu vivo no morro (Josias – Chatim – Pernambuco)

7 Silenciar a Mangueira (Cartola)

8 Você pensa que eu me apaixonei (Alcides Lopes – Monarco)

9 Chuva (Hortênsio Rocha)

10 Proposta amorosa (Monarco)

11 Falsa recompensa (Mijinha – Monarco)

12 Passado de glória (Monarco)

A very lovely record from one of the most prolific of the sambistas associated with the Portela samba school, A Velha Guarda de Portela (and also the terreiro / samba school of Oswaldo Cruz), his second album under his own name — as far as I know, the first was in 1976 and this was the next. It features a ton of people, as all great samba records do! It also contains a song in homage to the Mangueira samba school, a song composed in the 1930s by Cartola that had gone unrecorded until this album. The album has no weak songs, and the last one – with its firey rhythmic outro — will leave you wanting more.

Contains complete artwork at 600 dpi and downsampled

Monarco – Terreiro (1980) at 320kbs

Monarco – Terreiro (1980) in FLAC LOSSLESS

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Nelson Sargento – Sonho de um Sambista (1979)

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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…

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Includes full artwork at 600 dpi and all the rest

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