Terry Callier – Occasional Rain (1972)

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Terry Callier
Occasional Rain
Cadet Records, 1972
This reissue, 2008 Verve (B0011107)

 1. Segue No. 1 – Go Ahead On
2. Ordinary Joe
3. Golden Circle
4. Segue No. 5 – Go Head On
5. Trance On Sedgewick Street
6. Do You Finally Need A Friend
7. Segue No. 4 – Go Head On
8. Sweet Edie. D
9. Occasional Rain
10. Segue No. 2 – Go Head On
11. Blues For Marcus
12. Lean On Me
13. Last Segue – Go Head On

    Bass – Sydney Simms
Contralto Vocals – Shirley Wahls
Drums – Robert Crowder
Engineer – Gary Starr
Guitar – Terry Callier
Harpsichord, Organ, Producer – Charles Stepney
Piano – Leonard Pirani
Soprano Vocals – Kitty Haywood, Minnie Riperton

Recorded at: Ter-Mar Recording Studios, Chicago, Illinois.

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This Sunday past I heard from a friend that Terry Callier had passed away at his home in Chicago.  I don’t know why or how when some performer’s leave us, they leave behind a bigger sense of loss than others.  Maybe it’s because with Terry there was always the feeling that he still had a lot more to say, and maybe the assumption that he would just keep on saying it at his own leisurely pace.  The news is too sudden for me to digest fully.

Whenever a person hears a Terry Callier record, they ask themselves how it is that they had never heard him before that moment.  Of course there are plenty of artists who never got their due during their lifetime, but it is hard to fathom how Terry’s early records could have been eclipsed by so much pedestrian music of lesser quality at the time.  At least his story had happier ending, with his work finding recognition many years later and drawing him out of musical retirement to make a handful of satisfying records.  Not to diminish his second flowering, but his albums on the Cadet label will always be the ones many of us cherish the most.  There just hasn’t been anything quite like them before or since.

Although I have tended to favor “What Color Is Love”, probably because ‘Dancing Girl’ was the first of his songs I ever heard, the album Occasional Rain (which preceded it, but only slightly) is really every bit it’s equal, and set the tone for the rest of his career.  How could any artist put out two records of this astounding caliber in the same year?  This one has almost a concept-record feel to it due to the songs being strung together by acoustic guitar/vocal segments of folk blues (“Go Head On”) that recall Terry’s coffee-house days (captured on the album “The New Folk Sound…”)  His voice still has the heavy vibrato, a common enough trait among folk singers of the 60s, but the similarilty pretty much begins and ends there.   The Cadet recordings show the flowering of Callier’s participation in Jerry Butler’s songwriting workshop in Chicago.   The song “Do You Finally Need A Friend” actually debuted the previous year on the fantastic “Jerry Butler Sings Assorted Songs With The Aid of Assorted Friends and Relatives” (Mercury ST-61320) on which he also appears uncredited along with Curtis Mayfield.   Butler also has a writing credit on  “What Color Is Love” and workshop members Larry Wade and Charles Jones contribute to that album as well as this one.

Looking at those album credits I got to thinking that we should just be grateful we had Terry Callier walking amongst us mere mortals for as long as we did.  Jumping out off the page were two names of his colleagues who left us far, far too young. Keyboardist, producer and arranger Charles Stepney, who would later work with Earth Wind & Fire on their most interesting records and was also a  founding member of The Rotary Connection, died in his 30’s from a heart attack.  And then there is fellow Rotary alumnus Minnie Riperton, who I had never really noticed in the credits until Sunday, and who sings beautifully as always in Stepney’s choral arrangements.  She died in her 30’s from breast cancer.  Another Rotary Connection member, Shirley Wahls, also sings on the record.  Phil Upchurch, one of Cadet’s ubiquitous session players, is absent from this session but would play on Terry’s two following efforts with great results.

Stepney deserves massive amounts of credit for the power of this album and Terry’s other Cadet recordings.  And he has received that credit, especially from Terry himself.  If you need convincing, you can check out earlier versions of some of these songs on the collection “First Light.”  Those versions are impressive because they show the intensity of Callier’s songwriting and highlight (by virtue of his absence) just how much Stepney helped him realize his musical vision.  “Occasional Rain” is the most ‘produced’ of his three Cadet albums, but that isn’t a negative in this case because these are artists on the same wavelength.   (Contrast this with the desultory rerecordings of some of these songs on the Electra release “Turn You To Love.”) The psychedelic baroque-pop of Ordinary Joe probably has Stepney’s “producer’s stamp” most clearly on it, opening the record with strong stylistic overtones of Rotary Connection and mixed as if it could be a huge hit.   But this was no ordinary song, and too extraordinary and unclassifiable for mass consumption even in an era of relative experimentation in popular music.  Groovy harpsichord and some churchy organ; that infectiously catchy melody – how could this song NOT be huge in a fair world?  Maybe it was the brilliant lyrics and vocal delivery that swings from soul, to scat singing, to a blues shout.  It was just too real for the radio.  As a lyricist-poet Callier had a special talent for oscillating between earthy grit, tender nuance, and cosmic musings, sometimes all in the same song.  The intimacy of “Golden Circle,” the darker burned-out realism of “Trance On Sedgewick Avenue” – Terry could make ordinary moments into something transcendent, then turn around and translate the abstract and spiritual into familiar, achingly human terms in the next tune.    And it is no hyperbole to call him a genuine poet.  You could try just reading the words to “Occasional Rain” to a room full of people and hear their cadence, see how they work as compositions even separated from the music:

There was rain today
And crystal blue was hidden by a cloudy gray
A sudden shower come to chase the sun away
Occasional rain
Damn the weatherman
He seems to work against me any way he can
And he’s been dealing tear-drops since the world began
And occasional pain

And blue you, don’t believe I’m talking to you

The light is shining through you- still you will not see
Blue you- think I’m trying to undo you
When I only want to seek the Truth
And speak true

I can’t tell you when

But someday soon we’ll see the sun re-born again
And there’ll be light without as well as light within
And occasional rain 

Fucking brilliant, isn’t it?

The record closes with the majestic “Lean On Me” that is arranged like a series of crescendos leading to one massive climax.  It is kind of ironic that this record was released the same year as Bill Wither’s massive hit of the same title and of similar sentiments.

Speaking of which, the irony did not escape me of listening to this record over and over while the entire northeastern seaboard of the US was being drenched by a hurricane.  It also struck me how listening to Terry Callier is like being sheltered from the storms of the world.  His work had a certain warmth in common with other writers from the frigidly cold metropolis of Chicago, placed at the crossroads of Memphis and Detroit, New York and L.A., always a few steps removed the hype and the drama, and always carrying himself with grace.

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Banda de Pífanus de Caruaru – Programa Ensaio 1999

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Banda de Pífanos de Caruaru
Progama Ensaio (1999)
SESC São Paulo Collection
“A Música Brasileira Deste Século por sue Autores e Intérpretes”

1. Bendito
2. A Briga do Cachorro com a Onça
3. Levando o Santo
4. A Bandinha Vai Tocar
5. Pega Pra Capar
6. Despedida de Novena
7. Cantiga de Lampião
8. Saudades de Caruaru
9. Esquenta Mulher

Sebastião Biano – Pífanos
João Biano – Zabumba
Gilberto Biano – Tarol
Amaro Biano – Surdo
José Biano – Prato

Recorded for Programa Esnaio on October 14, 1999, directed by Fernando Faro.

In this installment of the TV program Ensaio (audio-portion only here), the Banda de Pífanos de Caruaru play some of the career highlights of their repertoire and tell some interesting stories about the origins of the band, playing for the bandit / cangaçeiro Lampião in the early 20th century, playing the nine nights of a religious ‘novena’, and a kick-ass recipe for sarapatel. The band is still going today in 2011 although I’ve never caught them live. This is a good companion disc to the studio album on Marcus Perreira shared here last week.

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Luiz Paixão – Pimenta Com Pitú (2006)

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Luiz Paixão
“Pimenta Com Pitú”
Released 2006
Label: Independent
Produced by Renata Rosa and Hugo Lins
Recording engineers: Zé Guilherme, Marcilio
Mixing engineers: Zé Guilherme, Térence Briand, Mathieu Pion
Mastered by Térence Briando and Mathieu Pion
Graphic layout – João Lin
Photos – Michele Zollini

Recorded at the Universidadde Federal de Pernambuco (UFPE) studios in January and February of 2005. Mixed at UFPE stuios and Nyima (Saint Jean de la Ruelle, France)

1 Baião de cavalo marino (Domínio Público)
2 Ponta de pedra (Sidrak)
3 Forró de cambará (Seu Luiz Paixão)
4 São Gonçalo do Amarante (Domínio Público)
5 Forró bem temperado (Seu Luiz Paixão)
6 Toada do cavalo (Seu Luiz Paixão)
7 Pimenta com pitú (Seu Luiz Paixão)
8 Arrumadinho (Seu Luiz Paixão)
9 Parari (Biu Roque)
10 Forró de vó (Seu Luiz Paixão)
11 Pisa pilão (Domínio Público)
12 Toada solta (Domínio Público)
13 Machucado (Seu Luiz Paixão)
14 Viuvinha (Sidrak)
15 Amor, amor, amor (Domínio Público)

musicians:

Seu Luiz Paixão: rabeca
Sidrak: voz
Guga Santos: bombo, mineiro
Dó: pandeiro e vocais
Maica: vocais
Renata Rosa : vocais
Pepê: cavaco
Hugo Linns: contrabaixo
Ana Freire: triângulo
Carlos Amarelo: zabumba
Mina: pandeiro e voz
Biu Roque: baje e vocais
Guga Santos: mineiro e vocais

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I probably should have shared this record a few weeks ago, but I forgot I had this album sitting around…. And it’s a shame, because it is a LOT more listenable than “Pastoril”, the other album seasonal Pernambucan music I put up on the blog the other week. But it’s not too late — this music is still being performed right up until Three Kings Day (the 6th) where some of the biggest events take place that feature CAVALO MARINO music. And that’s what this disc primarily is, music you would hear at a presentation of Cavalo Marino. What is Cavalo Marino? well, it is NOT this:
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Cavalo Marino is a popular culture / folkloric art form that developed on the sugar plantations of Pernambuco and is a type of open-air theatrical performance that traditionally can have 63 different “acts” with up to 76 distinct characters (!!!). It is difficult to explain how it all links up to the ‘Christmas cycle’ with giving you a dissertation on the topic, but its a weird type of ‘magical realism’ that mixes characters from lives of the sugar plantation workers (ex-slaves or descendants of slaves, for the most part) with fantasy and religious homages to various saints and to God. Some of the principal characters are the roles of Matéus and Bastião, two ex-slaves (in blackface, even if they are actually, by ‘anglo’ standards, black..) looking for work and sharing the same woman (Catíta); the Capitão (‘coronel’, landowner, political big cheese of an area); the Soldier (policeman, overseer); the Caboclo (indigenous spirit, in this case, related to afro-indigenous religious cults), and an ever-present anthropomorphic bull / guy in a cow-costume. All of these characters have spoken and sung lines, and improvise to a degree while interacting with the audience in a spectacle that is satirical and critical of the harsh circumstances in which this ‘folkloric’ tradition was born, and also somehow religiously reverent. All of this is also said to be the Pernambucan variation of “Bumba-Meu-Boi”, a tradition which is found throughout the Brazilian northeast in states such as Maranhão and Ceará.

I would not necessarily call this “holiday music” but it is ‘seasonal’ in that it truly is rare to hear this music outside of the Christmas seasonor “Ciclo Natalino’ (although you will begin to see presentations popping up as early as August), except perhaps in the small town of Condado, Pernambuco, where the tradition started. Why is it called ‘cavalo marino’, literally “sea horse”?? Well, nobody knows for sure, although there are a variety of legends and tall tales about it. Mostly though, they involve a sea-captain on shore leave or ex-sea captain who was known to ride around on a horse a lot, earning the nickname ‘cavalo marino.’

It is much easier to describe this all with visual aids, here are a few You Tube clips

One, performed partly on a stage and with some academic-types talking about how necessary it is to “protect” this music although I will concede their point as much as they are dealing with the tricky area of ‘public domain’…

Here is another video filmed at the ‘terreiro’ (really in this case, a full-fledged performance space) built by the family the now-departed Mestre Salustiano in Tabajara, Olinda. The big gathering is on December 25 but there will is usually another one around January 6th on the ‘Festa dos Reis’ which actually lasts three days. I have been at some of these events but thankfully I am nowhere in the sidelines of this video, my apologies if YOU are

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The musicians on this record are a mixture of old veterans of this music and younger ‘roots’ musicians from the Recife area. It is one of those, MPB singer, actress, and faux-Pernambucana oddball Renata Rosa, who organized this album and produced it for Paixão, perhaps as a thank-you gift for having taught her how to play the rabeca and thus build a career off of pretending to be the daughter of exploited, sunbeaten cane cutters. I give her a lot of credit for keeping it free of any attempt at commercializing the sound — this is truly what it sounds like when you hear it ‘in the street’ (so to speak). During the theatrics, a bank of seated musicians play throughout the night, and these things usually go all night until dawn. Lead by one or several players of “rabeca”, sort of a country-fiddle but constructed a bit differently, and accompanied by pandeiro, the reco-reco (gourd or metal scraper), shaker, and an inflated goat-bladder used to beat out the rhythm. Several of the oldsters here learned under Mestre Batista, allegedly the first (or at least one of them) to develop this artform into the way we know it today. Biu Roche, who sings and contributes a few original contributions, passed away just shortly after Carnaval of 2010. Luiz Paixão also contributes original material alongside compositions from fellow mestre and friend Sidrak, as well as songs considered ‘dominio público’, and some of them have the style of baião or coco but mostly they end up sounding like variations on cavalo marino music anyway.

The CD booklet has some stunning photographs and a nice graphic layout (the scans don’t do it justice), and a well-written essay by Renata Rosa as well. This is already become something of a rarity, released independently but with various donated funds (from ‘patrocinadores’ who love to stamp their logos on album jackets, like Petrobras or Banco do Nordeste).

Townes Van Zandt – For The Sake Of The Song (1968)

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Townes Van Zandt
For The Sake Of The Song
1968 Poppy Records (PYS-40.001)

Reissued 1993 on Tomato Records (598.1091.29)

1 For The Sake Of The Song 4:45
2 Tecumseh Valley 2:40
3 Many A Fine Lady 3:52
4 Quick Silver Daydreams Of Maria 3:41
5 Waitin’ Around To Die 2:22
6 I’ll Be Here In The Morning 2:42
7 Sad Cinderella 4:40
8 The Velvet Voices 3:12
9 Talkin’ Karate Blues 3:01
10 All Your Young Servants 3:04
11 Sixteen Summers, Fifteen Falls 2:36

Produced by Jack Clement and Jim Malloy

It’s a new year. I am short of words. Barely hanging on here really. Where did everybody go?

Majestic.

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*note: the track titles for numbers 9 & 10 are reversed, sorry about that but that is how they apppeared via the all-knowing cddbase
This one will be cross-listed at the long-defunct FLABBERGASTED FOLK page

Pastoril do Faceta (1973)

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PASTORIL DO FACETA
1978 WEA Records (BR 83.003)
Original release 1973
possibly on the Rozenblitz label?

01 – Chamada do Velho Faceta
02 – Apresentacao do Velho Faceta – Os 25 Bichos
03 – Marimbondo Miudinho
04 – E Mais Embaixo
05 – Cuidado Cantor!
06 – O Casamento da Filha de Seu Faceta
07 – Brinquedinho de Taioba
08 – A Pulga
09 – Bacurinha
10 – A Nossa Mestre Tem o Pe de Ouro
11 – Despedida do Velho Faceta

Accordion – Zé Cupido
Other musicians uncredited

Liner notes by Hermilo Borba Filho

Vinyl -> Pro-Ject RM-5SE turntable (with Sumiko Blue Point 2 cartridge, Speedbox power supply) > Creek Audio OBH-15 -> M-Audio Audiophile 2496 Soundcard -> Adobe Audition 3.0 at 24-bits 96khz -> Click Repair light settings, some isolated clicks removed using Audition -> dithered and resampled using iZotope RX Advanced. Tags done with Foobar 2000

Ever since my narrow escape from John Wayne Gacy’s ice-cream truck in the 1970s, I have had a phobia of anything that mixes clownes with music. So it took me a while, many months if the truth must be told, of having this album sitting in my house propped up against a stack of other records, with its delirious clown face staring up at me, before I could bring myself to play it. I kept hiding it from myself, putting it far back in the stacks of records, burying it behind beat-up, unplayable copies of Roberto Carlos and Reginaldo Rossi albums, but still I knew it was there the whole time. Just waiting for me, daring me, to play it.

Well I finally got over my phobia and played it, and found it not to be very menacing at all. I should have done so sooner though, since in terms of this blog the only time worth posting this album is during the Christmas holidays. The phenomenon of Pastoril is linked to the `Ciclo Natalino` in the northeast of Brazil. But it’s not too late to have a listen.

On the back cover of this LP are some notes from dramatist/intellectual/literary critic Hermilo Borba Filho. Here is my loose translation of the final paragraph:

“Since we cannot save and protect, as human beings, these musicians, these choregraphers, these dancers and ballarinas, these actores, these singers, these poets – at least we can try to save their art by way of an honest representation or “script.” A strange thing is going to happen: the spectacle will die but the music and the verses will live. This is going to occur with Bumba-meu-Boi, with Mamulengo, Pastoril, Fandango, with Côco, Reisado, Chegança, Taieira, the Bambelo, with Ciranda, Maracatu, Caboclinhos, and Cavalhada. And thus here is one of the ways to provide some financial help and subsidies for the composers: the phonographic disc.”
— Hermilo Borba Filho 1973

As we can see, in this as in many things, Hermilo Borba Filho is full of crap. Most if not all of these traditions he mentions are alive and well and continue to be practiced in various pockets of the interior of northeast Brazil and in presentations found in the larger cities. Surely some of them have undergone a process of “folkloricization” over time, that type of ossification brought about by a curious mixture of a genuine desire to preserve the essence of a cultural practice combined with the tendency to want to freeze it in time like a fly caught in amber. But regardless of their character and how they have changed or developed over time, one thing is certain about this laundry list of popular cultural forms that Hermilo Borba lays out for us: they have *not* disappeared. This urge to preserve, or “salvage”, the cultural practices of ‘simpler’ people threatened by the relentless assault of modernity and mass culture was of course a central drive behind such academic disciplines/exercises as anthropology and folklore studies for a great deal of the twentieth century. Implicit in its assertions is that the people who have created and developed these artforms are incapable of either maintaining their own traditions or (gods forbid!) adapting them creatively into new contexts, without the helpful paternal guiding hand of better-educated elites.

Returning to the music in this post: if Pastoril HAD disappeared, and all we had left to show for it was this LP (you know, for those Martian archeologists that will descend on us one day to find out what humanity was all about) — well, this would be a pretty sad representation indeed. Essentially what we have before us here is the musical soundtrack that might accompany the figure of O Velho — the clown, jester, or harlequin of this dramatic ‘popular theatre’ that takes place in around the 25th of December. I present it here mostly for those who are more interested in such things than I myself am, for the sake of curiosity or nostalgia or research or all of the above. As Brazilians say, ‘this is not my beach’ (não é minha praia), and aside from my phobia of singing clowns I am just not terribly interested in Pastoril. I probably should be, and there is a fair amount of interesting stuff written debating its origins, just how ‘sacred’ or ‘profane’ its pratice is or has been, and of course whether or not singing clowns should even be allowed in public in the twenty-first century. One thing only that I am sure of, and that is that there is a lot more to Pastoril than what you will here on the two sides of this vinyl LP. Here is the a piece written by anthropologist Waldemer Valente in the 1970s that does a good job of encapsulating it all (but note again the tendency for doom-ridden sooth-saying about its eventual disappearance)
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O Pastoril integra o ciclo das festas natalinas do Nordeste, particularmente, em Pernambuco, Paraíba, Rio Grande do Norte e Alagoas. É um dos quatro principais espetáculos populares nordestinos, sendo os outros o Bumba-meu-boi, o Mamulengo e o Fandango.

De tais espetáculos, participa o povo ativamente, com suas estimulantes interferências não se comportando apenas como passivo espectador, a exemplo do que acontece com os espetáculos eruditos. Muitas destas interferências, servindo de deixa para inteligentes e engraçadas improvisações, imprimindo ao espetáculo formas diferentes e inesperadas de movimento e animação.

A comunicação entre palco – geralmente um coreto – e platéia – esta, quase sempre ocupando grandes espaços abertos – entre personagens e espectadores, não se faz somente sob influência que a peça, por seu enredo e por sua interpretação, possa exercer sobre a assistência. Nem simplesmente – aqui admitindo teatro erudito bem educado – através dos aplausos convencionais, quase sempre sob forma de palmas. Palmas que às vezes revelam apenas educação ou incentivo.

No Pastoril, os espectadores, representados pelo povo, a comunicação com os personagens faz-se franca e informalmente, não só com palmas, mas com vaias e assobios, com dedos rasgando as bocas, piadas e ditos, apelidos e descomposturas.

Tudo isto enriquece o espetáculo de novos elementos de atração, dando-lhes nova motivação, reativando-o, recriando-o pela substituição de elementos socialmente menos válidos, por outros mais atuantes e mais condizentes com o gosto e os interesses momentâneos da comunidade para a qual ele exibe. Deste modo, revitaliza-se o espetáculo, permanecendo sempre dinâmico e atualizado, alimentando no espírito do povo e no dos próprios personagens um conteúdo emocional que tem no imprevisto e no suspense sua principal tônica.

Nos começos, o auto natalino, que deve ter surgido na terceira década do século XIII, em Grecio, sua primeira apresentação teatral não passava do drama hierático do nascimento de Jesus, com bailados e cantos especiais, evocando a cena da Natividade.

Com o correr do tempo, os autos baseados na temática natalina se separam em duas direções: uns, seguindo a linha hierática, receberam o nome de Presépios ou Lapinha, outros, de Pastoris.

Em Pernambuco, o primeiro Presépio surgiu nos fins do século XVI, em cerimônia realizada, no Convento de São Francisco, em Olinda.

Com as pastorinhas cantando loas, tomou o Presépio não só forma animada, mas dramática, ao lado da pura representação estática de gente e de bichos.

A dramatização do tema, agindo em função didática, permitiu fácil compreensão do episódio na Natividade. A cena para da, evocativa do nascimento de Jesus, movimenta-se, ganha vida, sai do seu mutismo, com a incorporação de recursos, não apenas visuais, também sonoros.

O Presépio, representado em conventos, igrejas ou casas de família, reunia mocinhas e meninas, cantando canções que lembram o nascimento de Cristo.

As canções, obedecendo a uma seqüência de atos que se chamam jornadas, são entoadas com o maior respeito e ar piedoso pelas meninas e jovens de pastorinhas.

O Pastoril, embora não deixasse de evocar a Natividade, caracteriza-se pelo ar profano. Por certa licenciosidade e até pelo exagero pornográfico, como aconteceu nos Pastoris antigos do Recife.

As pastoras, na forma profana do auto natalino, eram geralmente mulheres de reputação duvidosa, sendo mesmo conhecidas prostitutas, usando roupas escandalosas para a época, caracterizadas pelos decotes arrojados, pondo à mostra os seios, e os vestidos curtíssimos, muito acima dos joelhos.

Do Pastoril faz parte uma figura curiosa: O Velho. Cabia ao Velho, com suas largas calças, seus paletós alambasados, seus folgadíssimos colarinhos, seus ditos, suas piadas, suas anedotas, suas canções obsenas, animar o espetáculo, mexendo com as pastoras, que formavam dois grupos, chamados de cordões: o cordão encarnado e o cordão azul. Também tirava o Velho pilhérias com os espectadores, inclusive, recebendo dinheiro para dar os famosos “bailes”, – descomposturas – em pessoas indicadas como alvo. “Bailes”, que, muitas vezes, terminavam, terminavam, nos pastoris antigos dos arrabaldes do Recife, em charivari, ao qual não faltava a presença de punhais e pistolas.

O Velho também se encarregava de comandar os “leilões”, ofertando rosas e cravos, que recebiam lances cada vez maiores, em benefícios das pastoras, que tinham seus afeiçoados e torcedores.

Nos Presépios atuais, como nos Pastoris, encontram-se ainda os dois cordões. O Encarnado, no qual figuram a Mestra, a 1ª do Encarnado e a 2ª do Encarnado, e o Azul, com a Contra-Mestra, a 1ª do Azul e a 2ª do Azul.

Entre os dois cordões, como elemento neutro, moderando a exaltação dos torcedores e simpatizantes, baila a Diana, com seu vestido metade encarnado, metade azul.

Foram famosos no Recife, até começos da década de 30, os pastoris do Velho Bahu, que funcionava aos sábados, ora na Torre, ora na ilha do Leite, também, os dos velhos Catotas, Canela-de-Aço e Herotides.

Hoje, os pastoris desapareceram do Recife. Só nos arrabaldes mais distantes ou em algumas cidades do interior, eles são vistos. Mesmo assim, sem as características que marcavam os velhos pastoris do Recife, não deixando, no entanto, de cantar as jornadas do começo e do fim: a do Boa Noite e da despedida. O que vemos hoje são presépios ou lapinhas.

Presépio tradicional do Recife, exibindo-se em grande sítio do Zumbi, era dos irmãos Valença, infelizmente há vários anos sem funcionar.

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So, there are most likely better musical documentations of Pastoril out there, or even more useful – filmic representations — but I see this album in the used record stalls on the streets so often that I had to finally check it out. At least I finally got up to the courage to play it.

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