
QUINTETO VIOLADO
Berra-Boi
1973 Philips 6349.072
A1 Vaquejada 5:13
A2 Duda No Frevo 2:20
A3 Três Três 1:54
A4 Ladainha 2:22
A5 Engenho Novo 3:39
A6 Minha Ciranda 2:42
A7 Pipoquinha 1:47
B1 Beira De Estrada 2:25
B2 Baião Do Quinjí 1:57
B3 Abraço Ao Hermeto 5:26
B4 Forró Do Dominguinhos 2:17
B5 De Uma Noite De Festa 3:15
B6 Cavalo Marinho 3:13
Sando – flauta
Marcelo – violão
Fernando – viola
Luciano – percussão
Toinho – contra-baixo
Vinyl; Pro-Ject RM-5SE turntable (with Sumiko Blue Point 2 cartridge, Speedbox power supply); Creek Audio OBH-15; M-Audio Audiophile 192 Soundcard ; Adobe Audition at 32-bit float 192khz; Click Repair; individual clicks and pops taken out with Adobe Audition 3.0 – dithered and resampled using iZotope RX Advanced (for 16-bit). Tags done with Foobar 2000 and Tag and Rename.
“I believe that Brazilian musicians, including the entire young generation, are coming around to looking within, searching for their own roots and origins, in a path more personal and true where they can walk with security, originality, and inventiveness, and not just building on what has been done outside our country.”
http://freetexthost.com/vaafc1cbm4
Onde obter a senha solicitada para abrir o arquivo?
olha ali no lado direito da págaina –>
mas, é "vibes"
very interesting writing. I recently listened to Chico Maranhao, and it may be the same approach, with an "intellectual" approach of "root music", living in SP when he recorded, but raised in Sao Luis. And also on Marcus Pereira records. Also with a success on a MPB festival, also from university… Really the same background.
It's also interesting because I was also listening recently to Ave sangria (recommended by Lirinha in his show for Cultura Livre), and I read that they were produced in the path of the success of Quinteto Violado, giving ideas to others record companies…
I just find poor quality rips of these great LP, I hope to find better one day, not every vinyl rippers reach the same audio quality as yours 🙂
I just listened to this album and it is nicely arranged and played and fun to listen to, but even to my ears (without much Brazilian cultural knowledge) it sounds a bit slick, ie, I wouldn't assume it to be authentic folk music. Once again, I find your notes to be very interesting and useful in helping me to better understand Brazilian culture and music. You bring up some great points.
I suppose a group like The Kingston Trio would be a roughly analogous american example of this kind of thing? They played lots of traditional folk music but sanitized it quite a bit in the process. They were very popular and made a good living doing it. I guess on the good side, they exposed a lot of people to songs and artists that they could then explore further on their own. Would they bother to do that though? On the down side TKT always sounded pretty corny to me (almost "pop-folk") and anything but authentic. I was never a fan of TKT and Quinteto Violado is much more listenable and vital.
Even outright emulation by those outside of the culture that produced it will result in some degree of bastardization I guess. I'm thinking of George Thorogood. He does his thing pretty convincingly. Is it "authentic" though? Probably not. Are there those from outside the culture who immerse themselves in a genre of music so thoroughly that they become authentic? Is that possible? Maybe Leon Redbone would come close to fitting this description? I think it's possible although I can't think of a great example right now. Is "authentic" subjective or objective? I say both but then that begs the question, just what exactly are the criteria for being considered "authentic". The passing of time certainly changes things as well.
A well-informed listener will separate the wheat from the chaff and be versed in the authentic thus keeping the adapters from "pulling the wool over his eyes." The music business, as you said, will usually take the profitable, easy way out which will promote the educated, trained musicians and will exclude many who deserve to be heard themselves. Sometimes there are exceptions though, like Mississippi John Hurt. It just took 'em a while to get around to recording him in the modern age. I think I'm rambling a bit here now and focus doesn't seem to my strong point today so I'll leave it at that. Thanks for the bone to chew on and thanks for the excellent album.
Can it be reposted? Link is down…