Quinteto Violado – Folguedo (1975)
1975 Philips 6349 143 Série De Luxo
A1 Roda De Ciranda No. 2 (Luciano Pimentel, Marcelo Melo, Toinho) 2:31
A2 Rumo Norte (Toinho) 3:00
A3 Chegada De Inverno (Fernando Filizola, Zé Dantas) 2:52
A4 A Volta Da Asa Branca (Luiz Gonzaga, Zé Dantas) 2:52
A5 Olé Menina (Marcelo Melo, Toinho) 3:05
A6 Coisas Novas (Marcelo Melo, Toinho) 2:42
A7 Mundão (Fernando Filizola, Luciano Pimentel) 1:48
B1 Sete Meninas (Dominguinhos, Toinho) 2:24
B2 Brincando De Boi (Fernando Filizola, Luciano Pimentel) 3:07
B3 Prece Ao Vento (Fernando Luiz Camara, Alcyr Pires Vermelho, Gilvan Chaves) 3:13
B4 Crendice (Roberto Santana, Toinho Alves) 2:50
B5 Buruçu Em Garanhuns (Sando, Toinho) 2:54
B6 Canindé (Fernando Filizola, Luciano Pimentel) 2:30
B7 Folguedo (Fernando Filizola, Luciano Pimentel) 1:52
Arranged By – Quinteto Violado
Artwork – Jorge Vianna
Design – Lobianco, Aldo luiz
Mastered By – Joaquim Figueira
Photography By – Rodolpho Machado
Producer – Paulinho Tapajós
Studio technicians – Paulo Sergio, Zé Guilherme
Produced & Distributed by CBD Phonogram
Matrix / Runout: 200 6349143 A1
Matrix / Runout: 200 6349143 B1
Vinyl transfer info: Original Philips vinyl; Pro-Ject RM-5SE with Audio Tecnica AT440-MLa cartridge; Speedbox power supply); Creek Audio OBH-15; AUdioquest King Cobra cables; M-Audio Audiophile 192 Soundcard ; Adobe Audition at 32-bit float 96khz; clicks and pops removed with Click Repair on light settings, manually auditioning the output; further clicks removed with Adobe Audition 3.0; dithered and resampled using iZotope RX Advanced. Converted to FLAC in either Trader’s Little Helper or dBPoweramp. Tags done with Foobar 2000 and Tag and Rename.
Today (June 24) is the feast day of St. John the Baptist, otherwise known as São João holiday in Brazil, which of course is a really huge deal in Brazil. Earlier this week we had an offering from Trio Nordestino. Now let’s have something for the universitário set with this mid-70’s record from Quinteto Violado. This record seemed a bit more fun to prepare for the blog than the other record of theirs that I posted a whole FOUR YEARS ago, over here. There you can read all about my misgivings about this kind of conservatory-trained appropriation of roots music. I’m not sure if I’ve loosened up, or if they have on this record – the group sounds a little less “studied” and more flowing here. Even if Berra-boi might be the “better” record, it sounds like they are having fun here. The blazing instrumental acrobatics of Rumo Norte and its wonderful, almost Beatle-esque vocal harmonies make me hopeful they won’t be hamstrung by any traditionalist puritanism. Or maybe the sense of fun is really just the “well-oiled machine” effect of groups that have been playing together for a while as a unit. It’s hard not to be impressed by their virtuosity here, but it still lacks something in the way of passionate conviction. Their deconstruction of the Luiz Gonzaga / Zé Dantas classic, A Volta da Asa Brança, is certainly fun to hear. It’s artful (or maybe just ‘artsy’), clever and playful and non-confrontational (unlike Caetano Veloso’s rendition that pushes into edgy performance art territory, as seen in the Phono 73 film). It’s cool, and their drummer is on fire in the bridge, but it’s coolness is also kind of emotionally flat, isn’t it? Quinteto Violado often sounds like they just need a vocalist with some soul to make their case more convincing. But then again, awkward or uninspiring vocalists seem to be a thing in music linked to Pernambuco, so maybe its just something I’m still not ‘getting’ after all this time. Like much about ‘roots music’ itself, sometimes you just have to be from there, so just ignore everything I’m saying. Just listen to the drummer, he’s incredible. What the hell is he doing on Mundão, besides blowing my mind?
They hit all the Northeastern folkloric touchstones here, with motifs from at least a dozen different genres of music or ‘dramatic dances’ that you will find only in the Nordeste, with particular emphasis on their native Pernambuco. Obviously there is the presence of forró and even a guest appearance by the late, great Dominguinhos, who co-authored “Sete Meninas,” which opens up the second side. He even sings a little on it. You’ll also hear a simulated glimpse of a sacred jurema ceremony and a devotional homage to the caboclo spirits that animate them on Canindé. Ciranda, chegança, boi bumba, caboclinhos, cavalo marinho, and pifanos, pifanos, pifanos! If those words alone excite you then you will at least enjoy spinning this a few times. If you don’t know them, well don’t expect me to be all didactic about it, after all I’m not writing a book here. If I were writing a book, my life would probably be in a lot better shape than it is right now. At the very least I wouldn’t be spending the night of São João, Midsummer’s Eve in my hemisphere, alone in front of a computer screen.
So sit beside the breakfast table,
think about your troubles,
pour yourself some pinga,
and think about the bubbles.
And celebrate the bonfires
And things made out of corn
because he not busy dying
is busy being born.
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