Carmen Miranda – Os Carnavais de Carmen (2006)

Ruy Castro apresenta
Os Carnavais de Carmen
CARMEN MIRANDA

01 – Querido Adão
Benedicto Lacerda, Oswaldo Santiago
02 – Nova descoberta
Arlindo Marques Junior, Roberto Roberti
03 – Fala, meu pandeiro
Assis Valente
04 – O que é que você fazia ?
Hervé Cordovil, Noel Rosa
05 – Alô, alô, Carnaval
Hervé Cordovil, Janeiro Ramos
06 – Duvi-d-ó-dó
Benedicto Lacerda, João Barcellos
07 – Cantores de rádio
A. Ribeiro, João de Barro, Lamartine Babo
08 – Beijo bamba
André Filho
09 – Dou-lhe uma
André Filho, Alberto Rilbeiro
10 – Balancê
João de Barro, Alberto Ribeiro
11 – Minha terra tem palmeiras
João de Barro, Alberto Ribeiro
12 – Nem no sétimo dia
Benedicto Lacerda, Herivelto Martins
13 – Camisa listada
Assis Valente
14 – Onde vai você, Maria ?
Benedicto Lacerda, Darcy Oliveira
15 – A pensão da dona Stella
Paulo Barbosa, Oswaldo Santiago
16 – Cuidado com a gaita do Ary
Oswaldo Santiago, Paulo Barbosa

 

Well, dear readers, Carnaval is here again.  I am skipping it this year, since I recently rejoined the Jehovah’s Witnesses after my lapse, and promised Prince that I would spend a few days handing out fliers with him and the guy from The Revolution who always dressed like a surgeon on stage, Dr. Fink.  Maybe he will wear the hospital scrubs and mask while we go out, and it will feel like our own kind of private Carnaval, and I’ll feel less sad.
So this post goes out to all the other people who are missing Carnaval.  Because if you are within spitting distance of Carnaval right now, you should get off the damn internet and go outside.

Carmen Miranda deserves a more verbose entry on this blog than I can give her today.  The story of her life and career is so rich, complex, and fascinating that it often serves today as a didactic lesson on Brazilian history and culture.  But I’m not feeling teacherly this evening.  For now, suffice it to say that she was a tremendously talented woman, and the reigning queen of samba for many years in the 1930s.  She also featured in many musical comedy films of the day – one of which features prominently in the CD presented here – before she left for the US to star in Broadway shows and, of course, Hollywood films.This collection was released as a companion to the biography penned by Ruy Castro.  I haven’t read Castro’s book but I’ve no doubt that it’s excellent.  (His book on bossa nova is great fun, even if I suspect some of it is rather apocryphal, and I was just given a lovely Christmas present of his newest book on the golden age of samba-canção, which I am looking forward to reading.)  Castro gets to take all the credit at the excellent song selection here and on the other three discs that came out at the same time.  I’m not sure why they weren’t put out as a boxset, and in fact I find it rather irritating: one of the four discs has eluded me for several years now.

For the samba aficionados among us, a glance at the track list with the composer credits gives a clear idea of what we’ve signed up for.  Assis Valente, Lamartine Babo, Noel Rosa, João de Barro, Hervé Cordovil, Benedito Lacerda… Not much to complain about there.  These are all Odeon releases from the period after she left the Victor label.  Here’s one of my favorites from this set, Assis Valente’s “Camisa Listrada”

And she has guests to duet with like Silvio Caldas, Barbosa Junior, and – most famously – her sister Aurora.  She sings with her sisters Cecilia and Aurora on “Alô, Alô Carnaval”, a song from the film of the same name which is sadly the only one of her Brazilian-made films to survive the ravages of time.  There is a very famous, iconic scene in it where Carrmen and Aurora sing “Cantores do radio” in matching sparkly suits.  It is up on YouTube but the audio is barely listenable: somewhat disgracefully, it seems as if nobody has done a proper restoration of this film yet.  They did record it as a 78 single, which appears in this collection, so here’s an awesome still image and you can just play the CD and look at it:

Isn’t it great?
Some other musical highlights are Beijo Bamba, Balancê, A pensão da dona Stella, and her aforementioned duet with Silvio Caldas, Onde Você Vai, Maria? – for which I really wanted to post a YouTube clip but – shock and horror – it doesn’t exist on YouTube yet!  I guess you will just have to track down this CD or an approximation of it floating around the interwebs in the form of a random link somewhere…
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Dolores Duran – Canta Para Você Dançar (1957)

Dolores Duran – Canta Para Você Dançar…
1957 Copacabana CLP 11011
2010 reissue EMI 967873-2

1 Scapricciatiello
(F. Albano, P. Vento)
2 Por causa de você
(Dolores Duran, Tom Jobim)
3 Ohô-ahâ
(Kurt Feltz, Heinz Gletz)
4 Quem foi?
(Jorge Tavares, Nestor de Holanda)
5 Feiura não é nada
(Billy Blanco)
6 Que murmuren
(Ruben Fuentes, Rafael Cardenas)
7 Coisas de mulher
(Chico Baiano)
8 Viens
(G.Becaud, C.Aznavour)
9 Conceição
(Dunga, Jair Amorim)
10 Se papai fôsse eleito
(Billy Blanco)
11 Mi último fracaso
(Alfredo Gil)
12 Camelot
(Billy Blanco)
13 Only you
(A. Rand, B.Ram)
14 Estatuto de boite
(Billy Blanco)

Remastered by Luigi Hoffer and Carlos Savalla

Dolores Duran (1930-1959), not only had an unforgettable voice but also composed a lot of her best material.  A central figure in the early bossa nova scene, she succumbed to the occupational hazards of the bohemian lifestyle, dying in her sleep from a heart attack at 29 years old after an evening of music, drinking, and barbiturates.  Her lamentably short career left an solid recorded legacy but, having left this world so young, she is less celebrated outside Brazil than some of her bossa nova contemporaries who lived long enough to benefit from the global infatuation with the genre.  Here is a recording of her singing a song she co-wrote with Tom Jobim, released in 1957 on the LP featured in this post.

But Duran’s professional career reached back before the dawn of bossa to when a nightclub singer had to be able to sing a little of everything and have a broad repertoire.  That is reflected in choice of songs included here, which span foxtrots, boleros, rumbas, and of course samba.  Stylistic variation blurs into cosmopolitan sophistication too, as you realize that she sings in no less than six languages here.  In addition to her native Portuguese, she sings in Italian, Spanish, French, English, and Scat.  I don’t speak all these languages and am in no place to judge her
elocution, but as far as music is the language of love I deem Dolores to
have been more than fluent.  One fantastic track among these, which I highly recommend for your next dance party, is the French rumba number (how can you go wrong?) “Viens.”  The only English song is a rendition of The Platters “Only You.”  Here’s some side-by-side listening for you:

Oh and why the hell not, one more for good measure (sorry Ringo!):

I think Dolores’ version carries its weight quite well, and her English is lovely (although a Portuguese rewrite would have made it stand out more, and of course automatically make it more romantic, because it’s a Latin language, yo).  Apparently Duran had none other than Ella Fitzgerald in the audience at one of her performances, who complimented her version of “My Funny Valentine.” Man what heady days to have been hanging around the nightclubs of Rio.

The notes assert that the selection is culled from the most popular numbers in her repertoire, tried and tested in clubs, on the radio, at festivals, in films, and wherever else she could perform.  I believe it.  Everything here is sung with an easy confidence and charm of someone who knows her audience.  Her charm is so infectious, and her talent so seemingly effortless.  In addition to the collaboration with Jobim above, she also interprets first-rate sambas by the Titulares do Ritmo (“Coisas de Mulher”), and Dunga with Jair Amorim (“Conceição, originally recorded by Gaúcho vocal group Conjunto Farroupilha but immortalized by Cauby Peixoto a year before Dolores’ made her version).  There are two tunes penned by Billy Blanco here.  The first is “Feiura não é nada” (or “Ugliness ain’t no thang”), a satirical take on vanity, the transformative powers of the cosmetic industry, and its noble fight to eradicate world ugliness.  As far as I know the song was written specifically for Dolores to sing, which is the only way it comes off as humorous.  Blanco is brilliant but the humor in this song bugs me a little as a write this, but perhaps I am a bit tender on the topic of chauvinist, machista humor lately. Have you seen the guy in the 50’s? Here, have a look at Billy:

It may be just because there is a currently a hedgehog with a hair-weave running as a
candidate for Leader Of The Free World right now, and I’m burned out on
casual sexism, but I don’t think Billy was in any position of aesthetic or sartorial superiority.

There is very little footage of her performing live aside from some scenes in musical chanchada films, but I can imagine her commanding a room with her presence.  I also wonder about the impact of her passing on the other rising divas of the day.  As young as Dolores was, she was actually five years older than contemporaries like Maysa and Alaíde Costa and, as we know, in young person time that made her, like, way old, dude.  Was she a figure that these other singers looked up to, or were they rivals?  I suppose I will have to read Rodrigo Faour’s biography to find that out.

Like many successful Long Player collections of the day, this one had a “part two” which I just may share with you in good time.  Meanwhile, one last comparison.  Here is Cauby Peixoto, before he became the inspiration for Austin Powers, singing “Conceição”, followed by Dolores’ version.


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Jamelão – A Voz do Samba Vol. 2 (2002)

Jamelão
A Voz do Samba, Volume 2
2002 Warner Brasil (092745933-2)


1. Vingança
2. Nervos de aço
3. Ela disse-me assim
4. Exemplo
5. Volta
6. Nunca
7. Meu natal
8. Torre de babel
9. Meu barraco
10. Loucura
11. Cadeira vazia
12. Esses moços (Pobres moços)
13. Quem há de dizer
14. Sozinha

All songs composed by Lupicínio Rodrigues, with the following tracks featuring co-authors: “Meu Barraco” with Leduvy de Pina; “Cadeira Vazia”  and “Quam Há De Dizer”  with Alcides Gonçalves.

Original recordings spanning from 1959 to 1987.

————————

In my last post on Jamelão, Volume 1 of this anthology, I was pretty emphatic in my disinterest for hearing an entire hour of samba-enredos back to back, as well as my belief that the record didn’t really do justice to Jamelão.  The man himself would probably have disagreed with me; at least regarding the first part of this complaint, because he was in fact exalted as a master of the form of samba enredo.  But I’ll continue to stand by the second half of my gripe:  the “Jamelão I know and love” is right here on THIS disc, which begins in the 1950s and is comprised entirely of compositions from his friend Lupicínio Rodrigues.  The 50s were an auspicious time for Jamelão:  he moved from the Sintér label to Discos Continental and began working with the wonderful Orchestra Tabajara, with whom he criss-crossed Brazil and made it as far as France on tour.  It was while touring with Tabajara that he crossed paths with Lupicínio in Porto Alegre, and soon after the two began a partnership that would make their names practically synonymous with each other.  A great many artists have recorded memorable versions of Lupicínios work, some preceding Jamelão like Orlando Silva and Francisco Alves, and many who followed him – two tracks on this collection, “Nervos de aço” and “Volta” both received impressive renditions by Paulinho da Viola and Gal Costa, respectively, which I happened to be listening to recently because I have become fixated on the magical year of 1973 for some reason.  The list of other renditions of these tunes would doubtless be quite large, but it was the voice of Jamelão that made Lupicínio Rodrigues a household name and etched him in the collective consciousness.  Orchestra Tabajara, who had relocated from Paraiba to Rio right about the time Jamelão approached them with songs to record, pull off some swinging performances with inventive arrangements.  Pianist and bandleader Severino Araújo,  could give the ubiquitous Maestro Gaya a run for his money.  The brass charts are all delicious, and check out the jazzy interplay on “Vingança” or “Meu barraco.”  

This collection is so good that I even like the tracks recorded in the 1980s, so often a decade of embarrassment for artists whose careers began elsewhere in time.   As is sadly typical of Brazilian reissues, this collection is sparse on detailed notes, apart from a brief text written by the stalwart Tarik de Souza.   Seems like typical record label suits skimping on the artistic patrimony of a giant like Jamelão who deserves better.  The dodgy mastering job is credited to a generic “Oficína de Áudio e Video”, and some of the cuts from the 60s sound like they had reverb added to them.   This was probably done to give more continuity to the collection – indeed, it is hard to distinguish what decade each song was recorded in without peeking at the credits – but this is also due as much to the infallible integrity of Jamelão and Orchestra Tabajara, without the “help” of any digital enhancement.   


Sometime this year I will post some of the Continental LPs I have Jamelão. I posted about the first disc in this series here.  And you can find more of his stuff at Orfãos do Loronix.

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Wilson Simonal – Na Odeon 1961 – 1971 (2004)




WILSON SIMONAL
Wilson Simonal na Odeon 1961-1971

9 CD Boxset
Released on EMI, 2004

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Disc 1 – Tem Algo Mais and A Nova Dimensão do Samba  (1963-64)

1- TUDO DE VOCÊ
2- AMANHECENDO
3- TELEFONE
4- SAUDADE
5- SAMBA CROMATICO
6- MENINA FLOR
7- LAGRIMA FLOR
8- BALANCO ZONA SUL
9- MENINO TRISTE
10- MEU COMPORTAMENTO
11- SAMBA E VERBO
12- MANHA NO POSTO SEIS
13- NANA
14- MAIS VALIA NAO CHORAR
15- LOBO BOBO
16- SO SAUDADE
17- ELA DIZ QUE ESTOU POR FORA
18- SAMBA DE NEGRO
19- JEITO BOM DE SOFRER
20- ELA VAI, ELA VEM
21- RAPAZ DE BEM
22- INUTIL PAISAGEM
23- CONSOLACAO
24- NANA
25- MAIS VALIA NAO CHORAR

 

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Disc 2 –  Simonal and S’imbora (1965)

 1- GAROTA MODERNA
2- SELECAO DE SAMBA DE ARY BARROSO
3- SO TINHA DE SER COM VOCÊ
4- MARINA
5- MESTICO
6- AS MOCAS DO MEU TEMPO
7- RIO DO MEU AMOR
8- OPINIAO
9- JUCA BOBAO
10- CHUVA
11- DUVIDO DIVIDIR
12- BRUXARIA
13- MANGANGA
14- FICA MAL COM DEUS
15- SONHO DE CARNAVAL
16- SAMBA DO CARIOCA
17- DUAS CONTAS
18- SE TODOS FOSSEM IGUAIS A VOCÊ
19- LADEIRA DO PELOURINHO
20- BALANCO ZONA SUL
21- NOS DOIS
22- O APITO NO SAMBA
23- O TEU AMANHA
24- LENDA
25- LADEIRA DO PELOURINHO

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DISC 3 – Vou Deixa Cair and Tempos De Pilantragem (1966-67)

1- VENTO DE MAIO
2- MEU LIMAO MEU LIMOEIRO
3- O CARANGO
4- MINHA NAMORADA
5- SEM VOCÊ EU NAO VIVO
6- ENXUGUE OS OLHOS
7- MARIA
8- A FORMIGA E O ELEFANTE
9- MAMAE PASSOU ACUCAR EM MIM
10- FRANQUEZA
11- TEM DO
12- SAMBA DO MUG
13- SE VOCÊ GOSTOU
14- A BANDA
15- DISPARADA
16- QUEM SAMBA FICA
17- MASCARA NEGRA
18- TRIBUTO A MARTIN LUTHER KING
19- DEIXA QUEM QUISER FALAR
20- ELA E DEMAIS
21- BALADA DO VIETNAM
22- O MILAGRE

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DISC 4 – Show Em Simonal (1967)

1- BARRA LIMPA
2- RODA
3- THE SHADOW OF YOUR SMILE
4- CANTIGA BRAVA
5- ESTRELA PRINCIPAL
6- ROCINHA ESTUPIDA (SOMETHING STUPID)
7- CONSOLACAO
8- O MORRO NAO TEM VEZ
9- O QUE FACO P´RA ESQUECER
10- PEGUEI UM ITA NO NORTE
11- UN HOMME ET UNE FEMME
12- NEM VEM QUE NAO TEM
13- MEXIRICO DA CANDINHA
14- QUEM TE VIU QUEM TE VE
15- CONSELHO
16- ARUEIRA
17- MEU LIMAO MEU LIMOEIRO
18- TRIBUTO A MARTIN LUTHER KING
19- ESTA CHEGANDO A HORA

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DISC 5 – Alegria, Alegria Volumes 1 and 2 (1967-68)

1- OS ESCRAVOS DE JO
2- AGORA E CINZA
3- VESTI AZUL
4- AOS PES DA CRUZ
5- BELINHA
6- PRA QUE ?
7- NEM VEM QUE NAO TEM
8- FIM DE SEMANA EM PAQUETA
9- PARA PEDRO
10- ESTA CHEGANDO A HORA
11- REMELEXO
12- DISCUSSAO
13- ALEGRIA, ALEGRIA
14- PATA PATA
15- SA MARINA
16- CAE CAE
17- MANIAS
18- RECRUTA BIRUTA
19- NESTE MESMO LUGAR
20- ZAZUEIRA
21- NAO TENHO LAGRIMAS
22- DE COMO UM GAROTO APAIXONADO PERDOOU POR CAUSA DE UM DOS MANDAMENTOS
23- CARTAO DE VISITA
24- PARAÍBA
25- GOSTO TANTO DE VOCÊ
26- VAMOS S’IMBORA
27- NAMORADINHA DE UM AMIGO MEU

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 DISC 6 – Alegria, Alegria Volumes 3 and 4 (1969)

1- SILVIA LENHEIRA
2- MUSTANG COR DE SANGUE
3- MENININHA DO PORTAO
4- SILÊNCIO
5- PRECE AO VENTO
6- WHAT YOU SAY
7- MOCA
8- ALELUIA, ALELUIA
9- MAMAE EU QUERO
10- MEIA-VOLTA (ANA CRISTINA)
11- PENSANDO EM TI
12- ATIRA A PRIMEIRA PEDRA
13- MULHER DE MALANDRO
14- SE VOCÊ PENSA
15- MAQUILAGEM
16- PORQUE HOJE E DOMINGO
17- EVIE
18- BRASILEIRA
19- OLHO D’AGUA
20- CANCAO DA CRIANCA
21- EU FUI NO TORORO
22- QUE MARAVILHA
23- UMA LOIRA
24- QUEM MANDOU
25- PAÍS TROPICAL
26- ADIOS, MUCHACHO v

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DISC 7 – Simonal and Jóia (1970-71)

1- SEM ESSA
2- DESTINO E DESATINO DE SEVERINO NONÔ NA CIDADE DE SAO SEBASTIAO DO RIO DE JANEIRO ( OH YEAH! )
3- COMIGO E ASSIM
4- O MUNDO IGUAL DE CADA UM
5- SISTEMA NERVOSO
6- NA BAIXA DO SAPATEIRO
7- MORO NO FIM DA RUA
8- DEIXA O MUNDO E O SOL ENTRAR
9- AI VOCE COMECA A CHORAR
10- NAO TEM SOLUCAO
11- NA TONGA DA MIRONGA DO KABULETÊ
12- OURICO
13- AFRICA, AFRICA
14- DE NOITE NA CAMA
15- GEMEDEIRA
16- IMPOSSIVEL ACREDITAR QUE PERDI VOCE
17- TRISTEZA
18- TUDO E MAGNÍFICO
19- LAMPIAO EM PROSA E VERSO
20- GAROA DIFERENTE
21- VOCÊ ABUSOU
22- NA GALHA DO CAJUEIRO
23- FOTOGRAFIA

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DISCs 8 and 9 – Singles, lados B e raridies (Singles, B-sides, and rarities)

1- TEREZINHA
2- BIKINIS E BORBOLETAS
3- EU TE AMO
4- BEIJA MEU BEM
5- TEM QUE BALANCAR
6- OLHOU PRA MIM
7- ESTA NASCENDO UM SAMBA
8- GAROTA LEGAL (You Must Have Been A Beautiful Baby)
9- FALE DE SAMBA QUE EU VOU
10- WALK RIGHT IN
11- SO DANCO SAMBA
12- NAO PODE SER
13- EU SOU MAIS EU
14- DE MANHA
15- DAS ROSAS
16- CUIDADO CANTOR
17- TA POR FORA
18- MAMAE PASSOU ACUCAR EM MIM
19- MAMAE PASSOU ACUCAR EM MIM ( Versao em Espanhol inedita )
20- A PRACA
21- SAMBA DO CRIOULO DOIDO
22- A ROSA DA RODA
——————————————
1- TEREZINHA DE JESUS
2- A SAUDADE MATA A GENTE
3- CORRENTEZA
4- PAÍS TROPICAL
5- ECCO IL TIPO CHE IO CERCAVO
6- NO CLARAO DA LUA CHEIA
7- AS MENININHAS DO LEBLON
8- KIKI
9- EU SONHEI QUE TU ESTAVAS TAO LINDA
10- AQUI E O PAÍS DO FUTEBOL 11- HINO DO FESTIVAL INTERNACIONAL DA CANCAO
12- CANCAO Nº21
13- QUE CADA UM CUMPRA COM O SEU DEVER
14- RESPOSTA
15- BRASIL EU FICO
16- OBRIGADO PELE
17- O XOTE DAS MENINAS
18- MADALENA
19- A NOITE DO MEU BEM

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208 songs
Nearly-complete artwork (booklet will not scan)
Composer credits embedded in ID tags
Correct Portuguese orthographic characters in ID tags
This box is out of print
========================================

So a few days ago, stuck in a mire of holiday malaise, I considered closing this blog completely.  Five years is a long time to keep one of these things going, even though I don’t update it as often as I would like.  I took it offline temporarily, and the only way to do that was to “restrict” access to blog authors, but the settings here made it look like it became an invitation-only place.  Don’t worry, you were not excluded from the club, it was just a party of one.

I reconsidered.  Thanks to M. for being reasonable when I couldn’t manage it, and to the handful of people who sent messages.  They were much appreciated.

To make up for the brief lapse in judgment, I am sharing this behemoth of a boxset.  I have contemplated doing to many, many times, but always felt this massive burden of having to write some insightful and elegiac homage to Simonal and so I never felt up to the task.  This is in addition to feeling like I had to write reviews of every album here.  The guy was putting out two records a year for a ten-year span, so excuse me if this write-up consists only of saying “Hey this is really good and you should check it out.”  Simonal had been one of Brazil’s most popular singers before some unfortunate altercations with his accountant and/or the military government put him on the wrong side of history for a few decades.  A documentary film about his career as well as this boxset – both mostly spearheaded by his sons – managed to reset the scales of justice a little.  The guy was a force of nature, with a croony swagger that could evoke casino show-biz performances, chilling on the beach, or cruising in your favorite fashionable low-mileage automobile.  This is the part of the write-up where I could just start dropping names to emphasize how important he was, so why not just get right to it – Carlos Imperial, Elis Regina, Som Três and César Camargo Mariano, Orlandivo, Stockhausen, Jorge Ben … Mug.

I am not even going to try and start singling stuff out, because some internaut hipster will inevitably come along and leave comments to the effect of “I can’t believe you didn’t mention X, Y, or Z, which is so obviously the best thing here yadda yadda”, like some people did for the Marcos Valle posts I did a few years ago.  And then I would start thinking about closing the blog again.  So to hell with it, it’s Christmas, you got this stuffed in your stocking and if that’s not enough then I  can insert a piece of coal in your orifice of choice.

This is a lot of music.  It will take anyone a while to digest it.  One of these days I might start posting some needledrops of individual records, as I have mono pressings of some of these that sound quite different – in those days, a stereo hi-fi was basically a piece of furniture with speakers built in, so stereo panning tended to be quite dramatic by today’s standards.  I think the mono mixes have a little more UMPH in many cases.  So whenever I get around to that, I will give more individualized comments on these records.

Did I mention this is filled with rarities?  Almost every disc has some bonus tracks, and then the final 2-CD set is entirely comprised of – you guessed it! – singles, B-sides, and rarities.  In some cases this means we get versions of the same song in Portuguese, Spanish, and Italian but who cares.

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Jamelão – A Voz do Samba, Volume 1 (2002)

Jamelão
A Voz do Samba, Volume 1
2002 Warner Music (092745932-2)
Recordings from 1974-76
Originally issued as a 3-CD boxset in 1997

1 Apoteose ao samba     (Mano Décio, Silas de Oliveira)
2 Casa grande e senzala     (Zagaia, Comprido, Leléo)
3 Macunaíma     (Norival Reis, David Corrêa)
4 Quatro séculos de paixão     (Arroz, Graúna)
5 Cântico à natureza     (A. Lourenço, Jamelão, Nelson Sargento)
6 Dona Bêja – Feiticeira do Araxá     (Aurinho da Ilha)
7 O grande presidente      (Padeirinho)
8 Rio Antigo      (Cícero dos Santos, Pelado da Mangueira, Hélio Turco)
9 Zaquia Jorge, a estrela do subúrbio, vedete de Madureira     (Avarese)
10 Rio Grande do Sul na festa do preto fôrro      (Nilo Mendes, Dario Marciano)
11 No reino da mãe de ouro      (Talito, Rubens da Mangueira)
12 Terra de Caruaru      (Sidney da Conceição, Corvina)
13 Festa do Círio de Nazaré      (Nilo Mendes, Aderbal Moreira, Dario Marciano)
14 Mangueira em tempo de folclore     (Jajá, Manoel, Preto Rico)     
I am not ideologically committed to the idea of a chronology retrospective approach to box sets or collections, but it does have its merits.  I just don’t get
the sense of starting out with tracks taken exclusively from the years 1974-76, squarely in the middle of Jamelão’s prolific career.  That is what this collection, originally released as three discs together and then reissued separately,  has chosen for reasons that elude me.  Is it because the 70s “samba revival” production value is more accessible to our contemporary ears than the classic, larger band/orchestra style in which he made his first hits?   It could be, but if so then it’s a pretty weak argument.Because what is beguiling about this is not really the chronology but the emphasis:   although Jamelão is renowned as the ultimate interpreter of the sambas written by his friend Lupicínio Rodriguez, this first disc is entirely comprised of samba enredo (none of which are associated with Lupicínio).Now a while back I had a comment from a blog reader about how they couldn’t handle an entire album of partido alto all at once.  While I personally could listen to partido alto all day long, I know how they feel – because I feel that way about samba enredo.  For those unfamiliar, samba enredo  is the style of didactic story-song that is popular during carnival and during the huge open rehearsals leading up to it.  Part of that popularity is of course the talent of the composers, who get a little extra motivation in the big prizes, awards, and accolades involve, but it is also in the spectacle of huge production that will happen once and once only – something that does not necessarily transfer its excitement to a petroleum-based disc.  When Rio’s samba schools decide on an annual theme, it falls to the carnavalescos, the artists and designers of costumes and floats, to decide how to interpret it and present something new and original, reflecting the theme from a different angle than all the other samba schools, and to collaborate with the choreographers and musicians and sambistas to make it all cohere.  Truly a marvel of creative coordination, wouldn’t you say?  Samba writers give it their all, because if the affiliated samba school gets top rankings at the concursos or showcase competitions, it means a lot both for the school and for whichever singer and composer helped them win a new title.  While you might find humor and critique tucked away in the selections, what predominates are celebratory anthems of one or another variety of nationalism.   On this collection we have a few songs praising famous literary works (Casa Grande e Senzala, Macunaíma), politicians (O Grande Presidente), geographic areas, cities or states (Rio Antigo, Terra de Caruarú, Rio Grande do Sul Na Festa do Preto Fôrro), and religious or mystical themes (Festa do Círio de Nazaré), or famous prostitutes (Dona Bêja).  Interestingly, to get back on the subject of chronology, a few of these sambas actually debuted decades before the recordings on this collection were made.  O Grande Presidente, a praise song for the populist and popular, authoritarian “man of the people” Getulio Vargas, was featured in 1956’s carnival, a year and a half after his legendary and dramatic suicide.

It is worth pointing out that while Jamelão’s name is forever linked with the green and pink colors of his beloved Mangueira,  a few of the other prominent samba schools are represented here either through affiliated sambista composers or through the song having featured in a particular school’s carnaval presentation.  (Not all samba composers, nor all singers for that matter, don’t always work exclusively with one samba school.)   The opening track, which happens to be my favorite on the whole disc, Apoteose ao samba, is written by Silas de Oliveira and Mano Décio of the Império Serrano samba school, both of whom feature on the lovely Encontro Com a Velha Guarda album too.  Portela and Estácio de Sá also get some entries here.

So perhaps the logic of this release was to start the collection by highlighting Jamelão as a grand figure of carnaval across several generations.  Which, of course, he was. The next two volumes focus on his role as interpreter of Lupicínio Rodrigues’ sambas, and as a crooner of romantic samba, respectively.  Well at least they left us something to look forward to.

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Paulinho da Viola – Meu Tempo É Hoje (2003)

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 PAULINHO DA VIOLA
Meu Tempo É Hoje
2003 Biscoito Fino

    1     Meu Mundo É Hoje (Wilson Batista)        1:24
2     Pot-Pourri: Injúria/Recado/O Sol Nascerá/Jurar Com Lagrimas
(Cartola / Milton Casquinha / Elton Medeiros / Paulinho da Viola )
feat. Elton Medeiros  4:07
3     14 Anos (Paulinho da Viola)    1:32
4     Rosinha, Essa Menina (Paulinho da Viola) feat. César Faria     1:42
5     Ruas Que Sonhei (Paulinho da Viola)      1:59
6     Sinal Fechado (Paulinho da Viola)    2:43
7     Chora, Cavaquinho (Waldemar de Abreu) feat. César Faria     2:02
8     Carinhoso (João de Barro / Pixinguinha) feat. Marisa Monte
9     Pra Fugir da Saudade (Elton Medeiros / Paulinho da Viola) feat.  Iris, Julieta, and Eliane Faria  2:24
10     Filosofia (Noel Rosa)    2:39
11     Pot-Purri: De Paulo da Portela a Paulinho da Viola/Foi Um Rio Que …
(Monarco / Francisco Santana / Paulinho da Viola) feat. Velha Guarda da Portela     4:21
12     Conflito (Marcos Diniz, Barbeirinho de Jacarezinho) feat. Zeca Pagodinho3:29
13 Retiro (Paulinho da Viola)     1:09
14     Coisas Do Mundo, Minha Nêga (Paulinho da Viola)   3:17
15     Um Sarau Para Raphael (Paulinho da Viola) feat. Nó em Pingo d’Água     4:38
16     Argumento (Paulinho da Viola)    0:37

I haven’t done a blog post in over a week so in a way this is a “filler” post.  Of course nothing Paulinho has done deserves to be called ‘filler’ even if it isn’t a major entry in his huge body of work.  This is a soundtrack record; I highly recommend the film, which is not so much a biopic as a musical portrait of one of Brazil’s national treasures.  On this record, as in the film, Paulinho performs alongside old friends and new as well as a few solo pieces.  A  purist to the core, he works through some classic samba and a little bit of choro with guests like Zeca Pagodinho, Cristina Buarque, and Elton Medeiros (with whom he started his career).  The only thing keeping this record from being perfect is the presence of Marisa Monte – a robot built by scientists working for the music industry – who sings an utterly forgettable version of “Carinhoso.”  I am also of the opinion that a moratorium should be declared on that song as well as Garota da Ipanema, with all due respect to Pixinguinha, Jobim and Moraes.  But this is also why God invented the “skip” button.  Feel free to use it.

There is a relaxed, unrehearsed quality to a lot of the songs here that is very charming.  A couple songs feature family members:  “Rosinha, Essa Menina” and “Chora Cavaquinho” feature his father, César Faria, one of the founders of the Época de Ouro band along with Jacob do Bandolim, and who would pass away a mere four years after this recording, while “Pra Fugir da Saudade” features his daughters.  A high point of the record is Zeca Pagodinho’s appearance, which injects a needed bit of energy into this otherwise nostalgic retrospective.  Not that nostalgia or saudades are bad: the medley with Elton Medeiros (who rocks out on the matchbook) is a bit sloppy but putting “O Sol Nascerá” (co-written with Cartola) next to “Jurar Com Lágrimas” works really well, and the medley with the Velha Guarda da Portela is also nice.  A few of these tracks sound like they came straight from the folio microphones used on the film and so have an almost field-recording quality (you can hear birds chirping outside the windows during “Retiro”).  The questionable acoustics of the “room sound” oddly draw your attention to the intimacy of Paulinho’s renditions on those songs, but I’m still glad for the richer studio textures of Noel Rosa’s “Filosofia” and his own “Sinal Fechado.”

If it wasn’t for his head full of gray hair, you wouldn’t know Paulinho  had aged a day since his first recordings in the mid 1960s.  Granted, this record is now 10 years old (the minimum for being featured on this blog…) but he still sounds this good today.  For fans who already love and respect the walking reservoir of samba who is Paulinho da Viola, this is a nice record to add to your collection, as is the film.  For newcomers, this little splash should inspire a deeper dive.

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