Paulo Diniz – Eu Quero Voltar Pra Bahia (1970)

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Paulo Diniz   
1970 Odeon MOFB 3664
Reissue 2007 Odeon Classics

1 Piri Piri
(Odibar, Paulo Diniz)   
2 Um chope pra distrair
(Odibar, Paulo Diniz)   
3 Ninfa mulata
(Odibar, Paulo Diniz)   
4 Quero voltar pra Bahia
(Odibar, Paulo Diniz)   
5 Felicidade
(Lupicínio Rodrigues)   
6 Marginal III
(Odibar, Paulo Diniz)   
7 Chutando pedra
8 Chega
(Odibar, Paulo Diniz)   
9 Canseira
(Odibar, Paulo Diniz)   
10 Ponha um arco-íris na sua moringa
(Odibar, Paulo Diniz)   
11 Me leva
12 Sujeito chato
(Pedrinho, Paulo Diniz)   

What a lovely little record this is from Paulo Diniz!  The title song, dedicated to an exiled Caetano Veloso, was a counter-culture anthem at the time, a big hit in the summertime of 1969/70.  And the  twelve tracks here are suitably saturated in an understated incense-and-maconha haze while still remaining completely lucid.  Whether distracting oneself with a cold beer, or frolicking with mulata nymphs washing clothes by a river (his imagery, not mine..), it may be the perfect recreational sunny day album.  Almost.

Vocally and melodically, Diniz borrows a lot from Roberto Carlos and especially Wilson Simonal, even if he couldn’t approach the swagger or emotive range of either.  Songs like “Canseira” could have been written for Simonal. In fact I can image them singing it together as a duet, except with Diniz being the voice for a Muppet version of Neil Diamond singing with Simonal on TV.  He could have been more popular than Mug! 

Which brings me to what may have jumped out at some listeners right away, others perhaps not so much: Diniz’s voice, which on this record is frequently distracting.  Before I say anything further, have a listen to this gorgeous album “E Agora José” over at Jthyme’s blog.  It is less of a rock record, and Diniz doesn’t sing like a Muppet Neil Diamond.  He actually has quite an expressive voice on that album, which only makes his choices on this one more beguiling.  It’s fair to say that the “José” record is a more mature artistic statement overall: for one thing, the title track is a musical interpretation of Carlos Drummond de Andrade’s famous poem with the same title, and he makes it sound completely natural.  Kind of brilliant actually, and in terms of songwriting most of that album is a quantum leap beyond this one.   Maybe the interval of two or three years left Paulo in better command of his voice and his art, or perhaps it’s a reflection of the vision for the record.  I mean just LOOK at the cover of “Eu Quero Voltar Pra Bahia” – trippy, right? I mean, you have to sing it like you mean it if you are going with album art like that.   Pernambuco since the 1970s seems to have a pattern of yielding interesting and important musicians and songwriters who can’t sing worth a shit (see: anyone associated with ‘Mangue Bit’ and its progeny), and I have been trying to pin down just exactly when that weird tendency started.  Maybe it was with Paulo Diniz?  Well at least he got better over time.  The thing is, his over-driven throat blowing works on about half of this material, but on the rest – in particular on some slower tunes like “Chega” and “Canseira” but also some up-tempo ones like football homage “Me leva,”  it is distracting if not outright annoying.  “Um chope pra distrair” strikes a nice balance between his two singing styles.  In fact this tune is one Diniz’s most famous compositions and rightly so.    Muppet-voice aside, the tunes on this record (all of them original except an odd
interpretation of a Lupicínio Rodrigues number) are well put together, with good lyrics, and
the arrangements and musicianship are top notch.  Some nice harpsichord too, if you’re into that kind of thing.

Dominguinhos – Programa MPB Especial, February 8, 1974 (Repost)

“A música brasileira deste século por seus autores e intérpretes”
SESC São Paulo / JCB Produções Artisticas

Recorded for the Programa MPB Especial on February 8, 1974, directed by Fernando Faro

Dominguinhos – sanfona de oito baixos
José Braz dos Santos – zabumba
Domingos P. Neres – triângulo


 This is a repost from 2010.  Dominguinhos’ health has been failing for some time now.  Send him some good vibes and give a listen to this amazing interview-performance. March, 2013 – F.

Some years ago the SESC organization of São Paulo released a number of boxsets of interviews and music with musicians and composers. This disc is from the second boxset (the discs themselves are not numbered or in any way chronological). Only a fraction of the stuff filmed for this series has found its way onto DVD, such as Nara Leão, Cartola (very recently), or Elis Regina. If you’ve seen those then you know the format — a little bit of playing, a little bit of talking, some more playing, very relaxed. In fact one curious production technique is that you never (or at least I haven’t yet) hear the actual questions being posed to the artists. This used to really annoy me. Now I see it as some of form of editorial self-erasure, an attempt to efface the interviewer’s subjective presence and keep the focus on the artists. In that sense the technique is mildly admirable. But there are still times when I knew what the hell they had been asking about..

But in this case, Dominguinhos, who is as relaxed and good-natured in an interview as you might expect from his music, tells us a little about growing up in Garanhuns, Pernambuco, his father being a small farmer (pequeno agricultor, not “small” like Azulão) who also worked as a tuner of sanfonas de 8 baixos (eight-button accordions) and playing in the feiras where so much business gets conducted in the interior. He tells of meeting as a young boy with the master Luiz Gonazaga, who would become his mentor and protector throughout this life.


We then get something of a musical travelogue of his life, with him playing some of the different types of music he played to get by when living in Rio – samba, música romantica, boleros, show tunes. Songs by Tom Jobim, Johnny Alf, Jack Lawrence. We even get a short snipped of chansón with “La vie em Rose” immortalized by Edith Piaf. It’s not as if Domiguinhos is alone in knowing this repertoire as it was more or less required of working musicians, but as he demonstrates in this casual setting it is not hard to imagine that his emotive capacity to connect with whatever material he plays is at least part of how he grew to be such a sought-after session player, apart from his association with Gonzagão. This TV program was filmed as Dominguinhos was ‘hot stuff’ with the post-tropicalia scene, having both recorded on my ex-girlfriend’s album “India” (1973) and also touring in her live presentation of it. I may be partial because I am still in love with Gal Costa after all these years in spite of her breaking my heart, but I really think the India tour performance should see a legit DVD release (there is a bootleg pimping itself out over at YouTube…), because I would rather go blind from stroking myself than from squinting my eyes at a blurry image *while* stroking myself, damnit. Anyway, if the only thing Dominguinhos ever did in his entire career was to play on that album, he would still deserve top props from me. But he was also working on Gilberto Gil’s ‘Refavela’ album which would yield one of the most beautiful songs either man would write, “Lamento Sertanejo (Forró de Dominguinhos.” But he opens the show with his most famous and instantly-recognizable song “Eu só quero um Xodó,” which is a staple in the forró song book now, both pé de serra and electric… I had always thought it was co-written with Gilberto Gil because of its appearance on the latter’s “Cidade de Salvador” album (underrated and rather hard to track down, unfortunately), and because the melody seems so obviously GIL to me.. But it’s not, its Dominguinhos and Anastácia. There is however, the Gil/Dominginhos collaboration “Abri a porta” later on, and the fantastic song written with Chico Buarque “Tantas Palavras.” There is even a song he co-authored with his nine year-old daughter Liv titled “Vários caminhos.” And it’s amazing.


I think this box has something like 13 discs in it and a book which transcribes all the interviews and has some commentary by the likes of Tarik de Souza and Sergio Cabral who worked on the SESC project. They are all pretty consistently good but this one is really special and definitely my personal favorite. It’s recorded with the sparseness and simplicity that really brings out the best in Dominguinhos without the frills of (over)production, and to hear him play some of these tunes *entirely* by himself (by which I mean, with the zabumba and triangle players sitting them out in the corner) is a privilege, like having him come by to your house and play for you on your veranda on a crisp autumn evening. Some of the other volumes in the SESC boxes seem to be made from second or third generation back-up tapes or transferred off the video reels, whereas this one has incredibly detailed and warm sound. And, of course, he has some anecdotes peppered between the songs that prove how any good sanfoneiro is also a good storyteller. He ends the show appropriately enough with an homage to his mentor, Luiz Gonzaga, and shows us why is truly the only one worthy of being Gonzaga’s successor and ‘filho postiço’.


in 320 kbs em pee tré



Luiz Gonzaga – Quadrilhas e marchinhas juninas (1965)

Luiz Gonzaga
1965 RCA
This vinyl rip from a 1973 RCA Dynaflex repress

1 Pot-pourri Instrumental:
Fim de festa (Zito Borborema)
Polca fogueteira (Luiz Gonzaga)
Lascando o cano (Luiz Gonzaga – Zé Dantas)
Pagode russo (Luiz Gonzaga)
Fogueira de São João (Luiz Gonzaga – Carmelina Albuquerque)

2 Olha pro céu (Instrumental)
(José Fernandes, Luiz Gonzaga)
3 São João na roça (Instrumental)
(Luiz Gonzaga, Zé Dantas)
4 Fogo sem fuzil
(José Marcolino, Luiz Gonzaga)
5 Quero chá
(José Marcolino, Luiz Gonzaga)
6 Matuto de opinião
(Gonzaguinha, Luiz Gonzaga)
7 Boi bumbá
(Gonzaguinha, Luiz Gonzaga)
8 O maior tocador
(Luiz Guimarães)
9 Piriri
(Ary Rangel, João Silva)

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 light settings; individual clicks and pops taken out with Adobe Audition 3.0 – resampled (and dithered for 16-bit) using iZotope RX Advanced. Tags done with Foobar 2000 and Tag&Rename.


Well I had hoped to get this post done yesterday but it just didn’t happen. Yesterday was the official day of São Pedro but since today is the very last day of June, I am barely saved from being a day late and a dollar short. There are still festas juninas going on the northeast, and if you are at one you obviously don’t need this LP, but for everyone else you can entertain yourself with Luiz Gonzaga. Gonzagão must have made a dozen São João-themed LPs in his lifetime (including a “volume two” to compliment this particular record a decade later, which I’ve never seen). The first side of the LP is entirely instrumental, including a medley that rips through tunes both familiar and arcane from his catalog. Gonzaga’s playing never fails to stun but if instrumental forró is not your thing, you might find yourself checking your watch as you wait for the second half. Side Two features six short and sweet vocal tracks. Although none of these probably make it on a ‘best of’ collection (I’m not sure about the CD boxset, which one of these days I will invest in), but I had heard at least a couple of them somewhere before picking up this album. Boi Bumbá and Piriri are Gonzaga at his finest, the latter being a fantastic São João song with a chorus that will stick in your head for hours.

The former track, Boi Bumbá, has a great extended verse/bridge section where the singers divide up cow and deliberate on which parts go to whom. This is actually a vocal duet, trading off with another singer, whose identity is unknown to me. I could try to find this out by reading a biography on Gonzaga, but I am basically lazy and do not know how to read. So I will appeal to any blog followers here for information – does anybody know? It is a double mystery in that the song also has a writing credit (along with preceding track `Matuto de opinão’) given to a Luiz Gonzaga Junior. My first reaction to seeing this was — this CAN’T be Gonzaguinha, the adopted son of Gonzagão who had his own brilliant recording career in the 70s. Well, checking on his birth date, I discovered that he actually would have been twenty years old by 1965, so technically it is possible. But Gonzaguinha’s own work would totally eschew the kind of rustic regionalisms that form the backbone of his father’s repertoire in favor of jagged social commentary and political engagement, having over 50 of his compositions censored by the military government. Even though his recording career had yet to begin in 65, as far as I know he was involved with the student movement of the time and I just can’t imagine him having anything to do with these two tracks. So, it must be a coincidence, right? Or maybe not. Anyone with clues please leave them in the comments here.

I felt so badly about the mediocre O Cavaquinho no Forró album earlier this week having been the only ‘celebration’ for São João or the festas juninas on the blog this year, that I thought I would make it up to you by getting this post up just under the wire. Please accept my peace offering.

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Pra onde vai a barrigueira?
Vai pra Miguel Pereira
E a vassoura do rabo?
Vai pro Zé Nabo
De que é o osso da pá?
De Joãozinho da Fornemá
E a carne que tem na nuca?
É de seu Manuca
De quem é o quarto trazeiro?
De seu Joaquim marceneiro
E o osso alicate?
De Maria Badulate
Pra quem dou a tripa fina?
Dê para a Sabina
Pra quem mando este bofe?
Pro Doutor Orlofe
E a capado filé?
Mande para o Zezé
Pra quem vou mandar o pé?
Para o Mário Tiburé
Pra quem dou o filé miõn?
Para o doutor Calmon
E o osso da suã?
Dê para o doutor Borjan
Não é belo nem doutor
Mas é bom trabalhador
Mas é véio macho, sim sinhor
É véio macho, sim sinhor
É bom pra trabaiá
Rói suã até suar
Ê boi, ê boi
Ê boi do mangangá..

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Banda de Pífanus de Caruaru – Programa Ensaio 1999

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.

in 320 em pee tree


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Luiz Paixão – Pimenta Com Pitú (2006)


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)


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



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:

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


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).

Pastoril do Faceta (1973)


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)

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.


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.

in 320 kbs em pee tree