Tag: Samba Paulista

No comments

Henricão – Recomeço (1980)

  By

Henricão
Recomeço (1980)
Label: Eldorado
Genre : Samba

Só vendo que beleza (Marambaia)
Andorinha
Sons dos carrilhões
Sou eu
Carmelito
Saravá umbanda
Está chegando a hora
De cupim
Não faça hora
á é madrugada
Meu crime
Meu grande desejo

Composer credits include:

Rubens Campos, Henricão; Rubens Campos, Dedé, João Pernambucano, J. Alcides, Penaloza e Juan de Dios Felisberto Vitor Gonçalves, and others

EAC V0.99 prebeta 5, Secure Mode, Test & Copy, AccurateRip, FLAC -8

Photobucket

Henrique Felipe de Costa. Yet another sambista largely forgotten by many and who never made much money from his work. The first black Rei Momo of Brazilian Carnaval; a founder of the ‘Vai Vai’ samba school of São Paulo; the man who discovered the talented singer Carmen Costa; a important figure in getting Nelson Cavaquinho started on his path of samba, cowriting one of Nelson’s first songs; and a composer who began writing in the 1920s, sung on radio programs and recorded a bunch of 78’s, and has had his songs recorded by Elza Soares, Elis Regina, and of course Carmen Costa, who also appears on this album for the song “Carmelito.” Henrique is also responsible for transforming the Mexican tune “Cielito lindo” into “Está chegando a hora” which is now song at the end of parties, dances, futebol games, carnavais.. but nobody seems to remember Henricão.

Henricão had not recorded any music since 1956 before making this album at the instigation of a reporter who went in search of him while writing on a piece on the fiftieth anniversary of the Vai Vai samba school. He found the 330-pound Henrique living in a tiny apartment and working as a used car salesman at the age of 72. And, thankfully for us, he convinced Henricão to make an album — after first getting him back on stage singing some duets with Carmen Costa and recording a radio program where he sang and was interviewed about his life. His voice may not be earth-shattering on this album, but is honest – the real deal – and he definitely sounds in his element, comfortable and relaxed, and the songs are all lovely; arranged, recorded, and produced in the immaculate standards of the Eldorado label, responsible for the cream of the crop of samba during the late 70s and early 80s. The result is a lovely, subtle, laid-back album. The slow march of Andorinha has nothing less than a euphonium as its lead instrument, a choice that Henrição insisted on. The duet with Carmen Costa on “Carmelita” is worth the price of admission alone. Henricão seems to have worked mostly in partnerships, most notably with Rubens Campos, and all the songs here were composed as such. This album contains an interesting piece, “Sons dos carrilhões”, which is an instrumental ‘choro’ by João Pernambuco (contemporary of Pixinguinha) to which Henricão wrote some lyrics. It is also worth pointing out that although he was born in Rio, Henricão lived most of his life in São Paulo — that city once termed the ‘graveyard of samba’ by the hyberbolic and rather arrogant Vinicius de Moraes. The title of the album, “Recomeço”, would insinuate the renewal of a musical career for Henricão, or perhaps a more literal “starting over.” Spiritually and emotionally perhaps that is what this was for ‘Big Henry’, a purging of old wounds and bitterness and the opportunity to leave us with a document and registry of his talents as a sambista. As far as this writer knows, he never recorded again.

  320 kbs

password: vibes

in FLAC Mirror

8 Comments

Demônios de Garoa (1958) & Os Demônios de Garoa (1961)

  By

Photobucket

Demônios da Garoa (1958) [Odeon – MOCB 3023]

1 Promessa do Jacob 2:51
2 Maloca dos Meus Amores 3:12
3 A Lei No Morro 2:30
4 Lenço Na Molera 2:29
5 O Parque Chegou 2:31
6 Malvina 2:50
7 Bem Feito 2:53
8 Deixa Que Vá 2:37
9 Cidade do Barulho 3:09
10 Um Samba Diferente 2:18
11 A Lei do Inquilinato 3:09
12 Joga A Chave 3:36

Photobucket

Os Demônios da Garoa (1961) [Odeon]

13 Um Copo… Uma Garrafa… Um Pente 2:47
14 Barracão 3:06
15 Olha o Gato 2:53
16 Não Emplaca 61 3:02
17 Saudosa Maloca 2:48
18 Ponto de Interrogação 2:31
19 A Voz do Morro 3:07
20 Tu Te Da Ma 2:49
21 Eu Quero Um Samba 2:19
22 Já Tem Dono 2:32
23 Iracema 5:20
24 Não Bobeia Kalamazu 2:23

EMI 2003 2-em-1 Reissue
Total time 67:09

Like most of the EMI 2 for 1 series of Brazilian reissues, this one does not feature consecutive releases from these masters of São Paulo-style samba, but there is nothing to complain about — both of these are stone classics. If you are only accustomed to hearing carioca samba (from Rio), then you are ears are in for a different listening experience.

I will confess – the Demônios da Garoa first came to my attention because of their association with Adoniran Barbosa, whose sambas they made famous. Although Adoniran was a well-known radio and film actor as well as a samba composer, he didn’t actually record his own sambas until the 1970s. Those are the versions I first heard, with his hoarse and slightly-flat cigarette-butt voice bringing his colorful characters to life. Needless to say, hearing the Demônios original recordings came something of a shock to me as they proceeded to perform them with perfect multi-part harmonies and tight instrumentation. Also, they are kind of wacky and sing in silly voices sometimes – Adoniran’s sambas are usually injected with a dose of humor, but once again I had become accustomed to his dour delivery which is in contrast to the Demônios campy, sometimes nearly ‘vaudevillian’ interpretations (to make a crude North American analogy). These two albums only have a handful of Barbosa’s tunes spread across them, but they are all MONSTERS OF SAMBA: Malvina, Joga a Chave, Saudosa Maloca and Iracema. There is also a surprisingly nice version of Zé Keti’s “A Voz do Morro” (surprising because of their very different styles), and a song that some João Gilberto fans might recognize from a version he recorded later, “Eu Quero Um Samba.” There are also plenty of other great respectable sambas from other composers here – “Promessa do Jacob,” “Barracão” and “Não Emplaca 61.” The CD reissue includes the liner notes from the first of the two albums. Although Demônios de Garoa have stayed tirelessly active (and earned a Guiness-book entry for longest-continually-running musical group in Brazil), their golden years were in the 50s and 60s, and you don’t have to look further than these two records to see why.

Full composer credits are in the ID TAGS as well as the Portuguese accents and diacriticals.

I just got back from a visit to São Paulo, where I actually saw “garoa” for the first time — its something between rain and snow, but *not* like hail. Also, São Paulo has donuts.

4 Comments

Geraldo Filme – Geraldo Filme (1980)

  By


1 – Tradição ( Vai No Bexiga Pra Ver )
2 – A Morte Do Chico Preto
3 – Mulher De Malandro
4 – Tristeza Do Sambista
5 – Eu Vou Pra Lá
6 – Garoto De Pobre
7 – Silêncio No Bexiga
8 – História Da Capoeira
9 – São Paulo Menino Grande
10 – Vá Cuidar Da Sua Vida
11 – Vamos Balançar
12 – Reencarnação

I first heard of Geraldo Filme through a lifelong Paulista friend who frequents the lesser-known haunts of the metropolis’s lesser-known but vibrant samba scene. When she handed me this album and said ‘This is really good, you’ll like this..”, I didn’t realize at the time what an understatement this was. At the time I didn’t know squat about samba, and if I had to pick a time and a place when I fell in love with the genre, it was hanging out at her house in Magdalena going through her huge record collection like a kid in a candy store. It was the same year I’d discovered Clara Nunes, and the beginning of a long journey that will continue until I go deaf.

This album, release on Eldorado, is simply one of the best samba records I own. Wonderfully warm sound, for which Eldorada is somewhat famous, and it hasn’t been ruined in the digital mastering (although the packaging on the CD reissue is total crap, without the slightest bit of information whatsoever). Filme’s songs are melodically lilting and uplifting and with a sweetness that is different way than what you hear in much of carioca samba, with less hard edges, more laid-back, and more emphasis on the stringed instruments which positively shimmer on this album. Listening to this album only leaves me with one regret — that Geraldo Filme recorded so damn little. For a long time after that day I was introduced to this album, I looked and looked trying to find any more of his records. I came up empty-handed, because there weren’t any.

A samba composer and singer from the interior of São Paulo, his work was extremely important to the paulistano samba culture but sadly his name is still somewhat unknown and underappreciated, even in Brazil. He wrote tons of songs but his own recorded work is sparse and scattered. He appeared along with Zeca de Casa Verde and Toniquinho on a 1974 album put together by dramatist and writer Plinio Marcus, called ‘Plínio Marcos em Prosa e Samba, Nas Quebradas do Mundaréu’, a rare album that I’ve been searching for and that I doubt has ever been issued on CD. The only album completely under his own name, as far as I know, is this one from 1980, where 11 out of the 12 tracks are his own compositions. In 1982 he participated along with Clementina de Jesus and Tia Doca on a album of slave work songs dating back to the eighteenth century and recorded in Minas Gerais, titled “O Canto dos Escravos” (more info here) This album apparently has surfaced on CD although I have yet to come across it. Also in 1982, Geraldo appeared on the Ensaio television program and a recording has come out of that too — not sure about the vinyl but it appears in one of several incredible boxsets produced by the SESC organization, “A música brasileira deste seculo por seus autores e interpretes.” It really is kind of tragic that even a lot of Brazilians don’t know the name of Geraldo Filme, although if you play them “O morte de Chico Preto” or “O silêncio no Bexiga” they would most likely say, “hey I know that song!.” If in the end a composer’s fame is more tied to songs thatnever leave you once they pass through your life, then Geraldo Filme is relaxing in the same celestial boteco sharing a beer with the other greats.

Old website about a tribute to Geraldo Filme at the SESC performance space where there are great samba shows all the time
————————————————————–

Geraldo Filme – Geraldo Filme (1980) in 320 kbs em pee tree

Geraldo Filme – Geraldo Filme (1980) in FLAC LOSSLESS AUDIO