Soundtrack

            The 42 songs presented below, with their authors and their interpreters, at various times, styles and genres, do not mean the best of the vast Brazilian popular music scene. In fact, I do not believe or judge lists, under any title or pretext. The only criterion in the choice was to highlight young values, or even already consecrated (some deceased or less remembered), in exquisite readings that prove all the talent of its protagonists.

            It is worth commenting on the new generation (from the 90s): Augusto Martins, who rightly left the medicine and "fell in the samba", here accompanied by guitar and vocal by the "veteran" composer Cláudio Jorge in the anthological Antonico (Ismael Silva, 1950) , João Macacão, an eminent seven-string guitarist in the service of the "beloved little boy" Silvio Caldas for more than twenty years, who discovered a great performer and did not fail to pay homage to his master with the emblematic Floor of Stars (Orestes Barbosa, Silvio Caldas, 1937), Nero-Zélia Duncan, with her harmonious voice, pays tribute to the "village poet" in the immortal samba-song Three Apitos (Noel Rosa, 1951), the great singer Renato Braz in the beautiful Tristeza do Jeca De Oliveira, 1924), Leila Maria, with incomparable and passionate voice, thrilled to celebrate the late Johnny Alf in Ilusion à Toa (1961), the pair Tuninho Galante and Marceu Vieira, who met at the samba Tequim Bip Bip in Copacabana, and soon "burst" in the music market with the initial CD, where the band Amendoim and Caviar opens the creative parade of their songs, Leandro Fregonesi, singer and composer, with two albums and a DVD in the square of Present generation of Lapa, of rhythm and voice tuned in the romantic Feast of the Mornings, the São Paulo poet Ana Salvagni and the countryman Filó Machado sing, with pure feeling, the song Favela (Hekel Tavares, Joracy Camargo, 1933), Eduardo Canto, a confessed fan Of the creator of the "elbow pain," in an intimate mood, interprets the samba. (Lupicínio Rodrigues, 1948) and Socorro Lira, a Paraguayan in love with our popular culture, transmits all the simplicity of the lullaby. North, 1937).

            Rogério Bicudo (composer, guitarist and singer) based in Amsterdam, signed the samba Lavradio 106 (with the poet Renato Fialho, 2011), presented here by the singer Eduardo Gallotti, a bamba in the subject celebrating 30 years of victorious career; And the bossanovista Norman Santos, who after exhibiting at Carnegie Hall's historic New York show (1962), chose to live in Paris, where he developed his acknowledged artistic trajectory. With a low, velvety voice and a peculiar guitar beat, it appears with the unprecedented samba Council.
            In the instrumental context, pieces of world renown are recorded: the Tango Brejeiro (1905) and the Polka Apanhei-te Cavaquinho (1916), both by the brilliant Ernesto Nazareth, revered by the brilliant pianist Maria Teresa Madeira, alongside the bandolist virtuoso Pedro Amorim; The classic choro Carinhoso (Pixinguinha, 1928), perfect duo of Clara Svener (piano) with the late Paulo Moura (clarineta); The beautiful samba-song Carnival Morning (Luiz Bonfá, 1958), developed by pianist Gilson Peranzzetta (with Paulo Russo, bass and João Cortez, drums) and special participation by Mauro Senise (sax), as well as the melodic My Girl Carlos Lyra, 1964), distinguished by jazz improvisations of Rio Trio 65, formed by the notable Dom Salvador (piano) living in New York since 1973, Sérgio Barroso (bass) currently in Osmar Milito Trio and Edson Machado (drums) died in 1990.

            Confirming the status of "immortal", the samba of the 30/50 years deserved other great readings for pearls such as Maria (Ary Barroso and Luiz Peixoto, 1931) by Jane Duboc and Arismar do Espírito Santo on guitar, Escurinho / Escurinha (Geraldo Pereira e Arnaldo Passos, 1955/1952) by the tijucano actor and samba player (deceased in 2009) Nadinho da Ilha, Nunca Mais (Dorival Caymmi, 1949) with Ângela Rô Rô and Hélio Delmiro to the guitar, My Children's Time (Ataulfo ​​Alves, 1956) and And The World Is not Over (Assis Valente, 1938) by the singers of the so-called "avant-garde paulistana" Ná Ozzetti and Eliete Negreiros (respectively), Alguém Como Tu (Jair Amorim and José Maria Abreu, 1952) in the voice of Ceará Fagner, Só Pra Chat (Príncipe Pretinho, 1947) by the late samba show "Noite Ilustrada".

            Compositions of great popular repercussion, with romantic themes, gained expressive garments in Molambo (Jayme Florence and Augusto Mesquita, 1953) in the voice of Roberto Luna, In this same Place (Armando Cavalcanti and Klécius Caldas, 1956) with Selma Reis, I Know I Will Te Amo (Tom Jobim and Vinicius de Moraes, 1959) by Dori Caymmi, Negue (Adelino Moreira and Enzo de A. Passos, 1960) with Pery Ribeiro, Ternura Antiga (Dolores Duran and Ribamar, 1961) by singer Marisa Gata Mansa, Sem (1976) Ney Matogrosso performance, Dog Without Owner (1976), Ney Matogrosso performance, Neo Matogrosso performance, Neo Matogrosso performance, Neo Matogrosso performance, Neo Matogrosso performance, (1977) the presence of Zizi Possi, Caçador de Mim (Sérgio Magrão, Luiz Carlos Sá, 1980) by Milton Nascimento, Fugir da Saudade (Paulinho da Viola and Elton Medeiros, 1982) by the duo Célia and Zé Luiz Mazziotti.

            On the other hand, political messages of protest and social dissatisfaction are manifested in the sambas De Frente Pro Crime (João Bosco, Aldir Blanc, 1974) and Hold the John Hand (Adoniran Barbosa, Hervê Cordovil, 1971) in forceful messages of the MPB-4 ensemble (In the initial formation) and the singer Carlinhos Vergueiro, respectively. As a counterpoint, the songs Que Maravilha (Jorge Ben, Toquinho, 1969), Launches Perfume (Rita Lee, Roberto de Carvalho, 1980), have become instant classics with their interpretive originalities, mixing love, sensuality, joy and a lot of bossa.

            At the end of an inexhaustible parade of performers of our popular music, we quote: the unforgettable One Swallow Do not Summer (Lamartine Babo, Braguinha, 1937) in rhythm rhythm of the Pernambuco Geraldo Azevedo; The toada Asa Branca (Luiz Gonzaga, Humberto Teixeira, 1947), the masterpiece of the northeastern song in a magnificent instrumental version and sung by the valiant Quinteto Violado; Exaltation to Tiradentes (Arlindo Penteado, Estanislau Silva, Mano Décio, 1949), an admirable and samba samba plot of the traditional school Imperio Serrano, with the late Mestre Marçal, and the Maxixe Pelo Telefone (Donga, Mauro Almeida, officially samba in 1916) . With so much controversy around this composition (notably as to the genre and authors), there is the rare recording of the singer and researcher Almirante with Pixinguinha (orchestration and regency) and the Old Guard Group, including Donga (dish and knife), João Of Bahia (tambourine), Heitor dos Prazeres (ganzá), Alfredinho (Piccolo), Bide (afoxé), among others.

            Through the telephone ended as a title, added of A Journey through Popular Brazilian Music, of our book started, without knowing, at the age of eight, involved by the enchantment of the carnival march A Swallow Do not Make Summer mentioned above.

 

Luiz Carlos de Paula

© Copyright 2008 - Pelo Telefone: A trip through Popular Brazilian Music.

Development and Design: Marcio Cunha