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Música de Brasília

Someone mentioned Bahia earlier in the thread. :)

Olodum were massive at the time I was there some years back:



Also got into the music of capoeria at the same time; I love the raw honesty of the instruments and the importance of it as an accompaniment to the physical sport.

 
Favelado said:
Quarteto Em Cy are great.
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All sisters and i seem to remember that one of them was in a relationship with the guy who started Elenco but i cant find that info on the net - the booklets in that soul jazz series are extensive and well written, and i think i read it in one of them

ETA: yeah Oliviera, they guy who founded the label, married Cyva. He ended up selling the label for peanuts as it wasnt a viable thing, depsite commerical bossa selling lots elsewhere
 
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Rutita1 said:
Also got into the music of capoeria at the same time; I love the raw honesty of the instruments and the importance of it as an accompaniment to the physical sport.

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Capoeira music is wonderful. In no time you can learn the basics of all the instruments and the songs too. I can play the berimbau (not all toques, it's a constant learning curve) and sing at the same time, which takes a while to learn, but really not as long as you'd think! But then it takes A LOT of practice to play expertly...
 
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girasol said:
Capoeira music is wonderful. In no time you can learn the basics of all the instruments and the songs too. I can play the berimbau (not all toques, it's a constant learning curve) and sing at the same time, which takes a while to learn, but really not as long as you'd think! But then it takes A LOT of practice to play expertly...
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Wonderful! :cool:
 
this just came on my shuffle play - Como nossos pais = 'Like our parents' this was the anthem of generation, another one from my childhood, this youtube version comes with lyrics. Elis sings about how we all conform, in the end, despite once being involved in protests/politics. She's lamenting what happens when people get older and settle down. 'It's you who loves the past and who can't see that the new always arrives'



not a poetic translation, but better than nothing
http://lyricstranslate.com/en/como-os-nossos-pais-lived-our-parents.html
 
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Nanker Phelge said:
http://maisumdiscos.bandcamp.com/album/role-new-sounds-of-brazil

It's a bonkers song....I like it loads...
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looks like an interesting comp - 43 tracks ! (you can listen free as its on bandcamp btw)

Rolê’ - ‘let’s roll’ - 43 of the freshest tunes from the Brazilian underground curated by the label with it's finger on the pulse of Brazilian music inc tracks from Rodrigo Amarante, Lucas Santtana, Bixiga 70, Metá Metá feat. Tony Allen, Tulipa & 37 more killers.
 
ska invita said:
looks like an interesting comp - 43 tracks ! (you can listen free as its on bandcamp btw)

Rolê’ - ‘let’s roll’ - 43 of the freshest tunes from the Brazilian underground curated by the label with it's finger on the pulse of Brazilian music inc tracks from Rodrigo Amarante, Lucas Santtana, Bixiga 70, Metá Metá feat. Tony Allen, Tulipa & 37 more killers.
Click to expand...

I've listened to most of it.....some good stuff. it peaks and troughs...but with 43 tracks it's gonna.
 
I know Os Mutantes has been mentioned a lot already, but Ave Lucifer hasn't been posted:
 
That Hermeto Pascal thing has been posted before. Could be so bad but it's so good. I've no idea about anything else he's done.
 
He's a fantastic composer and musician who incorporates a huge range of styles. I haven't heard anything bad from him, he can make anything into music.
 
Knotted said:
That Hermeto Pascal thing has been posted before. Could be so bad but it's so good. I've no idea about anything else he's done.
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i got to see him at the Barbican a couple of years ago - rambling music chocked full of ideas - at this gig he did a sort of sound clash with a jazz big band on one half of the stage and a traditional brazilian troop on the other - I dont know the back catalogue but theres a lot to discover

--


Pascoal initially caught the international public's attention with an appearance on Miles Davis's 1971 album Live-Evil, which featured him on three pieces, which he also composed.[2] Davis said that Pascoal was "the most impressive musician in the world". Later collaborations involved fellow Brazilian musicians Airto Moreira and Flora Purim. From the late 1970s onward he has mostly led his own groups, playing at many prestigious venues, such as the Montreux Jazz Festival in 1979. Other members of the group have included bassist Itibere Zwarg, pianist Jovino Santos-Neto and percussionists Nene, Pernambuco and Zabele.

Known as o Bruxo (the Sorcerer), Pascoal often makes music with unconventional objects such as teapots, children's toys, and animals, as well as keyboards, button accordion, melodica, saxophone, guitar, flute, voice, various brass and folkloric instruments.[2] Perhaps because he grew up in the countryside, he uses nature as a basis for his compositions, as in his Música da Lagoa, in which the musicians burble water and play flutes while immersed in a lagoon: a Brazilian television broadcast from 1999 showed him soloing at one point by singing into a cup with his mouth partially submerged in water. Folk music from rural Brazil is another important influence in his work.[2]
 
Have got this on, and I think it captures how much he flits around with different ideas
Hermeto Pascoal - Slaves Mass (1977)

1. 00:00 "Mixing pot" ("Tacho")
2. 09:21 "Slaves mass" ("Missa dos escravos")
3. 13:42 "Little cry for him" ("Chorinho para ele")
4. 15:56 "Cannon (Dedicated to Cannonball Adderley)"
5. 21:19 "Just listen" ("Escuta meu piano")
6. 28:30 "That waltz" ("Aquela valsa")
7. 31:18 "Cherry jam" ("Geléia de cereja")
8. 43:06 "Open Fileld" ("Campo aberto")
9. 47:32 "Pica pau (Take 1)"
10. 1:01:56 "Star trap (Part 2)"

Pascoal's flamboyance is clearly recognisable on Slaves Mass, even if in embryonic form, along with his passion for turning everyday objects into musical instruments (amazingly Moreira is credited with 'Special Effects with Live Pigs' on the title-track). His improvisational phrasing draws on the rhythmic patterns of the spoken word and sounds of nature.

One can spot many an influence. Hermeto's soprano playing recalls Wayne Shorter's (with a flair for the experimental as in Weather Report's I Sing The Body Electric). On "Cannon", (dedicated to alto saxophonist Cannonball Adderley), Hermeto's speech-likeflute is the principal voice. Flora Purim enriches the already eclectic vocal brew with her plastic, magnificent voice. Airto, on the other hand is ever-present both on vocal and percussion, enhancing the multilayered rhythmic complexity of the writing.

There are many delights here; the baroque bossa of "Little Cry For Him" offers abig grin of carnival happiness, with speedy, high-pitched keyboards and flute engaging in mad child-like runs. Pascoal's piano on "Just Listen" is a gurgling, improvisational bonanza.
And don't miss the blissful joy of the bonus track "Open Field"

All compositions written by Hermeto Pascoal
Recorded for Warner Bros. Records 1977
Hermeto Pascoal: piano, keyboards, clavinet, melodica, soprano sax, flutes, acoustic guitar, twelve strings guitar and vocals (in "Cannon").
Flora Purim: vocals (in "Slaves mass" and "Cannon").
Airto Moreira: drums (all tracks except "Mixing pot", "Pica pau" and "Star trap"), percussion and vocals (in "Cannon").
Chester Thompson: drums (in "Mixing pot", "Pica pau" and "Star trep").
Ron Carter: acoustic bass (all tracks except "Mixing pot", "Pica pau" and "Star trap").
Alphonso Johnson: electric bass (in "Mixing pot", "Pica pau" and "Star trap").
Raul de Souza: trombone and vocals (in "Cannon")
David Amaro: electric guitar, acoustic guitar and twelve strings guitar.
Hugo Fattoruso: vocals (in "Cannon").
Laudir de Oliveira: vocals (in "Cannon").
 
I like MC Pocahontas

"You can look, you can dribble, but I've already got a man"



"Being so hot can be a pain"



"I ride you, calling out your name"

 
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