A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
domingo, 20 de maio de 2007
domingo, 13 de maio de 2007
Joga bola - Futíbol
Final! Vendo logo pra uma historia brasileira! O alfabeto da Musica Popular Brasileiro ou MPB.
unidade 01. - Maracaña
unidade 01. - Maracaña
A Deusa Dos Orixas – Clara Nunes
A Felicidade – João Gilberto
A Namorada – Carlinhos Brown
A Paz - Zizi Possi
A Tonga da Mironga do Kabulete – Toquinho & Vinicius Moraes
A Volta do Malandro – Chico Barque da Holanda
A Volta do Passaro Amerindio – Taiguara
Aai – Think of One
Abre Alas – Ivan Lins
Acenda o Farol (Memê's Philly Flavour mix) – Tim Maia
Aganjo (Latin Project Remix) – Bébel Gilberto
Aganju – Carlinhos Brown
Água de Beber – Tom Jobim & Astrud Gilberto
Águas de Março - Elis Régina & Tom Jobim
Ainda i Embro – Marisa Monte
Aldeia de Ogum – Joyce
Aldeia de Okarimbe – Neguinho da Beija Flor
Alimente – Novos Baianos
Alvoroco – Leny Andrade
Antes Que A Cidade Durma – Wanderlea
Aquele Abraço – Gilberto Gíl
Arpoador – A Cor Do Som
Atrás do Trio Elétrico – Caetano Veloso
Au Balanco – Jackson do Pandeira
August Day Song – Bébel Gilberto & Smoke City
Augusta, Angélica e Consolação – Tom Zé
Azimuth – Marcos Vallé
unidade 02. - Brasilia
unidade 03. - Niteroi
unidade 04. - Lapa
unidade 05. - Ipanema e Leblon
unidade 06. - Ipanema
unidade 07. - São Pãulo
unidade 08...
Feli-cidade or the Merry-city
Brasioe is more than just carnivaoe, caipirinha’s, capoeirha, futíbol, samba, bossa and all the other stereotypes which blend nicely into a great summer’s party back at your place. As stereotypes do, these archetypes of the brazilian way intend to mask and show their essence at the same time. They’re all powerful cultural icons which lead a live of their own by now, but they take strong root in brazilian life. Still today. They’re not just fashionable for summer but meaningful expressions of what it means to be brazilian or what it means to be part of a nation with just a small number of extremely wealthy people living together but apart from large numbers of have-nots, to live in an nation which gave us one of the most magnificent architectural styles and visions of modern life but doesn’t manage to home large quantities of it’s population properly, to live in a city like Rio which is one of the largest cities on the planet but who’s history is written everyday at the beach and in the sea.
The merry view on brasil still lasts and seems to be indestructible and doesn’t need expensive publicity campaigns. Brasil, it seems, sells itself. It’s a total brand on it’s own or is it just a product of our dreams?
There’s a flipside to all of this. Apart from the happy joie de vivre there’s also a lot of tristeza. There’s a lot of crime, corruption, poverty and violence and it’s part of everyday life. Movies like Cidade de Deus aren’t cooked up fantasies but many people’s reality. For an outsider everything looks pretty save if you stick to the beaten tracks but for the same outsider are no-go areas really no areas to go if you plan to come back. A friend of mine lived in brasil for two years. He got well adapted to the way of life but still got shocked when he found out that the reaction of the elderly of the village, when someone he knew well got shot, was that it was a shame that it took place on main street, at broad daylight and not in the forest at night. It was bad for commerce and a damn shame. A human life isn’t worth shit apparently.
All this aspects are sides of the same coin. You can’t keep them apart because they belong together. The way people live up to get lost in carnival, the way they celebrate life trough music and dance and dream nostalgically for better or of once good times is probably an answer to the hard facts of life. This stress of city life givs way to a very vibrant and dynamic society. Everything has a certain urge to it. A certain edge, a certain need for things to happen. Preferably right now, while it’s still possible. Which is different from the way we live here in Europe.
One of the wonders of brazilian music is the way all of this comes together naturally in the rhythms, voices and melodies. They’ve got a word for it, Saudade, which is difficult to translate [so it seems]. It expresses vitality, the urge to live, the need for chance, remorse and desperation, hope and sadness. All in one. The paradoxes keep on. It’s highly modern and ancient, tribal and trendy or sophisticated. It’s a fairly young hybrid but with very strong roots. It mixes African, Portuguese and various other European roots with indigenous sounds, rhythms and instruments. Samba is a great vehicle, a constant flexible flow or flows that absorbs all styles and influences and gives back original points of view that trigger new evolutions and changes of style [antropofagus]. It’s truly one of the main branches on the Afro-American tree next to Afro-Cuban and Blues.
- à suivre -
The pictures are from a great brazilian photographer called Alexander órion http://www.alexandreorion.com/orion.htm
Marcos Valle
The great singer/songwriter/producer and icon of brazilian music Marcos Valle came to Ghent for a concert on the 27th of October 2006. I wasn’t aware of it until friends of mine, who had tickets, invited me to come along.
Humble thanx to thee, thy noble fair hearted friend.
A funny thing was that they didn’t know who Marcos Valle was, so for them I offered this introduction and warm-up for the concert.
Marcos Valle is part of the second wave of bossa nova composers, following in the footsteps of the great and both late Gilberto and Jobim.
In 1964, at the age of 19 he was named brasil's leading composer of the Year. So he made a quick start. His great strength is the melodic power of his songs. He basically wrote the tunes and his brother Paulo Sergio Valle wrote the lyrics.
The highlights of his musical output are from the sixties and the early seventies but he’s currently busy with a kind of a comeback since he was rediscovered in the late eighties by the rare-groove scene and the drum ‘n bossa and chill-out movements from the nineties. He subsequently released a couple of superb records over the last years.
Over the years he changed his style regularly to stay in tune with the changing times and applied as a true renaissance man with great results his melodic prowess to the following trends of brazilian popular music. As a result his music is one of the building blocks of MPB. Which is short for musica popular brasileira, the main musical songbook and cherished heritage of brasil.
Starting with standard bossa tunes like Samba de Verão, better known as So Nice and made famous by the likes of Astrud Gilberto, Walter Wanderley, Sinatra, Stan Getz, and many more, and Os Grillos better known as Crickets Sing For Anamaria wherein Valle's wife Anamaria cheerfully fills in for Astrud Gilberto as the obligatory blasé-voiced Bahian chanteuse.
In 1966 Walter Wanderley took Valle's song So Nice (Summer Samba) into the US Top 40. The international success of So Nice enabled Valle to move to the United States, where he worked as a composer for several years. In 1968, his Verve debut Samba '68 became a brazilian classic thanks to simple, infectious pop songs like Batucada. That same year, the brazilian-only Viola Enluarada with arrangements by Dori Caymmi, Eumir Deodato and Oscar Castro Neves, and back-up of The Jovem Guarda [which brought rock & roll to brasil] on a couple of tracks, became a big hit in South America, thanks in part to the title track [with vocals by a young Milton Nascimento].
The rock & roll era that had already influenced Tropicalistas like Os Mutantes, Caetano Veloso, and Gilberto Gil really began inspiring Valle on his return to brasil. He then promptly recorded several albums that arguably stand out as his greatest work.
With albums like the 1971 classic Garra, he moved away from native brazilian forms of bossa nova and samba into a rock and funk influenced sound that played upon groove-heavy bass and a smooth fusion-soaked sound.
My favourite one is Previsão do Tempo which means something like weather forecast but can also mean forecast or sign of the times [in my opinion]. During the late sixties and seventies brasil was under a military leadership and many artists (un)voluntary fled their country. The ones who stayed had to be very cautious not to be too critical. As a result many lyrics of that era have double entendres and so can be (mis)understood in many ways. Chico Barque da Hollanda’s song Calice is the best example of a sweet innocent message on top and bitter message underneath. The people understood this and loved them for it. On the other hand Valle was also clearly just out to have a good time with his band Azymuth on this goofy, funky album singing super-hummable tunes like Mentira and Previsão Do Tempo.
In the late seventies and eighties he finally moved to the US and continued to record solo albums, adding electronics and an smooth production techniques and started to produce music for film and tele novellas, including the theme to brasil's version of Sesame Street.
In the late 80’s dozens of rare-groove compilations started to appear which featured Valle’s crucial, overlooked tracks from the 60’s and 70’s.
In 1995, the British label Mr. Bongo released a two-volume series [The Essential Marcos Valle] dedicated to his work. This was my personnel introduction to his music.
One year later, Valle appeared on the jam-session compilation Friends from Rio, and in 1998 returned with a new album, Nova Bossa Nova. That same year, the Lumiar label released The Marcos Valle Songbook, Vols. 1-2, including new versions of Valle standards by Gal Costa, Caetano Veloso, Maria Bethania, Edu Lobo, Joyce, Chico Barque, João Bosco, and Azymuth, among others.
The new millennium heralded the studio album Escape and Contrasts.
His last album came out this year and is the reason for the current tour around Europe. I haven’t heard it yet but it’s apparently mainly light-jazz instrumentals. I hope the concert will not focus too much on this record and that he also plays some of his classic songs.
Samba de Verão / So Nice [Summer Samba]
Os Grilos
Crickets Sing for Anamaria
Batucada Sergiu
Viola Enluarada [Marcos Valle e Milton Nascimento]
Revolução Orgánica
Mustang Cor de Sangue
Azimuth
Democústico
Garra
Mentira
Previsão do Tempo
Sei Là
Bicicleta
Samba de Verão 2
Samba de Verão [Caetano Veloso]
On Line
Bar Ingles [roc hunter mix]
Poweride
Fundo Falso
Parabens
The great singer/songwriter/producer and icon of brazilian music Marcos Valle came to Ghent for a concert on the 27th of October 2006. I wasn’t aware of it until friends of mine, who had tickets, invited me to come along.
Humble thanx to thee, thy noble fair hearted friend.
A funny thing was that they didn’t know who Marcos Valle was, so for them I offered this introduction and warm-up for the concert.
Marcos Valle is part of the second wave of bossa nova composers, following in the footsteps of the great and both late Gilberto and Jobim.
In 1964, at the age of 19 he was named brasil's leading composer of the Year. So he made a quick start. His great strength is the melodic power of his songs. He basically wrote the tunes and his brother Paulo Sergio Valle wrote the lyrics.
The highlights of his musical output are from the sixties and the early seventies but he’s currently busy with a kind of a comeback since he was rediscovered in the late eighties by the rare-groove scene and the drum ‘n bossa and chill-out movements from the nineties. He subsequently released a couple of superb records over the last years.
Over the years he changed his style regularly to stay in tune with the changing times and applied as a true renaissance man with great results his melodic prowess to the following trends of brazilian popular music. As a result his music is one of the building blocks of MPB. Which is short for musica popular brasileira, the main musical songbook and cherished heritage of brasil.
Starting with standard bossa tunes like Samba de Verão, better known as So Nice and made famous by the likes of Astrud Gilberto, Walter Wanderley, Sinatra, Stan Getz, and many more, and Os Grillos better known as Crickets Sing For Anamaria wherein Valle's wife Anamaria cheerfully fills in for Astrud Gilberto as the obligatory blasé-voiced Bahian chanteuse.
In 1966 Walter Wanderley took Valle's song So Nice (Summer Samba) into the US Top 40. The international success of So Nice enabled Valle to move to the United States, where he worked as a composer for several years. In 1968, his Verve debut Samba '68 became a brazilian classic thanks to simple, infectious pop songs like Batucada. That same year, the brazilian-only Viola Enluarada with arrangements by Dori Caymmi, Eumir Deodato and Oscar Castro Neves, and back-up of The Jovem Guarda [which brought rock & roll to brasil] on a couple of tracks, became a big hit in South America, thanks in part to the title track [with vocals by a young Milton Nascimento].
The rock & roll era that had already influenced Tropicalistas like Os Mutantes, Caetano Veloso, and Gilberto Gil really began inspiring Valle on his return to brasil. He then promptly recorded several albums that arguably stand out as his greatest work.
With albums like the 1971 classic Garra, he moved away from native brazilian forms of bossa nova and samba into a rock and funk influenced sound that played upon groove-heavy bass and a smooth fusion-soaked sound.
My favourite one is Previsão do Tempo which means something like weather forecast but can also mean forecast or sign of the times [in my opinion]. During the late sixties and seventies brasil was under a military leadership and many artists (un)voluntary fled their country. The ones who stayed had to be very cautious not to be too critical. As a result many lyrics of that era have double entendres and so can be (mis)understood in many ways. Chico Barque da Hollanda’s song Calice is the best example of a sweet innocent message on top and bitter message underneath. The people understood this and loved them for it. On the other hand Valle was also clearly just out to have a good time with his band Azymuth on this goofy, funky album singing super-hummable tunes like Mentira and Previsão Do Tempo.
In the late seventies and eighties he finally moved to the US and continued to record solo albums, adding electronics and an smooth production techniques and started to produce music for film and tele novellas, including the theme to brasil's version of Sesame Street.
In the late 80’s dozens of rare-groove compilations started to appear which featured Valle’s crucial, overlooked tracks from the 60’s and 70’s.
In 1995, the British label Mr. Bongo released a two-volume series [The Essential Marcos Valle] dedicated to his work. This was my personnel introduction to his music.
One year later, Valle appeared on the jam-session compilation Friends from Rio, and in 1998 returned with a new album, Nova Bossa Nova. That same year, the Lumiar label released The Marcos Valle Songbook, Vols. 1-2, including new versions of Valle standards by Gal Costa, Caetano Veloso, Maria Bethania, Edu Lobo, Joyce, Chico Barque, João Bosco, and Azymuth, among others.
The new millennium heralded the studio album Escape and Contrasts.
His last album came out this year and is the reason for the current tour around Europe. I haven’t heard it yet but it’s apparently mainly light-jazz instrumentals. I hope the concert will not focus too much on this record and that he also plays some of his classic songs.
Samba de Verão / So Nice [Summer Samba]
Os Grilos
Crickets Sing for Anamaria
Batucada Sergiu
Viola Enluarada [Marcos Valle e Milton Nascimento]
Revolução Orgánica
Mustang Cor de Sangue
Azimuth
Democústico
Garra
Mentira
Previsão do Tempo
Sei Là
Bicicleta
Samba de Verão 2
Samba de Verão [Caetano Veloso]
On Line
Bar Ingles [roc hunter mix]
Poweride
Fundo Falso
Parabens
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