4:A Nova Estrela / SOM MAGINARIO 5:Ferrugem E Fuligem / MODULO 1000 6:Peba & Pobo / TRIBO
LP Bio (Groups / Artist)
One of the remarkable factors in Brazilian music during the early 70’s was the experimentalism. The lack and inversion of rules and as well as the freedom’s idealism echoed from Europe and the United States and entered in Brazil. Here we see this factor in bands that appeared between the end of the 60’s and the first years of the 70’s. Bands consolidated in Rio De Janeiro; influenced by the “carioca” way, some jazz sources and by the psychedelic rock.
In 1971 the Odeon launched a collective LP, “Posições“ (Positions), with four new bands. One Som Imaginario (Imaginary Sound) was not unknown (with one record from the last year); the others A Tribo (The Tribe) , Equipe Mercado (Market Team) and Modulo 1000 (Module 1000) were pretty new bands, and from this record didn’t get so far, as bands. As musicians many of the participants of the bands, mostly from A Tribo and Som Imaginario, became very famous, with long-term carriers.
A TRIBO (1971)
A Tribo was a band formed by beginning young musician’s : the Carioca singer Joyce, the violinist Nelson Angelo and the guitarist Toninho Horta from Minas Gerais , the bass player Novelli and the percussionist Naná Vasconcelos from Pernambuco. Nana and Nelson Angelo were playing in the Free Quarteto, a mix of Bossa Nova and Jazz quartet. In 1970, the two musicians joined the Luiz Eça and Sagrada Family band. There they met the singer Joyce. Nana, Nelson and Joyce called Toninho Hortaand Novelli and formed the Tribe (A Tribo). Together they made some compositions of they own and played covers from Milton Nascimento and Danilo Caymmi. In 70 they were at the V International Festival of the Song with “Onoceonoekoto” (Nelson Angelo). The same year they participated in the collective “Posições” and also recorded a Compact Disc. The sound from A Tribo is very interesting. It discloses the symbiosis of rising talents with the voice of Joyce, Novelli’s bass, the arrangements of Nelson Angelo, the guitar of Toninho Horta and the creativity and improvisation of Naná Vasconcelos, who after some months left the band for a solo career. Nenê replaced him. However the band did not last very much beyond 1972, but all the band’s participants had a very successful carreer after that.
EQUIPE MERCADO (1971)
EQUIPE MERCADO was a band created in Rio de Janeiro during 1970. The band had a very creative and illustrious singer, Diana, allied with the songwriter Stul (guitar, piano and voice); Leugruber (guitar), Ricardo Ginsburg (guitar), Carlos Graça (battery) and Ronaldo Periassu (percussion). The band was influenced greatly by psychedelic rock, but it also abided by the Brazilian melodic lyricism. Beyond the participation in the collective “Posições” the group released a compact with the music: “Campos de Arroz” and “Side b rock” in the same year. The band ended the same year. In 1972 Diana and Stul launched another compact disc, presenting themselves as a couple, but, unfortunately they didn’t record anything else.
MODULO 1000 (1971)
MODULO 1000 was a quartet formed by Daniel (guitar and vocals, Luis Pablo (guitar), Eduardo(bass), Candinho (battery) in Rio De Janeiro in 69′. Dispite its short duration it left a great influence for the progressive rock bands that were to follow. Modulo 1000 mixed blues, rock and a touch of ballad. The participation of the band in the “V International Festival of the Song” culminated with a compact launched by Odeon with: “Big Mamma” and “Isto Não Quer Dizer Nada”. Still in 70′ they would participated in the collective “Posições”. In 72′, they launched the only LP of the history of the band, the cult: “Não Fale Com as Paredes “ (“Do not speak with the Walls”).
SOM IMAGINÁRIO (1971)
In 1971 SOM IMAGINARIO debuted a new record, without the singer and pianist Zé Rodrix that followed to play with Sá and Guarabira. As well as the previous record (commented in the Saudosas Bolachas/1970) it was directed by Zé Rodrix, in this new one was directed by the Frederiko. The guitarist occupies this rank and so, the record is presents much more dense and radical that the first one; and the most anarchical possible. At this time, the record does not give many concessions commercial standards. The record opts to a sonorous radicalization. Breaking for dissonance and hardcore. The record has the preciosity of Wagner Tiso keyboard , Luiz Alves (bass), Robertinho Silva (battery), Frederiko (guitar) and Tavito (guitar). From this record “Som Imaginario” (1971) Odeon Records used the song: “Nova Estrela” (Wagner Tiso/Frederyko) to place in the collective “Posições”.
Written, recorded and released just as Brazil’s military dictatorship reached the climax of its long black arc, the one and only album by Satwa is a divinely subtle protest. Now issued for the first time in America through the venerable Time-Lag Records in Maine and the stewardship of freeform fixture Erika Elder, Satwa, often cited as Brazil’s first independent record, is a mellow starburst of acoustic jangle.
Formed after the return of Lula Côrtes and Lailson from their respective foreign excursions – the former a beardo home after the requisite Moroccan sojourn, the latter a young long-hair back from the States – Satwa lasted only a year, perhaps due to their differing stripes. Lailson was from the verdant former Dutch colony of Pernanbuco, while Côrtes hailed from the wild badlands of Paraiba. But for 11 days in January 1973 the pair jammed cross-legged and produced the folk trance gems that adorn this self-titled debut.
At a time when censors caused newspapers to run cake recipes on their front pages in place of rejected news stories, Lailson only lets the occasional throat drone slip through his lips. Largely void of voice and word, the songs – Côrtes plucking steely leads from his sitar while Lailson’s 12-string thrums crystalline chords – are loose and lovely. The sole interference in these glistening arabesques is the hoary electric fretwork of one Robertinho on “Blues do Cachorro Muito Louco,” the most explicitly fried track. Otherwise, Côrtes and Lailson are left to experiment in musty silence. Seemingly taped live, each track is a dry documentation of the duo’s gently rambling improvisations. Far from the recombinant psychedelia of tropicalismo that reigned over the pre-hippie underground in Brazil’s bustling metropolises five years earlier, Satwa play bed peace bards. In double-mono, or fake stereo, Satwa is raw, untreated mentalism translated into pure songflow. At times exhausted and dusty – “Atom” – or archaically splendorous – “Valse Dos Cogumelos” – the duo’s spiraling scrolls etched in rustic timbres unfurl gracefully.
Côrtes, now a graying painter, would go on to record the more explicitly weird Paêbirú (also recently reissued) with Zé Ramalho. A concept album about extraterrestrials in Paraiba’s arid backwoods, it had long been anointed a masterpiece of the era. After dabbling in rock outfits, Lailson broke into the mainstream as a newspaper cartoonist, a job he has kept to this day. Neither were or will probably ever be Satwa again, but during those few days and from now on, Satwa is a quiet triumph.
Maysa Figueira Monjardim (June 6, 1936, São Paulo, Brazil – January 22, 1977, Niterói, Rio de Janeiro, Brazil) better known as Maysa Matarazzo or simply Maysa, daughter of Alcibíades Guaraná Monjardim and wife Inah Figueira and paternal granddaughter of Manuel Silvino Monjardim and wife Ursulina Guaraná, was a singer, composer, and actress from Brazil. She is also associated with Bossa nova music but is widely known as a torch song (fossa) interpreter.
Biography & Career
Maysa’s grandfather was Alfeu Adolfo Monjardim de Andrade e Almeida, the 1st Baron of Monjardim, and wife Laurinda Luísa Pinto Pereira. Maysa showed talent at a young age and by twelve had written a samba song, which later became a hit from her first album. She married André Matarazzo Filho, a member of a wealthy and traditional São Paulo family in 1954 at the age of 18 and two years later had a son, Jayme Monjardim. Jayme would later be known as a television director. In the late 1950s she formed a successful bossa nova group and also did television work relying on her magnificent pair of gorgeous green eyes.
Her tour to Buenos Aires first projected bossa nova beyond Brazil’s borders but was not without controversy. The tour was a great success and extended to Chile and Uruguay, but Maysa had an affair with the show’s producer, Ronaldo Bôscoli, a journalist and composer linked romantically to bossa nova’s muse Nara Leão. This led not only to a break between Nara and Ronaldo, but also to a fracture in the bossa nova movement. Nara supported Carlos Lyra’s nationalist vertent of the bossa nova movement, to the detriment of Boscoli’s more orthodox approach, emphasizing form rather than content in bossa nova compositions. Nara also began courting older composers of traditional sambas, such as morro composers Zé Kéti and Cartola. She also became an idol of the protest song genre against the military dictatorship in Brazil. Nara’s pocket show “Opinião” marked the start of a series of protest musical shows, which both in Rio and São Paulo distracted the public from the main themes of “the love, the smile and the flower”, typical of the bossa nova years. So Maysa became “persona non grata” both to the bossa-novistas and the protest singers and her career faltered. She reacted by marrying Spaniard music producer Miguel Anzana, with whom she moved to Spain and began a series of presentations not only in Spain, but also Portugal, Italy and France.
Her personal life, already tumultuous, became even more chaotic leading to her being called “the Janis Joplin of Bossa Nova”. But she later made a come back with one of the first notable shows in Rio’s “Canecão” venue, the equivalent of Carnegie Hall in NYC. Maysa also played the Olympia in Paris to a full house twice and enjoyed considerable success in Europe. She is still considered the best Brazilian “torch song” (fossa) musician, rivaled only perhaps by Nora Ney as interpreter and Dolores Duran as composer. Upon her return to Brazil, Maysa continued to blend her old unique “broken love affair” trademarks with the more current festival style and occasional bossa nova hits. In the 1970s Maysa tapped her actress side and acted on a few telenovelas in Brazil. She also composed the soundtrack for a Rede Globo telenova just as the TV network became the powerhouse of Brazilian soap operas. She appeared more in peace with herself in latter years but died in a car crash in 1977, on the Rio-Niterói bridge, which connects the cities of Rio de Janeiro and Niterói over the Guanabara Bay.
In January 2009, 32 years after her death, a miniseries about her life was broadcast on Brazilian television and spanned two new books about one of Brazil’s most charismatic divas. Maysa’s style influenced the following generations of Brazilian female singers and composers, with great ascendancy in the works of Simone, Cazuza, Leila Pinheiro, Fafá de Belém and Ângela Rô Rô.
Carlos Lyra e Dulce Nunes – Pobre Menina Rica (1964), for Columbia, music by Carlos Lyra and poetry by Vinicius de Moraes. This is the soundtrack of a play that also had on stage Vinicius de Moraes and Nara Leao, together. Dulce Nunes shares the main performer role with Carlos Lyra and this cute record also features Maestro Moacir Santos, the singer Thelma, Catulo de Paula and Maestro Radames Gnattali as the music director. I’m sure that nothing can go wrong with this fantastic AdHoc’s contribution. By the way, AdHoc suggests Carlos Lyra official website with Carlos Lyra’s statement of the whole story behind the creation of Pobre Menina Rica with Vinicius de Moraes
Original interview in Portuguese ^ link MR TAMBA by Debora Pill (English version)
Hélcio Pascoal Milito is a living legend. Percussionist, drummer and music producer of the highest level, he was also the inventor of the “tamba”, a percussion instrument made of four frying-pans, one “caixa-clara”, three drums and two bamboos.
Self-taught musician, he started his professional career in São Paulo back in 1948, playing percussion in Conjunto Robledo. He was part of the Maestro Peruzzi Orchestra, of Sexteto Mario Casali, of the great Orchestra of Luis César and also of Izio Gross Trio. In 1957, he moved to Rio and started playing in Djalma Ferreiras group. A year later, he went on tour to Venezuela with Ary Barroso’s Orchestra.
Towards the finals of 1950, during the early start of Bossa Nova, he created the Bossa Nova group (Conjunto Bossa Nova), with Roberto Menescal, Luiz Carlos Vinhas, Bebeto Castilho, Luiz Paulo and Bill Horn, with whom he has recorded the compact “Bossa é Bossa”, put out by Odeon in 1959.
In 1960, he played for the first time his own invention, the tamba, during a concert of singer Sammy Davis Jr., in Record Theater, in São Paulo. In 62, he created the legendary group Tamba Trio, together with Luiz Eça and Otavio Bailly, who was soon replaced by Bebeto Castilho. Two years later, he left the band and went to the United States to play with cats like João Gilberto, Stan Getz, Astrud Gilberto, Michell-Ruff, Luiz Bonfá, Don Costa, Gil Evans, Tony Bennett, Wes Montgomery and Duke Ellington, just to mention some.
Back to Brazil, besides working as a musician, he also became a music producer in record labels CBS and Tapecar. He has promoted a true creative revolution by building a list of artist which the labels didn’t care much about to promote.
He studied music with American percussionist Henry Miller, with maestro Moacir Santos and also with Ester Scliar. He also took part of the soundtrack of Brazilian films such as “Cinco Vezes Favela” (Episode A Pedreira de São Diogo, directed by Leon Hirszman), “Os Cafajestes”, by Ruy Guerra, and “Garrincha, Alegria do Povo”, by Joaquim Pedro de Andrade
Throughout his career, he has played with artists like Nara Leão, Eumir Deodato, Maysa, Carlos Lyra, Clementina de Jesus, Quarteto em Cy, Joyce, João Bosco, Tom e Dito, Sivuca, Dom Romão, Carmen Costa, Milton Nascimento e Nana Caymmi, Leny Andrade, among others.
(interview)
When did the music invade your life?
Look, I was six years old, it was 1937. My mother had those big wood stoves, a huge one. And I decided to hang a lot of potlids to play. It came out of the blue – I hadn’t seen this anywhere! I don’t have the slightest idea where I took that from. Maybe it is a genetic thing really. The truth is that I hung the pots, hit on them and made hell out of mothers life. (laughs)
And where did inspiration come from?
Ah, from the family. Everybody was an artist there. My grandparents, from my mother’s side, were painters and sculptures. My mother was a fashion designer, from Milan. My father was an iron road engineer of São Paulo Rail Company. All italians that arrived here went to study and I came out of this. My mother already was established in downtown with her own work, her dresses and hats. The great figures of Paulista society hired my mother to make their family hats. Besides that, my mother used to sing opera and sing very in-tune, acapella and she had no idea she was that good.
And what about your father?
My father was not a professional artist, but he ended showing up like an amateur. He was good-looking, “Calabrezian” style. People thought he was more handsome than Clark Gable! He was a real hit. Yes, my old man was a good person. He wrote poems, he didn’t chew gun. Because down there, in the South of Italy, it was a crazy western thing and there I was, in the middle of all that… They tried to influence me, to catechize me in their art. You see how much culture around me! And there I was, hitting my little pots…
When did you leave your pots behind and started playing for real?
In my neighborhood there was a ballroom. I used to go there and carry the drum for the musician, and he was the “official” drummer of the little orchestra of Orlando Ferre. I used to do that because back in the days there was no music school. Today you have university, but not in those days. Brazilian drummers had to go to Buenos Aires to study.
And then you started studying?
A friend of mine, who was a professor at Zimbo Trio’s school. I used to go to his house to practice with a little book of percussion. But it was no good, because we didn’t know the system, I would only start knowing the system with the Russian professor I had, for eight months. A Russian that was American, in fact. He was a true master of percussion of Cleveland Sinfonic. I left knowing how to work even as a regent! This is very important for a musician. When I went to the USA, I understood how this was important, because I went to record with an orchestra and each time I had a different regent. And an insecure regent, makes you feel insecure as well.
Where else have you played in São Paulo?
Ah, I have played a lot with Orlando Ferre, he used to hire a lot of groups around here. I played in Trianon, with a pianist, Ted, who played a lot of American music. I played in Camuzinho, which was a ballroom behind Caetano de Campos School, there at Praça da Republica. But my premiere was in a taxi-danças…
What were the taxi danças?
Ah, you young people don’t know. It was a big hit around here! It was a copy of the USA. They were called “taxi dances” because the girls used to be sitting inside the ballroom in little chairs and when you entered, you were given a card with many numbers. They had to dance with you. They couldn’t say no. This was rude… too much macho attitude. When you ended dancing, she marked how many minutes you danced and gave the official mark, who had a small pliers to make a hole in the card.
Then you sat, drank your beer and when you left there would be a box, you showed your card, he made the calculation and you paid your bill. But many girls went crazy…. They couldn’t give up earning money, but at the same time they had to go with a lot of rascals, they did all bad things… I had a girlfriend there and she used to tell me. “Helcio, I will stop because I can’t take it anymore…” Yes, the first time I played in a taxi-dance was in a taxi-dance that stayed in the square of Ipiranga with São João, called Dancing Maravilhoso. There was also Cuba, which was next to Duque de Caxias, which was marvelous. There was also Olido…
And then?
Then I started evolving, even without school, playing in all those places. Then in 1952, I ended up playing with group that was considered the best in those days, Maestro Peruzzi’s. It was a band of only black people. They used that suit with shoulders up to here, you know? (he shows a bigger size than his shoulder). Again copying the American bands, you must have seen the old movies. Not to talk about the trousers, tight down in the feet… There was a police officer in Rio that used to throw a whole orange inside the guys pants, and if it didn’t go through, he was arrested. Yes, if you wore the end of the trousers tight it was a sign that you were a malandro. Well, back in those days, some ten years before, if you played samba, you were a malandro and could be arrested.
Did you suffer prejudice for being white and for playing samba?
My family was racist. “Are you gonna play this instrument of drunk and black people?”I was very young. I couldn’t take that anymore that’s why I have leave home.
When came the first recording?
In 1954 I recorded a “dobrado” celebrating 400 years of São Paulo. Dobrado because the Brazilian music is 2 by 4, its martial. Its military, it came out of a militar mentality.
How did you end up in Rio?
We used to work here in Teatro Praça Julio Mesquita with José Vasconcelos. And I was dating a girl who was a model in his piece. She was very beautiful and sweet. We were super in love, that young thing… And so we went to Bahia with Ze’s piece. We spent a month there. And to be in love in Bahia is a wonderful thing! I miss those days. Well, then we went back to Rio with him. And there, we weren’t able to pay the hotel, so I had to do something. I called my dad, after Dom Romão helped me too. Indeed, he was one of the greatest friends I had. Adorable.
Where did you play in Rio?
There I used to play at Drink‘s, which was a club of Djalma Ferreira. Marlene and I used to live there at Drink’s second floor. I used to go down from inside the house to play! And she used to model with Carlos Machado back in those days, so she went downtown and came back and I remember lots of stories at Drink’s… For example: practically every night, I took Ary Barroso home in Leme. You know why? Because he would get drunk! But I mean really drunk, with a soft mouth. He used to call me: “Hey boy! Do you want to drive me home?”He had a Chevrolet 55, and I used to drive for him without having a license or anything. I used to drive him home and heard a “Thank you kid!” (laughs)
Then you went to radio.
Then I got a job in National Radio. It was good, it paid my rent. I was the sixth drummer of the radio. Because back in those days it was all live – The 14, Marlene, Emilinha, Angela Maria, I played with them all. It was orchestra, and I did it. I was the youngest. One day with Angela Maria I was so full of energy, breaking it all… The orchestra played the opening for the song and I had a little drum break of 2 compasses. Uau, when I saw that part – I was already studying and all – when I saw that, I don’t know why, but I did a thing that she couldn’t understand! It was a disaster! The orchestra felled, she felled…. The maestro wanted to kill me! Suspend me! Boy, I had two, three bombings in the break (laughs) and from all of them she was the best in rhythms. I was inexperienced… I noticed I screwed up bad… after that, much older, we talked about that, laughing like crazy.
When did you decide to create the tamba?
Our generation was very proud to say we were Brazilians. You can’t imagine! All that stuff – new capital, “Cinema Novo”, first World Cup… Juscelino was the president of bossa nova. It wasn’t only Bossa Nova music, everything was Bossa Nova! You understand? All of us thought of creating something! And all were innocently nationalists. So I thought of creating an instrument! I thought: “Why do I have to play an American instrument? Brazilian rhythm has to be played on your foot, with movement!” I used to play sitting, but I felt much better playing on my foot. So I made the instrument, with my own hands, with a friend. I made it very simple. The first time I have played with the tamba was at Sammy Davis concert.
And where did your inspiration to draw the tamba come from?
Russia had just sent Sputnik. So I started philosophize about the thing of the man getting out of himself. As if it was an abortion, or a new birth, you know? Everything was going to change. All that really impressed me and I thought: “I have to do something about this!”. I looked at Sputnik there, with its three antennas, and I decided to turn it upside down, and make them three little legs. Then I drilled the ball with a thread, put the legs on and the tamba was ready!
And Tamba Trio?
Tamba was not bossa nova only. It had this thing… We got a traditional song, created a new arrangement and this song was cheered wherever we played it! At the concerts, I used to put the tamba in the corner of the stage and in the middle of the show, we did some vocals, Bebeto stopped the bass, did the bridge with the flute and came back with an acapella… Then the three of us went next to the tamba, Luiz took the tambourine, Bebeto the agogo and we made a “batucadinha”!
And how was CBS when you started?
The only thing that worked was ieieie with Roberto Carlos. I created some things, for example: I started recording the Black samba-school composers. This was my work – to listen to those guys. If you want to record, you have to listen to the guys! The source is there, it’s them!
They used to stay there at company’s front door. And I used to leave for lunch, come back, and there they were. And where else would they be? They had to be there indeed! So I got some good equipment, a recorder and started to attend them. People didn’t believe it, this was never done before. And I shut everybody’s mouth there! In the end, I put five, six names in the list of the artists that were mostly sold: Wilson Moreira, Zuzuca, José Pegador, Velho da Portela (I ended up becoming a member of the samba school because of him), Candeia… You know, I don’t drink, but I used to go up the favela hill and have some cachaça with him to listen. It is like that, when you want to listen, you have to do it, and don’t stay just talking about it!
And why did I keep Jackson do Pandeiro at CBS? Because this guy is of such great importance… People cannot imagine what he has done for Brazilian music! All swing he was… A simple pandeiro player! He and Almira! It’s a shame that before he died they split…
Another person that made me very proud was Jacob do Bandolim. I took him out of RCA. Both his last albums, he recorded at CBS. This was a great victory for me.
And Capim Gordura?
This was another victory. Laercio de Freitas composition. I gave it to Vinhas so that he became the leader of the story, so that he could earn some money. He was a problem for everybody, but me… I loved him. And this record sold 900 thousand copies…
Another great thing in that album is that on its B side I put “Chovendo na Roseira” of Tom (Jobim). Imagine! On one side, “Capim Gordura”, São Paulo interior, with a vocal full of heavy accent and everything… Another world!!!! (laughs) And it sold a lot! “Imagem Barroca” was also like that. I feel happy to know that still today, 42 years later, this record is still being sold in Japan. It was harpsichord, string quartet, lots of other instruments… And I did the drum myself because it was a very light thing… Bailly in one side and in the other Luiz Eça, two opposite things! Luiz was always complaining… In reality every arranger of value complains that he doesn’t have a chance to make a great work. So I told Luiz to write it down and he did. But I told him, “Don’t come with all that improvisation, otherwise it won’t sell!”. I have always chosen other ways, but that did sell. You have to shut their mouths by doing it, that’s all.
Among so many successes, was there any mistake? Dom Salvador. He used to wear that black power hair and all. And I did the record cover like that, he with his hand closed on the table, all in black and white, he wearing a kind of Black Panther jacket. But he was no tiger, he was a little cat! I wasted my time. And so did he. And the company lost money.
But that one was not the only record that did not sell but had an unquestionable value. At that time I thought: “I will make a record that will sell less, but that has to be done. Something will happen.” It did not sell and I did not bother because I knew. It was the same with Orquestra Afro-Brasileira, with Pedro (Santos, of the enigmatic record Krishnanda).
Tell me about Pedro.
He was a drummer at Severino Araújo’s Orchestra. I had already heard about him and he told me the ideas he had, some mystical things, but that in the end were not mystical at all and that’s why people used to call him “Crazy Pedro”. You know, this ignorant thing.
What were those ideas?
He was deeply against what religions used to preach. He had other ways to explain his preferences and since I am also like that… You can see that the record it’s all himself, the songs he created himself, the drawing at the record cover, its philosophy, the lyrics… Take a look at what’s in there! And as a percussion player he was the best of them all. If he had gone abroad, he would have become a very rich guy. Just because he created. He took a little children toy and transformed it into an instrument. Not everybody can just that makes this…
Tell me about the Orchestra? Abigail Moura’s Orchestra was introduced to me by Carlos Negreiros. I saw them rehearsing, I found it so human, so beautiful! But I thought: “this will not sell”. And I cannot change it, it’s their repertory! Then I went home and kept thinking: “I cannot leave these guys without a record! It won’t sell, but something will happen”. And so it did, 40 years later! And I ended up recording, exaclty the way they played, in their style, with the vibrato, all that stuff that the jazz musician does not like. Fuck, I am tired of that stuff, jazz musician has the final word now?
There is another type of music that is cool. For example, there are days when I listen to Miles Davis because I think its out of time. Suddenly I listen to classical music, another day I watch TV and see a country duo with very human lyrics. The same way I love electronic sometimes. Music is the moment, art is the moment.
And, talking about moment, what is the secret of all this energy at the age of 79?
Look, I never did bullshit. I did not do any drugs nor drink. I knew that, if I started, I would not stop. So I started practicing yoga. A friend of mine that used to play violin took me to a yoga school. He noticed that I was also looking for something different. Because New York is very tough and if you are not feeling good with yourself you are in trouble. And when that 30 degree negative hit you? But there I was… I was in love with that thing!
After that, when I was already back here in Brazil, I learned a relaxation that I still do nowadays if I am stressed… We live a moment of a lot of transformation in this world and since I don’t follow any religion, I do exercises, the Schultz technique, in which you control your own body… This thing is fantastic. I used to work in tours in the US, that craziness… And I don’t take anything, so I sit, do this exercise and it’s all gone.
And what are your plans for the future?
Look, I plan to produce the tamba. And there is also the method that will come out! Besides all this you see here in the tamba, there are two bamboos that Pedro (Santos) gave me back in the 67. Now I have added the tubes that an Italian family made for me in New York and that are beautiful. The sound is celestial… Because you have a lot of noise makers around! Percussion has its romance, the need of dialogue, that’s why I like to record things, because it’s a dialogue. A drawing here, another there. Then they play. They speak! One speak to the other.
I think most of you had already the chance to know Folklore and Bossa Nova do Brazil (1966), with a studio recording of an anthological tour of Bossa Nova artists in Germany, featuring Chico Batera, Dom Salvador, Edu Lobo, J.T. Meirelles, Jorge Arena, Rosinha de Valenca, Rubens Bassini and Sylvia Telles. What I did not know, in spite of seen more than a hundred times this fantastic cover at Caetano Rodrigues Bossa Nova book, was the existance of a second tour with another studio record called Nova Bossa Nova, presented here with a great surprise of mine and probably yours, especially by the unusual mix of performers. Let’s see.
This is Nova Bossa Nova (1972), for MPS (Germany), featuring our last challenge answer with Maria Bethania, Paulinho da Viola, Sebastiao Tapajos, Jorge Arena and Pedro “Sorongo” Santos. I’m presenting here the original Germany MPS Records release and I heard about an equivalent Brazilian release by Copacabana, not confirmed information. Nova Bossa Nova should make the day of several segments with lots of percussion by Jorge Arena and Sorongo, instrumental cuts with Sebastiao Tapajos violao with bass, drums and piano of Terra Trio, the singing of Maria Bethania and the always-elegant Samba delivered by Paulinho da Viola.
01 – Gurungungô (Pedro Santos) with Pedro Santos / Sebastião Tapajós / Jorge Arena
02 – Asa Branca (Luis Gonzaga / Humberto Teixeira) Cariri (João do Vale) Bodoco (Gordurinha) with Maria Bethânia / Terra Trio
03 – Tocata Em Ritmo Samba (Sebastião Tapajós) with Sebastião Tapajós
04 – Um Certo Dia Para 21 (Paulinho da Viola) with Jorge Arena / Pedro Santos / Paulinho da Viola
05 – Ganga (Sebastião Tapajós) with Pedro Santos / Jorge Arena / Sebastião Tapajós
06 – Variaçones (Sebastião Tapajós) with Sebastião Tapajós / Jorge Arena / Pedro Santos
07 – Nós e o Mar (Roberto Menescal / Ronaldo Bôscoli) with Terra Trio
08 – Num Samba Curto (Paulinho da Viola) with Terra Trio / Jorge Arena / Sebastião Tapajós / Paulinho da Viola
09 – Não Tem Solução (Dorival Caymmi) with Maria Bethânia / Terra Trio
10 – Madrugada (Paulinho da Viola) with Terra Trio / Jorge Arena / Sebastião Tapajós / Paulinho da Viola / Pedro Santos
Lô Borges, Duca, Márcio Borges e Milton Nascimento – 1969
Clube Da Esquina crew
Lo Borges & Milton Nascimiento, Studio1972
Clube da Esquina (in English “Corner’s Club”) was a Brazilian music artists collective, originating in the Brazilian state of Minas Gerais. It is also the name of a double album from 1972. The album (at least in its American release) is sold under the names of Milton Nascimento and Lô Borges.
Clube da Esquina mixes progressive rock, bossa nova and jazz styles, with Brazilian country music and classical music influences. The Beatles and The Platters were also an important influence on “Clube da Esquina”.
Together with Tropicália, Clube da Esquina is usually regarded as the Brazilian musical movement that achieved the greatest international resonance in the post-bossa nova period (beginning in the late 1960s and early 1970s).
In 1963 Milton Nascimento moved from Três Pontas, in the midlands of the state of Minas Gerais, to the capital Belo Horizonte, looking for work. He settled at the Levy building, where the Borges Family, including Márcio Borges, already lived. One day, after watching François Truffaut’s movie Jules et Jim three times in a row, Milton and Márcio started composing (Milton already played in some bars of Belo Horizonte): Márcio wrote the lyrics, and Milton wrote the music. Since then, Márcio always played a great role in the history of Clube de Esquina as lyricist, mainly together with, at a later stage, Fernando Brant. The first album (Clube da Esquina), from 1972, was followed by another one in 1978 (Clube da Esquina 2), that contains tracks written by authors that were not part of the group (Chico Buarque).
Clube Da Esquina is: Milton Nascimento 14 Bis (band) Toninho Horta Tavinho Moura Lô Borges Beto Guedes Wagner Tiso Fernando Brant (lyricist) Nelson Ângelo Márcio Borges (lyricist) Flávio Venturini
Marilia Medalha started her career in the 60’s, at the city of Niterio, Rio de Janeiro, performing with Sergio Mendes on local nightclubs. Later, she became an active performer on Festivais da Cancao, TV shows and recordings, working together with renowned Brazilian artists, such as: Edu Lobo, Gilberto Gil, Caetano Veloso, Toquinho, Vinicius de Moraes, which is Marilia Medalha most frequent composer partner. In spite of this great start and the solid albums released in the late 60’s, Marilia Medalha career did not evolve when entering the 70’s, being this album one of her last ones. Let’s see.
Marilia Medalha – Caminhada 1972, featuring Marilia Medalha compositions blended with standards by Luiz Bonfa, Herivelto Martins, Humberto Teixeira and Avelino de Souza, which is the brother of zecalouro’s grandfather. Rosinha de Valenca has a important participation as producer and arranger, delivering also her beautiful guitar player. Maestro Edson Frederico is in charge of strings arrangements.
Roberto Carlos Braga; born April 19, 1941 in Cachoeiro do Itapemirim, Espírito Santo, Brazil), is a Grammy Award-winning. Brazilian singer and composer, who has achieved a great deal of success and recognition in his 50 year career, also known as King of Latin Music.
Most of his songs are written in partnership with his friends Manuel Morais singer and songwriter Erasmo Carlos. Roberto Carlos has sold over 120 million albums around the world. He is considered one of the most influential artists in Brazil during the 1960s, being cited as a source of inspiration by many artists and bands up to the 1980s.
Concert on Root Top for Film
Video Clip of the Film w Roberto Carlos
Extracted from the film “Roberto Carlos em Ritmo de Aventura,” 1968, director Roberto Farias scripted by Paulo Mendes Campos.
The plot is packed with songs from the duo Roberto Carlos and Erasmo Carlos forming part of the album Roberto Carlos em Ritmo de Aventura.
Listen Recovery 