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Posts Tagged ‘MPB

One of my favorite MPB records.

I found this record accidentally when digging through the big staples of vinyl from a street merchant in Brazil, it grabbed my attention cause of the cover artwork, but I forgot to listen to – just because he had so much awesome stuff. I remembered the record a few days later, tried to find it again, but without success, I even couldn´t remember the name of the artist. I described the artwork to the guy and he immediately started to lionize about the record. Well, I really wanted that record now, but where the hell was it? We almost searched one hour for it and as we already wanted to give up, I turned my spotlight on another record, Jorge Ben´s “A Tábua De Esmeralda”. Well, I will buy this one, let´s see hows the vinyl condition. And, believe it or not, the Sergio Sampaio record was inside the slipcover behind the Jorge Ben record. Unpossible to see it if just flipping through the record boxes. Finally and the record is a direct hit.

In the late sixties Raul Seixas spotted the talent of Sergio Sampaio and started to work with him. Seixas also produced the first full-length “eu quero é botar…” from 1973, which contains a wide range of musical influences: Blues, Rock´n´Roll, Samba, Choro, to name just a few. The title track already was a big hit in the year before and Sampaio also was part of the legendary Raul Seixas second record “Sociedade da Grã-Ordem Kavernista”. He wrote some of the songs and also sang besides Raul, Edy Star and Miriam Batucada. So the expectations were really high for his debut and almost the whole music press received it with disappointment, it also didn´t sell very good either.

Maybe it was the result of his often “difficult” relations with the press, who used to illustrate him as a eccentric person, but maybe he was just a young and inexperienced guy, not used to deal with the vampires from the press.  The music definitively is a unique blend of traditionalism with the fever of the rock guitar. The recordings include one of the finest musicians around in Brazil at this time: Ivan “Mamão” Conti (from Azymuth) and Wilson da Neves on drums,  Zé Roberto on Piano and Moog.

His later release were much better admitted from the press, but Sergio never gained the attention from the public he deserved. Although the title track did play a big role in the cultural revolt of the student movement against the Brazilian military regime. Originally not intended by Sampaio, the students saw their own feelings and experiences reflected in the lyrics.

Sergio Sampaio died in May 1994.

Cala a Boca.

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iara

Mário de Andrade is one of the most important brasilian writers and poets. His book “Macunaíma” has for sure an outstanding impact on brasilian literature until today and is one of the novels which build up the own brasilian literature which cutted off the dominant european influences. Not coincidental Mário de Andrade was one of the driving forces behind the famous “Semana de Arte Moderna” in São Paulo 1922, which bundled all the uprising brasilian avantgarde artists and presented an brasilian art scene that mirrored the brasilian society with all its african, indigenous and european influences. Sadly from this art movement later a nationalist group splitted off, which wanted to create a “purely Brasilian” form of art (always the same sick idea, create art on a national base…). But the original movement declared that they would “eat” all influences, digest it, and throw out new things – like the brasil society with its indigenous, african, european and asian origins – and don´t want to ignore any influences from Northamerica or Europe.

“Macunaíma” as part of the Brasilian Modernism reflects also the experiences of Mário de Andrade as an Mulatto in the brasilian society at the beginning of the 20th century. A time when politics in Brasil where strongly dominated by white men from the oligarchy, who dreamed of an “white” or “more white” brasilian society and looked with suspicion to the black influences or even ignored them at all. A view on Brasil which also was reflected in the dominant arts, the “Semana de Arte Moderna” was the outburst of a new, more honest view on the brasilian realities, which for sure wasn´t only white-european-based.

But Mario de Andrade also was a pioneer of the field of ethnomusicology. Macunaima, the black protagonist of the same named novel, is on the search for an amulet and travels from the jungles of the North-East to the modern megacity São Paulo. Mário de Andrade processed the oral history of the indigenous people, the folkloristic music of the interior into this novel and confronts the two sides of modern Brasil.

80 years later Iara Rennó, a young musician from São Paulo, decided to to set the novel to music. It is a very obvious idea, with all that ethnomusicologiest influences in it, and it is a wonder why nobody else did it before. But Iara Rennó did it in a wonderful way, mixing the classical folkloristic influences with a modern production and music influences, with deep roots in the most experimental arrangements in the history of MPB (Música Popular Brasileira). The lyrics are all taken from the book and more than 60 musicians took part in the recording sessions. What can you expect? Afrobeat, Dub, brasilian Folk, Trip Hop, slight Hip Hop influences, Psychedelic…. no, you just can´t name this eclectic record with a few genres. Well, better explore this fantastic record on your own.

Dói Dói Dói

PS:
Participação
Tom Zé, Arrigo Barnabé, Dante Ozzetti, Simone Soul, Bocato, Siba, Biu Roque, Mané Roque, Guizadoman, Maurício Alvez, Anelis Assumpção, Funk Buia, Gustavo Souza, Mariá Portugal, Alzira Espíndola, Tetê Espíndola, Sergio Espíndola, Jerry Espíndola, Décio Gioielli, Marcelo Monteiro, Simone Julian, Tiquinho, Amílcar Rodrigues, Andréia Dias, Gustavo Ruiz, Da Lua, Gilmar Bola 8, Toca Ogan, Tom Rocha, Rian Batista, Barbatuques: Marcello Pretto, Dani Zulu, André Hosoi , Mairah Rocha, Flávia Maia, Fernando Barba, Bruno Buarque, João Taubkin, Guello, Dimus Goudaroulis, Zezinho Pitoco, DJ Marco, entre outros…

Antônio Adolfo was an important composer and arranger for brazil music scene, having written songs recorded by so many artists… the list would be too long write down here. In the 60s he played piano in different small bands, he took part in the music scene of the “Beco das Garrafas” in Rio, where in the bars and clubs bossa nova, MPB and jazz met. In these eventful years from the late 50s and 60s musicians from all over the world found musical inspiration in Brazil. The Copa Trio started to play “samba-jazz” there, fusing jazz with bossa nova. Brazilian greats Leny Andrade, Sérgio Mendes and Elis Regina performed there, too, and foreign jazz artists started to appear at the “Beco das Garrafas” late at night, after their performances in Rio’s concert halls. Horace Silver, Paul Winter, the Modern Jazz Quartet and other jazz legends jammed with the local musicians. In the eye of the storm the young Antonio Adolfo, who started accompanying important artists of Brazilian popular music, including one of Brazil’s best-known singers of that period, Elis Regina. At the age of 20 Antonio Adolfo collaborated with lyricist Tibério Gaspar (the start of a lifelong collaboration for both) and their song “Sá Marina” became a hit, it catapulted Adolfo into his new career. During the mid-60s, Adolfo was a frequent guest at Antônio Carlos Jobim’s home in Rio, a popular gathering place for musicians.

After he lived some years in Paris he returned to Brazil in 1975 and started to launch his own record label, one of the first independent labels in Brazil. Adolfo was sick of working together with the major labels and released 1977 his own second record on Artezanal records: “feito em casa”. After some releases with his former group “Brazuca” and his first solo record “Venice” 1972, a moody masterpiece – a real treasure of brazil music. A moody jazzy piano, played with this indescribably ease, breezy tunes. This marvelous album sold like crazy and went from having a hand-pressed cover and distribution out of Adolfo’s car to mass production.

Saudade


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