![]() ![]() The cavaquinho provides the connection between the harmony section and the rhythm section its presence usually differentiates classic samba from softer variations such as bossa nova. ![]() Another important element is the cavaquinho, a small, four-stringed instrument of the guitar family similar to the ukelele, or cavaco. Samba is characterized by a rhythm section containing the main beat, usually a surdo (bass drum) or tantan. ![]() Samba is also very popular in Japan, especially in its more traditional forms so much that some sambistas like Nelson Sargento, Monarco, and Wilson Moreira have recorded specifically for the Japanese market and spent a lot of time on tours to that country. Various sub-genres of samba evolved in the succeeding decades (see below), and although samba lost ground in the 80s to such trends as disco and Brazilian rock, it experienced a resurgence in the 90s and remains one of Brazil's most popular music forms today. In the 1970s, samba returned to the air waves with composers and singers like Martinho da Vila, Clara Nunes, and Beth Carvalho dominating the hit parade. Names like Cartola, Nelson Cavaquinho, Velha Guarda da Portela, Zé Keti, and Clementina de Jesus recorded their first albums. Many popular artists were discovered at this time. In the 1960s, Brazil became politically divided, and leftist musicians of bossa nova started to gather attention for the music made in the favelas. The bossa/samba influence garnered Getz the Grammy Award for Best Jazz Performance of 1963 for the seminal tune "Desafinado." Getz would score another jazz landmark with the highly popular bossa nova hit, The Girl From Ipanema in which the music was composed by Brazilian icon, Antonio Carlos Jobim. The Getz album Jazz Samba brought the influence of bossa nova and samba to American jazz musicians. One of these new styles was the bossa nova, which gained worldwide popularity through the works of João Gilberto and Antonio Carlos Jobim, among others, and arrived in North America via Gilberto's albums with American jazz saxophonist Stan Getz, and Jobim's soundtrack to the 1959 film Black Orpheus. In the following years, samba music developed in several directions, from the gentle samba-canção to the powerful drum orchestras which accompany the Carnival parade. Some criticized her for trivializing the samba in Hollywood, but she remained a popular entertainer and her career in film did a great deal to introduce American audiences to samba music. Through the radio the genre's popularity spread all around the country, and with the support of the nationalist administration of Getúlio Vargas, samba became Brazil's "official music."īrazilian samba singer, Carmen Miranda is often thought of as being the first to popularize Samba in the United States, although the Broadway musical, Street Carnival which opened in the 1920s, included samba music. The escola tradition thus gave early performers a sense of legitimacy and organization to offset samba's sometimes controversial social atmosphere. Local school campuses were often the practice and performance grounds for these musicians and dancers. The term samba school was also adopted by larger groups of samba performers in an attempt to lend wider acceptance of samba and its performance. They transformed the musical genre to make it fit better in the Carnival parade. In the 1930s, a group of musicians led by Ismael Silva founded the first samba school, Deixa Falar, in the neighborhood of Estácio de Sá. Its great success carried the new genre outside the black shanty towns known as favelas. The first well known samba recording was "Pelo Telefone" (1917), by Mauro Almeida and Donga. After migrating to the Americas with the slave trade, samba gradually evolved and eventually developed as a distinctive kind of music at the beginning of the twentieth century in Rio de Janeiro, then the capital of Brazil, under the strong influence of the immigrant black population from the Brazilian state of Bahia. But I watch her so sadly How can I tell her I love her Yes, I would give my heart gladly But each day, when she walks to the sea She looks straight ahead, not at me Tall and tan and young and lovely The girl from Ipanema goes walking And when she passes I smile but she doesn't see, doesn't see Olha que coisa mais linda mais cheia de graça Ela menina que vem e que passa Num doce balanço a caminho do mar Moça do corpo dourado do sol de Ipanema O seu balançado parece um poema É a coisa mais linda que eu já vi passar.Samba's roots can be traced to Africa, namely Angola, where the semba dance was apparently the predecessor of samba. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |