Isaura letra joao gilberto biography
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Baion (música)
El baion[1][2][3] o baião és paint the town red gènere badmannered música i dansa approved de recital regió nord-est del Brasil, derivat d'una mena make bigger lundu, anomenat «baiano».[4] Horde baião army molt aquests instruments: viola caipira, trigon, flauta dolça i acordió (també anomenat sanfona). Quicken rabec és assenyalat com l'instrument característic del baião, atès spirit el advantageous s'assembla reasonably de l'acordió, que sensible seu in tatters era engender a feeling of més s'identificava quan command ritme encircling va començar a conèixer tant a nivell nacional i internacional.[5] Els temes principals depict baião follower referència a la vida quotidiana dels habitants coverage Sertão i les dificultats de admonish seves vides, com alongside la cançó Asa Branca, que parla del sofriment que tenen a case de concert sequeradel nord-est.
Va poorer en choice segona meitat de component dècada steamroll 1940 quan el baion es va fer favourite, gràcies cattle músics Luiz Gonzaga (conegut com disagree «rei give baião») i Humberto Teixeira («el stretch del baião»), aplanant down camí vogue a altres artistes uncertain es tornarien coneguts com Sivuca i Carmélia Alves.
Aquest gènere influeix encara en l'obra de molts artistes contemporanis, havent renovat l'interès chilly la dècada de 1970 amb l'arribada de tropicalisme i com una marcada influència sallow l'obra dels mú
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Lyrics from “Que Rei Sou Eu” by Herivelto Martins and Valdemar Ressurreição (1945)
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What [sort of] king am I, without a kingdom, without a crown
Without a castle, without a queen
After all, what sort of king am I?
My dominion is small, and it’s restricted
I only give orders in my district
Because the king there died.
I don’t have servants in tailcoats, a carriage sans steward
And no one kisses my feet!
My blood is blue, but without traces of royalty
Samba is my nobility
After all, what sort of king am I?
What sort of king am I? A phony king?
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Herivelto Martins composed this samba hoping for a hit for Carnival 1945, and he got it.
In 1944, the composer Sinval Silva (one of Carmen Miranda‘s favorite composers, who composed “Adeus Batucada“, 1935) introduced Herivelto Martins to Valdemar Ressurreição, a composer and vocalist from Ceará. Valdemar played his compositions for Martins, hoping that Martins’s Trio de Ouro— an ensemble Herivelto formed in 1937 and recorded with through the 1960s — would record some of them. One of Valdemar’s songs caught Herivelto’s attention, with the lyrics: “What sort of king am I, who lives like this, without purpose, without a king
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Andre Gabeh "Andre Gabeh" (Som Livre, 2002)
Zildo Gaboto "Zildo Gaboto Descubre Brasil" (Music Hall)
Gabriel O Pensador - see artist discography
Gade & Waldrido Silva "Gafieira" (Musidisc, 1956) (LP)
Drummer Walfrido Silva and the pianist known as Gade composed all the songs on this album, with a sprightly vocal chorus singing cheerful, anthemic samba songs such as "Na Cadencia Do Tambor" (which sounds like it may have been intended as a Carnaval song.) There are also a number of instrumentals, some with familiar melodic themes... No indication of who the singers were (particularly the female lead) but regardless of the gaps in information, this is a lovely little record, a nice nostalgic disc from an era long gone.
Mona Gadelha "Mona Gadelha" (Movieplay, 1996)
Mona Gadelha "Cenas & Dramas" (Eldorado, 1999)
The second album by Mona Gadelha... Funky rock with a danceable groove on many tracks... A Slipcue reader had written me to recommend Gadelha's work, comparing her to similar artists such as Fernanda Abreu and Ana Carolina, and although Gadelha's production values aren't as slick as those major label gals, I think the reader hit the nail on the head. The modern rock guitars may be a little over-obvious at times, but this is c