![]() ![]() I think the 'samba' titles were just a nod to the street roots of the sound, a kind of reality anchor so that the music didn't get too rarified and far away from the brazilian society. You'll often find two percussionists/drummers working those bossa rhythms on the early wave of US bossa when guys like Milton Banana et al could work it all by themselves in the clubs and bars of rio. The bossa beat still carries the 2nd beat emphasis (usually the chord part on the guitar) but works into it a propulsive internal beat (a phantom limb from the skittering tamborin in the batucada most likely) and it was this rhythm which the US drummers like Buddy Deppeschmidt were a bit stiff with when they first tried to play it. They padded out his early records with piano, drums etc but really what he did could be carried solely by his guitar and vocal as many of his later recordings reveal. The sounds of all the different parts of the samba were suggested but not explicitly stated by what he was doing on the guitar. This was a revolution, as important as Elvis or Bob Dylan or Charlie Parker. The genius of Joao Gilberto was that he managed to condense down and streamline the popular samba of the 40s/50s with the big batucada section and the tamborins and cavaquinhos and back-up singers and strings and everything else down into a compact and seamless guitar/vocal form. Corcovado (Quiet Nights of Quiet Stars) - João Gilberto, Gene LeesĬlick to expand.The 'samba' term in a lot of those great 60s bossa tunes is just a vibe description. Águas de Março - Antonio Carlos Jobim, Elis ReginaĢ3. After Sunrise - Charlie Byrd, Stan GetzĢ2. Surfboard - Seu Conjunto, Roberto Menescalġ4. Girl from Ipanema - Stan Getz, João Gilberto, Antonio Carlos JobimĦ. Agua de Beber - Astrud Gilberto, Antonio Carlos JobimĤ. ![]() I love the way they programmed this as a seamless listening experience, complete with freshly recorded, period-authentic instrumental "interludes." Perfect for a breezy summer night.īesides, it's worth the $11 just to get "Superbacana" by Caetano Veloso!Ģ. There is a wealth of online resources out there that will fill you in, a good number of books too, 'Samba' by Alma Guillermoprieto is a lovely account of her time with a rio 'samba school'. The big commercial sound of 'samba cancao' a kind of crooned version of the 40s and 50s, gave way to the more urban sound of 'pagode' a rootsier small group feel. But it is a form that has travelled through many developments and there are a lot of derivations. It can be played by large units or 'escolas' which are historically based on marching bands though the singing and polyrhythms emerge from the west african influences. An emphasis on the 2nd beat usually made by the 'surdo' drum, deep resonant bass, as part of the 'batucada' the rhythm section. Samba is the traditional carnaval music of Brazil. Put together by the bloke who wrote the best book on bossa nova, Ruy Castro. I wrote a piece about bossa for the Listener many years ago, you'll find it here Phil: Click to expand.Samba is the traditional carnaval music of Brazil. ![]()
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