Dois a Zero

Raízes do Samba
1. Batuque na Cozinha
2. A Tua Sina
3. Cabide de Molambo
4. Roxá
5. Yaô
6. Mironga de Moça Branca
7. Quê, Quê, Rê, Quê, Quê
8. Aí, Seu Pinguça
9. Estácio, Mangueira
10. Elizete no Chorinho
11. Os Oito Batutas
12. Fala Baixinho
13. Samba do Urubu
14. Odeon
15. 1x0
16. Urubatan
17. De Mal Pra Pior
18. Samba Fúnebre
19. Carinhoso
20. Sofres Porque Queres
A compilation of important recordings by Pixinguinha, a fundamental composer/arranger/instrumentalist and revolutionary of Brazilian music. Includes "Sofres Porque Queres," recorded in 1970. In that phase, Pixinguinha had already joined Benedito Lacerda's regional, recording albums in which he appears at the tenor sax counterpointing Lacerda's flute, but in this track, Pixinguinha plays the flute, accompanied by a violão. Benedito also is credited as co-author of this song and of many others, but Pixinguinha, following an old usage among poor musicians, used to give him partnership because of the excellent work of divulgation Lacerda did. "Batuque Na Cozinha," "A Tua Sina," "Cabide de Molambo," and other nine songs were taken from Pixinguinha's 1968 album Gente da Antiga (reissued here integrally), produced by Hermínio Bello de Carvalho for Odeon, reuniting old bambas like João da Baiana and Clementina de Jesus. They were just put together in the studio without any rehearsal, to play whatever pleased them, and the result was grand. "Samba do Urubu," "Odeon," "1 x 0," "Urubatan," "Carinhoso" (symphonic arrangement written by Pixinguinha in 1938 for the anniversary of the Radio Mayrink Veiga), "Samba Fúnebre," and "De Mal Pra Pior" (the latter two from the soundtrack of the film Sol Sobre a Lama) were taken from São Pixinguinha, the last album recorded by Pixinguinha, released by Odeon  in 1971, with some tracks bringing an ugly fuzzed-out guitar which may have represented quite an achievement for the album's producer.
~ Alvaro Neder, All Music Guide 
Alfredo da Rocha Viana Filho, better known as Pixinguinha, (April 23, 1897 - February 7, 1973) was a choro composer, arranger, flautist  and saxophonist born in Rio de Janeiro. Through the legacy of the pioneering choro  composers of the 19th century and of the Afro-Brazilian tradition, Pixinguinha produced the most important choro works of all time. Edifying the choro as a musical genre, he conferred on it personality and identity.

From an early age, Pixinguinha was a distinguished flautist and wrote his first piece at 13. When he grew older, he began the revolutionary musical group Os Oito Batutas. This ensemble was the first Brazilian group featuring the jazzy instrumentation of the trumpet, trombone, and saxophone. After receiving a gig for the dance couple, Duque and Gabi at the Assírio cabaret, they were discovered by the wealthy Eduardo Guinle who solely sponsored their first European tour in 1922. Their tour was a complete success and Pixinguinha received much praise from many distinguished Parisian musical artists including the famed Harold de Bozzi. In 1940, Pixinguinha initiated one of the most distinguished musical periods in the history of Brazil in which composition was revolutionized by improvisation to musical counterpoint.

1 comment:

kokolo said...

Thank you Miguel, thank you friend.