Grupo Vou Vivendo
Brasil Revive o Chorinho
1990
Tracks:
01. FEITIÇO (Jacob Pick Bittencourt ´Jacób do Bandolim´)
02. ESPERANDO A FEIJOADA (Heraldo do Monte)
03. MEU BEM (Bernardo Cascarelli Jr. ´Xixa´)
04. BEBÊ (Hermeto Pascoal)
05. APANHEI-TE CAVAQUINHO (Ernesto Nazareth/Ubaldo Mangione)
06. ZÉ! TRAZ O PÃOZINHO (Julio de Mesquita)
07. MEU CARO AMIGO (Chico de Holanda/Francis Hime)
08. ACERTA O PASSO (Pixinguinha/Benedito Lacerda)
09. TICO TICO NO FUBÁ (Zequinha de Abreu/José Gomes de Abreu)
10. JOÃO E MARIA (Chico Buarque de Holanda/Sivuca)
11. LUA DE MEL (Bernardo Cascarelli Jr. ´Xixa´/Julio Nagib João)
12. MINHAS MÃOS MEU CAVAQUINHO (Waldyr Azevedo)
13. O BOM FILHO A CASA TORNA (Bonfiglio de Oliveira)
14. ATRAENTE (Altamiro Aquino Carrilho)
15. MEU DOCE CHORINHO (Antônio Porto Filho ´Portinho´)
16. BRASILLIANCE (Laurindo de Almeida)
17. LAMENTOS (Pixinguinha/Vinícius de Moraes)
18. JOAQUIM VIROU PADRE (Pixinguinha)
19. POT POURRI - SOFRE PORQUE QUERES/INGÊNUO/OS 8 BATUTAS/1X0 (UM A ZERO)
(Pixinguinha/Benedito Lacerda)
1990
Tracks:
01. FEITIÇO (Jacob Pick Bittencourt ´Jacób do Bandolim´)
02. ESPERANDO A FEIJOADA (Heraldo do Monte)
03. MEU BEM (Bernardo Cascarelli Jr. ´Xixa´)
04. BEBÊ (Hermeto Pascoal)
05. APANHEI-TE CAVAQUINHO (Ernesto Nazareth/Ubaldo Mangione)
06. ZÉ! TRAZ O PÃOZINHO (Julio de Mesquita)
07. MEU CARO AMIGO (Chico de Holanda/Francis Hime)
08. ACERTA O PASSO (Pixinguinha/Benedito Lacerda)
09. TICO TICO NO FUBÁ (Zequinha de Abreu/José Gomes de Abreu)
10. JOÃO E MARIA (Chico Buarque de Holanda/Sivuca)
11. LUA DE MEL (Bernardo Cascarelli Jr. ´Xixa´/Julio Nagib João)
12. MINHAS MÃOS MEU CAVAQUINHO (Waldyr Azevedo)
13. O BOM FILHO A CASA TORNA (Bonfiglio de Oliveira)
14. ATRAENTE (Altamiro Aquino Carrilho)
15. MEU DOCE CHORINHO (Antônio Porto Filho ´Portinho´)
16. BRASILLIANCE (Laurindo de Almeida)
17. LAMENTOS (Pixinguinha/Vinícius de Moraes)
18. JOAQUIM VIROU PADRE (Pixinguinha)
19. POT POURRI - SOFRE PORQUE QUERES/INGÊNUO/OS 8 BATUTAS/1X0 (UM A ZERO)
(Pixinguinha/Benedito Lacerda)
♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫
♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫
Vale a pena conferir este primeiro volume de Brasil Revive o Chorinho, uma coletânea fantástica com o melhor do grupo Vou Vivendo. Ao todo, são 18 faixas, incluindo "André de Sapato Novo", "Chorinho Na Praia" e "Pedacinhos do Céu", alguns dos destaques. Um álbum excepcional que não pode ficar fora de sua coleção!
Choro (Portuguese pronunciation: [ˈʃoɾu], "cry" or "lament"), traditionally called chorinho ("little cry" or "little lament"), is a Brazilian popular music instrumental style. Its origins are in 19th century Rio de Janeiro. In spite of the name, the style often has a fast and happy rhythm, characterized by virtuosity and improvisation. Choro is considered the first urban popular music typical of Brazil.
Choro instruments
Originally choro was played by a trio of flute, guitar and cavaquinho (a small chordophone with four strings). Other instruments commonly played in choro are the mandolin, clarinet, saxophone, trumpet and trombone. These melody instruments are backed by a rhythm section composed of guitar, 7-string guitar (playing bass lines) and light percussion, such as a pandeiro. The cavaquinho appears sometimes as a melody instrument, other times as part of the rhythm.
Compositional structure
Structurally, a choro composition usually has three parts, played in a rondo form: AABBACCA, with each section typically in a different key. There are a variety of choros in both major and minor keys.
History
In the 19th century, choro resulted from the style of playing European musical genres (polka, schottische, valsa, mazurka) by carioca musicians, who was already strongly influenced by African rhythms, principally the lundu and the batuque. Originally the term "Choro" referred to these ensembles (e.g. in the 1870’s flutist Joaquim Antônio da Silva Callado formed an ensemble called "Choro Carioca"), and later the term referred to the music style of these ensembles. The accompanying music of the Maxixe (dance) (also called "tango brasileiro") was played by these choro ensembles.
Just like ragtime in the United States, choro springs up as a result of influences of musical styles and rhythms coming from Europe and Africa.
Much of the mainstream success of this style of music came from the early days of radio, when bands performed live on the air. By the 1960s it had evolved into urban samba. However, in the late 1970s there was a successful effort to revitalize the genre, through TV-sponsored nation-wide festivals in 1977 and 1978, which attracted a new, younger generation of musicians. Thanks in great part to these efforts, choro music remains strong in Brazil. More recently, choro has attracted the attention of musicians in the United States, such as Mike Marshall and Maurita Murphy Mead, who have brought this kind of music to a new audience. (Gabriele Mirabassi in Italie) Most Brazilian classical composers recognize the sophistication of choro and its major importance in Brazilian instrumental music. Radamés Gnattali said it was the most sophisticated instrumental popular music in the world. Heitor Villa-Lobos defined choro as the true incarnation of Brazilian soul. Notably, both composers had some of their music inspired by choro, bringing it to the classical tradition.
According to Aquiles Rique Reis (a Brazilian singer):
Choro instruments
Originally choro was played by a trio of flute, guitar and cavaquinho (a small chordophone with four strings). Other instruments commonly played in choro are the mandolin, clarinet, saxophone, trumpet and trombone. These melody instruments are backed by a rhythm section composed of guitar, 7-string guitar (playing bass lines) and light percussion, such as a pandeiro. The cavaquinho appears sometimes as a melody instrument, other times as part of the rhythm.
Compositional structure
Structurally, a choro composition usually has three parts, played in a rondo form: AABBACCA, with each section typically in a different key. There are a variety of choros in both major and minor keys.
History
In the 19th century, choro resulted from the style of playing European musical genres (polka, schottische, valsa, mazurka) by carioca musicians, who was already strongly influenced by African rhythms, principally the lundu and the batuque. Originally the term "Choro" referred to these ensembles (e.g. in the 1870’s flutist Joaquim Antônio da Silva Callado formed an ensemble called "Choro Carioca"), and later the term referred to the music style of these ensembles. The accompanying music of the Maxixe (dance) (also called "tango brasileiro") was played by these choro ensembles.
Just like ragtime in the United States, choro springs up as a result of influences of musical styles and rhythms coming from Europe and Africa.
Much of the mainstream success of this style of music came from the early days of radio, when bands performed live on the air. By the 1960s it had evolved into urban samba. However, in the late 1970s there was a successful effort to revitalize the genre, through TV-sponsored nation-wide festivals in 1977 and 1978, which attracted a new, younger generation of musicians. Thanks in great part to these efforts, choro music remains strong in Brazil. More recently, choro has attracted the attention of musicians in the United States, such as Mike Marshall and Maurita Murphy Mead, who have brought this kind of music to a new audience. (Gabriele Mirabassi in Italie) Most Brazilian classical composers recognize the sophistication of choro and its major importance in Brazilian instrumental music. Radamés Gnattali said it was the most sophisticated instrumental popular music in the world. Heitor Villa-Lobos defined choro as the true incarnation of Brazilian soul. Notably, both composers had some of their music inspired by choro, bringing it to the classical tradition.
According to Aquiles Rique Reis (a Brazilian singer):
"Choro is classical music played with bare feet and callus on the hands."
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