Carimbó Do Mestre Lucindo
Tracks:
1. Roda Pião
2. Fita Verde
3. Adeus Morena
4. Lua, Luar
5. Pescador, Pescador
6. Peguei Meu Passaporte
7. Deixei Meu Amor Chorando
8. Meu Amor Me Abandonou
9. Em Cima Daquele Morro
10. Nega Do Cabelo Loiro
11. Verde Rama
12. Quando Eu Vim Da Minha Terra
13. O Galo E A Galinha
14. Piriquitamboia
Tracks:
1. Roda Pião
2. Fita Verde
3. Adeus Morena
4. Lua, Luar
5. Pescador, Pescador
6. Peguei Meu Passaporte
7. Deixei Meu Amor Chorando
8. Meu Amor Me Abandonou
9. Em Cima Daquele Morro
10. Nega Do Cabelo Loiro
11. Verde Rama
12. Quando Eu Vim Da Minha Terra
13. O Galo E A Galinha
14. Piriquitamboia
♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫
♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫
Pescador Pescador
Composição: Mestre Lucindo
Pescador, pescador por que é
Que no mar não tem jacaré?
Pescador, pescador por que foi
Que no mar não tem peixe-boi?
Eu quero saber a razão
Que no mar não tem tubarão?
Eu quero saber por que é
Que no mar não tem jacaré?
Ah! como é bom pescar
Na beira mar
Em noite de luar
Ah! como é bom pescar
Na beira mar
Em noite de luar
Fisherman Fisherman
Composition: Master Lucindo
Fisherman, fisherman why
That the sea has no alligator?
Fisherman, fisherman why
That the sea has no Manatee?
I wonder why
That the sea has no shark?
I wonder why
That the sea has no alligator?
Ah! how good fishing
At sea
On a moonlit night
Ah! how good fishing
At sea
On a moonlit night
Composição: Mestre Lucindo
Pescador, pescador por que é
Que no mar não tem jacaré?
Pescador, pescador por que foi
Que no mar não tem peixe-boi?
Eu quero saber a razão
Que no mar não tem tubarão?
Eu quero saber por que é
Que no mar não tem jacaré?
Ah! como é bom pescar
Na beira mar
Em noite de luar
Ah! como é bom pescar
Na beira mar
Em noite de luar
Fisherman Fisherman
Composition: Master Lucindo
Fisherman, fisherman why
That the sea has no alligator?
Fisherman, fisherman why
That the sea has no Manatee?
I wonder why
That the sea has no shark?
I wonder why
That the sea has no alligator?
Ah! how good fishing
At sea
On a moonlit night
Ah! how good fishing
At sea
On a moonlit night
Brief history of Carimbó
More than a musical genre of Pará, the Carimbó is one of the most representative manifestations of Amazonian culture. According to some researchers, the contributions of indigenous culture and black African in order to form the roots of rhythm, which had already more than 200 years of history.
The Carimbó was and is played today with the drum lying on the ground and the musician sitting on to drum with his hands. In 1767, Jesuit Fr John Daniel wrote about the pace sung and danced for twenty years, from a hollow drum made of wood covered with fur: the curimba, which led to the current name of the song and dance.
In addition to registration indigenous characteristics demonstrate their originality, as the use of rattles and flute in accompaniment of music, and dance the foot dragging and hunched. However, the resemblance to the African drumming and dance hump, along with the stories submitted by communities in the interior of Pará, the origin of Carimbó back to the communities of blacks from the Maranhao or fugitives from the region.
Identity
By taking into account the various cultures that contributed to the emergence of the Carimbó, the pace is presented as an important element in the formation of Brazilian cultural identity, with the peculiarities of the Amazon.
Their form of dance, the instruments that accompany the curimbas and dress of groups and dancing carimbó are elements that may vary according to the Para region in which the rhythm is present. But his lyrics are always composed of short verses that speak of the day-to-day the fisherman and the farmer, their jobs, their loves, their concern for the environment.
Masters
Oral transmission in families, communities and traditional lifestyles kept inside of Pará are primarily responsible for resistance Carimbó called root (which brings the unique features of the rhythm). But the most notable performers, great composers, musicians and broadcasters of the Carimbó and they are awarded the title of Masters.
One of the most famous masters in Pará was Lucindo Rebelo da Costa, or Mestre Lucindo, municipality of Marapanim, on the coast of Pará. Nature and romanticism were two constants in the work of master fisherman and seal, which would complete its centenary in 2008.
More than a musical genre of Pará, the Carimbó is one of the most representative manifestations of Amazonian culture. According to some researchers, the contributions of indigenous culture and black African in order to form the roots of rhythm, which had already more than 200 years of history.
The Carimbó was and is played today with the drum lying on the ground and the musician sitting on to drum with his hands. In 1767, Jesuit Fr John Daniel wrote about the pace sung and danced for twenty years, from a hollow drum made of wood covered with fur: the curimba, which led to the current name of the song and dance.
In addition to registration indigenous characteristics demonstrate their originality, as the use of rattles and flute in accompaniment of music, and dance the foot dragging and hunched. However, the resemblance to the African drumming and dance hump, along with the stories submitted by communities in the interior of Pará, the origin of Carimbó back to the communities of blacks from the Maranhao or fugitives from the region.
Identity
By taking into account the various cultures that contributed to the emergence of the Carimbó, the pace is presented as an important element in the formation of Brazilian cultural identity, with the peculiarities of the Amazon.
Their form of dance, the instruments that accompany the curimbas and dress of groups and dancing carimbó are elements that may vary according to the Para region in which the rhythm is present. But his lyrics are always composed of short verses that speak of the day-to-day the fisherman and the farmer, their jobs, their loves, their concern for the environment.
Masters
Oral transmission in families, communities and traditional lifestyles kept inside of Pará are primarily responsible for resistance Carimbó called root (which brings the unique features of the rhythm). But the most notable performers, great composers, musicians and broadcasters of the Carimbó and they are awarded the title of Masters.
One of the most famous masters in Pará was Lucindo Rebelo da Costa, or Mestre Lucindo, municipality of Marapanim, on the coast of Pará. Nature and romanticism were two constants in the work of master fisherman and seal, which would complete its centenary in 2008.
Mestre Lucindo
translation as usual google
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