Benito Cabrera
Domingo Rodríguez "El Colorao"
Totoyo Millares
Antología del Timple


01. Benito Cabrera - El canario   02:52
02. Benito Cabrera - polka de la guagua   03:30
03. Benito Cabrera - Pequeño vals   04:33
04. Benito Cabrera - Amarraditos   03:17
05. Domingo Rodriguez "el colorao" - Isa majorera   04:07
06. Domingo Rodriguez "el colorao" - Seguidillas conejeras   03:15
07. Domingo Rodriguez "el colorao" - Tico-tico   04:05
08. Domingo Rodriguez "el colorao" - Pájaro campana   04:17
09. Totoyo Millares - Isa vieja floreada   02:39
10. Totoyo Millares - Folías de Gran Canaria   02:39
The timple is a traditional Spanish plucked string instrument of the Canary Islands.

Migrating from North Africa in the 16th century to the Canary Islands and then on to Murcia, the timple has become the traditional instrument of the Canaries.

In La Palma island and in the north of the island of Tenerife, many timple players omit the fifth (D) string, in order to play the timple as a four-string ukulele, though this is considered less traditional by players and advocates of the five-string version. The players of the four-string style, in return, say that they are simply playing the timple in the old-fashioned way from before the time when a fifth string was introduced in the late nineteenth or early twentieth century. The common tuning is GCEAD.

Algunos timples de la colección de Totoyo Millares:

TIMPLE DE CONCIERTO (abajo). Constructor: Rafael Morales (Arucas, Gran Canaria).
“EL” TIMPLE (centro). Constructor: Simón Morales Tavío (Teguise, Lanzarote).
TIMPLE TIPLE (arriba). Constructor: Agrícola Álvarez (La Laguna, Tenerife)./
Tenerife Music: The Timple

One of the most fundamental and representative elements to traditional Canarian folk music is the timple, or the Canarian guitar. Similar to a ukulele, the timple is like a miniature version of the guitar and strumming its four (or five) strings produces light, higher-pitched music.

The timple's origins are more than likely rooted in the Baroque guitar, which was introduced to Tenerife and its fellow islands after the Spanish conquest. While it was long-regarded as an accompanying instrument in traditional Canarian music, contemporary musicians like Totoyo Millares totally revolutionized the instrument and its musical possibilities by converting it into a soloist instrument. Nowadays, the timple is used to play anything from traditional Baroque to jazz and pop music.


Godê Pavão

Samba de Coco Raízes de Arcoverde
Godê Pavão


1. Barra da saia (2:37)
2. Godê pavão (2:24)
3. Abelha aripuá (2:27)
4. Despedida de amor (2:29)
5. Coqueiro novo (4:05)
6. O canto do uirapuru (2:33)
7. Menina rica (3:01)
8. Olho d`água dos bredos (3:34)
9. Roseira oh rosa (2:28)
10. Noite de São João (3:11)
11. Bote essa menina pra dançar (2:55)
12. O amor do bacurau (2:29)
13. Galinha zabelê (2:29)
14. Aperto de mão (2:24)
15. Não brinco mais (2:05)
Far, far away from the coast, where he first flourished in the hands of slaves, the coco-de-roda reached the backwoods of Pernambuco. Honed for the trip, the pace and incorporated elements of indigenous traditions evidence hinterland, but managed to keep the syncopated tap dance and environment that characterize the coastal version. Samba de Coco Raízes de Arcoverde became the great exponent of this new-style rhythm, which is expressed in letters plain, hit and striking melodies squeaky timbre.
The Group
Initiated by Lula Calixto, a staunch defender of popular culture hinterland, the saga of  Coco Raízes represents the people's attachment to the traditions and unconscionable effort to preserve them. But it's also a story of love between two families that came together around the rhythm. In the hands of Gomez and Calixto, coco is not just a beat of a tambourine or dance, is a covenant, a way of life. Cousins, uncles, parents and children, all siblings are at the time of the samba.
Blessed are those invited to the grand celebration of the coco. At Alto do Cruzeiro, where the head office of the group is still time to celebrate. Just get a visitor reception is a warm gun. Everything starts with a bounce shy troupe, which infects the hypnotic drum Biu Neguinho and culminates with the opening of the runway to the tune singers and dancers showy.
Every day, Coco Raízes seduces more fans. People are hungry for praise by popular culture, who enjoy the simplicity and authenticity of the group. Since the recording of a track on a compilation of Pernambuco in Concert, Coco took off and began to perform various shows in Recife, all prestigious by a large audience that was formed in the capital. The two CDs - Cóco de Raizes do Arcoverde and Godê Pavão - recorded to date testify to the relentless wind of the caravan, which has not stopped or will not stop.
Even with the founder's death in 1999, the group continued their journey. The group's headquarters is the home of Lula Calixto, and also a small museum with his name. As one big family, the group consists of uncles, cousins, parents and children. Currently, who commands the coco are Seu Damião and Seu Assis.
Coco Raízes de Arcoverde is back. Three years after the recording of her debut album, the group has a new job ready to be put on the market. The CD - titled Godê Pavão "Gode Peacock" - brings 15 new compositions, all of its own members, uniting elements of indigenous people and poetry Xucuru hinterland.
The new album is a tribute to one of the oldest coco players Neguinho Biu, 72, dedicated to the pace for more than five decades. He is one of the only group to have participated in the early stage of the coco, when building a house, the owner invited family and friends to dance on the ground in order to settle the clay. Seu Biu, as he is known in Arcoverde, who has been director of the samba school of the United Avenue in the 70s, is responsible for the beat of the deaf that is special to mark the rhythm.


lation: trans google :)



Grupo de Coco Ouricuri
Os Cocos

Tratore/Associacão Cultural Lua Nova - 2008


1. Sou de Minas – Mineiro China
2. O Sol lá Vem – Sai do Sereno
3. Coco dendê, Trapiá – Gerimum
4. Não é o Balanço do Mar
5. Mestre Sabino – Coco de Usina
6. Engenho Novo – Engenho da Arara
7. Embolada de Pernambuco
8. Chora, Menina – São Quatro
9. Oh Mulé – Morena Bonita – Teus Cabelos
10. Chalé de Manoel Armindo – Tá bebo, Nego
11. Seu Zé – Negro Embolador
12. Sabiá da Mata – Sabiá
13. Pinião – Três Cocos
14. Caboré – O Besouro Mangangá
15. Eh Bumba Chora
16. Meu Baralho
17. Coco da Cerveja
18. Chorei - Não choro Não


Poliana Cruz: voz e ganzá, tamanco
Aryane Lisboa: coro e tamanco
Lara Tanaka: coro, tamanco
Nara Magalhães: coro,tamanco
Tereza Moura: coro, tamanco, pandeiro
André Salles-Coelho: pifes em lá
Leonardo Cunha: rabeca e violões
Negoleo: zumbideira
Yuri Lisboa: tambor
Tavinho Moura: voz
Sérgio Pererê: voz
    Produtores:  Andre Salles, Coelho e Tereza Moura

Todos os cocos aqui registrados foram retirados da obra Os Cocos de Mário de Andrade, recolhidos em sua viagem ao nordeste brasileiro nos anos de 1928/29
Grupo de Coco Ouricuri

The group, Côco Ouricuri, formed in Belo Horizonte, Brazil, with the aim to research and broadcast côco, a cultural exhibition, sung and danced, which has a big presence, especially in the northeast of Brazil.

"Os cocos" brings together a large amount of popular music from the Northeast, which the ethno-musicologist and writer, Màrio de Andrade, had previously recorded, during his voyage through Brazil at the end of the twenties, which was dedicated to the discovery of popular music. On this album the pieces are performed with the traditional instruments: flute, rabeca (a kind of rural violin) ganzà (Brazilian rattle), pandeiro and guitar.


Coco de Roda is a typical dance from the beach regions of the Northeast of Brazil and has a strong African drumming influence. The choreography of the dance involves steps and movements traditional of the indigenous Tupis peoples of Brazil. 
The coco can be danced with or without shoes. Also, it does not have its own appropriate costume. In order to participate, the people can use any kind of clothing. There is also, apparently, no special time of the year to dance, although it is more often seen in June. Musically speaking, there is a predominance of percussion instruments. According to folklore researchers, the most commonly used instruments are - ganzás (a kind of maraca), bombos (drums), zabumbas (a deeper drum), caracaxás (a kind of scraped rattle, often made of undulated metal and scraped with a small stick to produce the sound) and cuícas (a drum -like instrument that makes a squeaking sound). However, to form a circle of coco it is not necessary to have all, or indeed any of these instruments. Very often, the dance takes place with just the clapping of the participants' hands. Within its general characteristics it is possible to notice one distinct distinguishing feature - community spirit. There is always a very happy atmosphere where men, women, children of all social classes sing and dance together without distinction. In what is referred to as its ethnic influences, the African influence is most prevalent, mainly in its rhythm, and most certainly in its movements. But, there is also a very strong native contribution to the choreography. Both the circle and the lines are aspects that were inherited from our natives.

Coco is an African-influenced musical rhythm that originated in northern Brazil. "Coco" may also refer to the style of dance performed to the music, a kind of stomping.

The name "Coco" comes from the Brazilian word for head, "cabeça," because song lyrics are often improvised. Coco is often performed with a repetitive musical beat and call and response singing reminsiscent of Capoeira music. The music is commonly performed at traditional parties in the northeast, such as weekend street parties and Carnival.

The characteristic sound of coco arises from four instruments commonly used in its performance: the ganzá, surdo, pandeiro, and triangle. Performers also often wear wooden clogs, the stomping of which adds a fifth percussive element. 
The origins of coco are as obscure as most Brazilian folk music, but some theories do exist. One theory is that the predecessor to the music was originally brought to Brazil by slaves from Angola, who then created coco by merging their music with local indigenous rhythms. Another theory is that coco was created by Brazilian slaves who broke coconuts with rocks for their masters.


Banda de Pífanos de Caruaru

Banda De Pífanos De Caruaru
A Bandinha Vai Tocar
Marcus Pereira MPL 9415 - 1980


1 A Bandinha Vai Tocar – (Paraná Queiroz & Anastácia) (2:02)
2 Galope – (Sebastião Biano & Gilberto Biano) (2:57)
3 Um De Cada Vez – (Sebastião Biano & Benedito Biano) (2:23)
4 Baiano Da Viola – (Sebastião Biano & Benedito Biano) (3:25)
5 São João Do Carneirinho – (Guio De Moraes & Luiz Gonzaga) (3:24)
6 De Alagoas a Pernambuco – (Sebastião Biano, Ivan Bolhões & Benedito Biano) (2:51)
7 Baianada Na Roça – (Sebastião Biano & João Biano) (2:12)
8 Feira De Mangaio – (Glorinha Gadelha & Sivuca) (3:05)
9 Pega Pra Capá – (Sebastião Biano & José Biano) (3:43)
10 Forró Em Limoeiro – (Edgar Ferreira) (2:58)
11 Maxixando – (Sebastião Biano & Benedito Biano) (2:55)
12 Saudades De Caruaru – (Sebastião Biano & Amaro Biano) (2:40)

Playing time: 34:35
Since 1924, the Banda de Pífanos de Caruaru has been playing the traditional repertory of that formation (a banda de pífanos is a band formed by several flute-like instruments, along with the typical percussion set consisting of zabumba and triângulo). Founded by Manoel Clarindo Biano and Benedito Clarindo Biano, the band recorded its first album in 1972 (Zabumba Caruaru), when, for the first time, they went to Rio de Janeiro to perform. By 1999, the band had recorded another seven albums and continued to perform regularly in their region. ~ Alvaro Neder, All Music Guide 
Banda de Pífanos de Caruaru

Assembled in 1924 by Manoel Clarindo Biano and Benedito Clarindo Biano in the countryside of Alagoas (Northeastern Brazil), the Banda de Pífanos de Caruaru remains to this day as one of the most traditional instrumental groups in Brazil. The current members are sons and nephews of the original members. The first recordings happened in 1971, when the band performed a series of shows in Rio de Janeiro. Their unique sound, comprised of pífanos (fifes) and percussion, was discovered by MBP stars like Gilberto Gil, who recorded "Pipoca Moderna" (with lyrics by Caetano Veloso) on his album, "Expresso 2222" (1972). In 1999, the Banda de Pífanos had the CD "Tudo Isso É São João" released through the record label Trama.
One of the more striking, unique sounds of the Brazilian northwest... the combination of clattering tinny percussion and the arresting sound of the native flutes, known as "flautas de taboca"  (or "pifes") should turn your head. Beautifully recorded and fascinating, even if the tracks all start to sound the same after a while. Gilberto Gil recorded with this group in the early '70s.




Edmilson do Pífano
Soprando no Canudinho


01 – Forró de dois amigos (Edmilson do Pífano – Ratinho dos oito baixos)
02 – Forró em menor (Edmilson do Pífano)
03 – Arrasta pé no Asa Branca (Edmilson do Pífano)
04 – Xote gaucho (Edmilson do Pífano)
05 – Soprando no canudinho (Edmilson do Pífano)
06 – Forró na casa grande (Edmilson do Pífano)
07 – Ema chorosa (Edmilson do Pífano)
08 – Xaxado com o pé (Edmilson do Pífano)
09 – Marchinha das coroas (Edmilson do Pífano)
10 – Menina dengosa (Edmilson do Pífano)

here + a lot more :)


Soprando No Canudinho

Mangroove 199.002.068 (1997)

Edmilson’s pífano - keyless transverse metal flute - with that distinctively South American breathy “flarp” intonation in a lively but very short (24 min) set of his own north-east Brazilian dance music compositions, over nippy accordion, guitar, “tacca-tizza” triangle with bass drum. Very little info on the single-sheet CD insert.

© 1999 Andrew Cronshaw

What Andrew forgot to mention, this music is pure fun :)


“Pífano, pífaro e pife são a mesma coisa. Um instrumento de influência indígena feito de taboca, uma espécie de bambu, com sete orifícios, um para soprar e seis para dedilhar.”

“As maiores características do tocador de pife é ser humilde e não entender nada de música. Faz por pura intuição e inspiração. Edmílson do Pífano, um dos maiores tocadores que eu conheço, me disse que fazia música no ônibus, quando viajava e via as músicas passando pela janela.”
“Filho de uma família onde todos tocam pífano, ele se destaca por suas composições lindas e ingênuas, de grande valor musical e as vezes dificílimas de se tocar em tal instrumento”



Pifarinha - De Coco a Barroco


01. O Sertão da Farinha Podre – Vacão
02. Maria dos Cutango – Vacão
03. Frevo Inca – Christiano Rodrigues
04. Garnizé – Glayson Arcanjo
05. Taí de Enxada – Vacão
06. Jegue do Cerrado – Vacão
07. Penitentes – Vacão
08. Moça do Alambique – Vacão
09. De Coco a Barroco – Vacão
10. Alcova da Besta Fera ou Romance Medieval – Vacão
11. Lasqueira pra João e Maria – Vacão Bônus
12. Pequeno Dicionário das Grandes Coisas (parte II) – Luiz Salgado
13. Cumeno com Farinha – Christiano Rodrigues


Vacão (pífanos, flauta transversal e rabeca).
Dino Naza (caixa clara, triângulo e efeitos)
Márcio cachaça (pandeiro, triângulo, djembê e efeitos)
Glayson Arcanjo (Zabumba, Alfaia, Tambor do divino e efeitos)
Giancarlo (Pífanos e flauta transversal)
Xande Tannús (violão e contrabaixo)

Drinking from the clearest source of traditional Brazilian music group Pifarinha breaks the silence, sometimes medieval, sometimes contemporary, plays a game of identities in search of space in the inset of hegemonic and troubled music industry.

Taking advantage of devices that seek to touch the imagination of the viewer, the group presents themes in the simplicity of the people and the elements of nature, so getting the merit of providing the listener to enjoy music in a less disposable way, making it more humane and sensitive to the things in the world.
The group began in June 2004, at the time formed by four art students of the Federal University of Uberlandia - Vacão fife and fiddle, tambourine and Márcio Cachaça pandeiro and effects, Dino Naza clear box and effects Glayson Archangel on drums and percussion. The band now has significant shows in the alternative scenario, has participated at the 40th winter festival, UFMG, held in the historic city of Diamantina, and projects such as Art on the Square in partnership Network Mining and TV University / UFU, Jambolada - Festival Independent Music, Popular Culture Week, organized by SESC-and Calourada Uberlândia Federal University of Uberlandia.

After three years of research, Pifarinha released his first CD titled "From Baroque to Coco" composed of 12 original songs, a synthesis of traditional Brazilian music, an invitation to the origins of our culture. The recording of the CD has resources of Municipal Law for the Encouragement of Uberlandia and Culture was launched in two performances at the Teatro Municipal Pacheco, Uberlândia in June 2007.

translation: google as usual :)



João Do Pife
and the Banda De Pífanos Dois Irmãos
Flute and Drum Music from Northeastern Brazil
Flutes from Brazil

01. José Feliciano "Zé Gago" - Caboclinho 3.20
02. Saudade do Mestre Zé do Estado xote "Remembering Master Zé do Estado" 3.11
03. João do Pife - Cajueiro baião "Cashew nut tree" 3.41
04. traditional - Bendito de São Sebastião bendito de procissão 2.16
05. João do Pife - Chorinho de Pife 3.38
06. Derruba Bévados baião "Drunkard's stumbler" 3.06
07. traditional - A Luta do Cachorro e a Onca, "The fight between the tiger and the hound" 4.47
08. Sebastião Lianes - Bom Tocador animando a festa arrastapé, "The good player enlivening the feast" 3.03
09. Sebastião Rodrigues - Cabecinha de Pombo ranchera, "Pigeon's head" 3.18
10. Severino Alfredo dos Santos - Baião de Zambumba baião 4.00
11. Forró pé de serra forró 2.43
12. João do Pife - Saudades da Bahia arratapé, "Remembrance of Bahia 4.47
13. traditional - Marcha da Novena march, "March of the novena" 2.13
14. Voltando a Recife frevo, "Coming back to Recife city" 6.07
15. Severino Alfredo dos Santos - Chorinho da Viagem 3.27
16. Anildo de Almeida - Feria de Caruarú chachado, "The Caruarú market" 2.54
17. Manuel Antonio 'Bigodiho'Saudades do meu Pai valsa, "Remembering my father" 3.31
18. traditional - São João do Carneirinho baião forrozado 4.58

João Alfredo Marcos dos Santos, flute
Severino Alfredo dos Santos, flute
Manuel Antônio da Silva, tarol
Sebastião Feliciano Rodrigues, zabumba
José Feliciano Rodrigues Filho, pratos
Jesson Rodrigues de Moura, surdo

Produced by Robin Broadbank and Ricardo Canzio.
Recorded: September 9th 1995 at the Sitio Chambá in Riacho das Almas near Caruarú (Pernambuco), Brazil. 
From deep in the Brazilian countryside in Pernambuco comes a band of flutes and drums whose music is quite unlike other forms of native folklore.
The instrumentation and variety of repertoire is unique, with music to celebrate processions and feasts, religious and social events as well as traditional dances.
"Eu faço pife, toco pife, vendo pife
Como o dinheiro do pife
Depois de velho fico pifado"
João do Pife (“Estou Pifando”)
Banda de pífanos.

A banda é formada por João Alfredo Marcos dos Santos, o João do Pife no primeiro pífano, Severino Alfredo dos Santos, no segundo pífano, Manoel Antônio da Silva no tarol, José Feliciano Rodrigues Filho nos pratos, Sebastião Feliciano Rodrigues na zabumba e Jesson Rodrigues de Moura no surdo, naturais da cidade de Caruaru, PE.

Anteriormente chamada de "Terno de zabumba", a banda foi fundada em 1928 por Alfredo Marques dos Santos. Em 1980, passou a ser dirigida por seus filhos João Alfredo, o João do Pife, nascido em 1942, e Severino. Adotou, então, o nome de Banda de Pífanos Dois Irmãos.

Os irmãos começaram a tocar ainda crianças, acompanhando o pai em procissões dos pagadores de promessas. Nessas ocasiões, tocavam marchinhas, valsas e rezas.É atração tradicional da Feira de Caruaru, onde João do Pife, que também se dedica à atividade de construção civil, vende artesanato e pífanos por ele produzidos.

Em julho de 1997, a Banda de Pífanos Dois Irmãos, apresentou-se com o instrumentista Zé da Flauta no Central Park, em Nova York. No ano seguinte, apresentou-se durante a programação especial de Semana Santa em C aruaru.Em 1999, a banda foi atração do bloco "Espeín Pá Barbiá", que desfilou nas ruas de Olinda durante o carnaval, tocando o frevo pernambucano ao som de pífanos.

Em 2000, a banda apresentou-se em Recife durante o Festival "Pernambuco em Concerto", produzido pela África Produções com o apoio do Ministério da Cultura e da Prefeitura da Cidade do Recife, com a participação de 13 grupos. Durante o festival foi lançado um CD com os participantes, no qual a banda de Pífanos Dois Irmãos interpreta "A briga do cachorro com a onça", de domínio público. Foi também gravado um vídeo distribuído para secretarias de cultura e produtores do Brasil e da Europa. Ainda nesse ano, participaram do X Festival de Inverno de Garanhuns, em Pernambuco.

Em 2002, a banda gravou seu primeiro CD com baiões, chorinhos e forrós. Nesse ano viajaram a São Paulo, convidados por um grupo de médicos de Caruaru radicados na capital paulista e que pagaram todas as despesas apenas para ouvi-los tocar.

Em 2003, a banda tocou no carnaval de Recife acompanhando o desfile do Bloco do Guaiamum Treloso, que sai do bairro de Casa Forte, um dos mais antigos da cidade, juntamente com o Maracatu Rural Leão Misterioso, de Nazaré da Mata. Nesse ano, apresentaram-se em Recife durante os festejos juninos.

A banda já gravou diversos discos e se apresentou em 27 países.



Rão Kyao con Ketama
Delírios Ibéricos



01.Vozes No Deserto 7:40
02.Água De Fogo 5:43
03.Amor Cantado 5:05
04.Lamento Andaluzo 3:38
05.Delirios Ibéricos 7:30
06.Soledades y Saudades 7:18
07.De Copas Con La Dama 5:39
08.Canto Das 1001 Notas 3:30
09.Amor Sentido 3:30
10.No Planalto 5:42
11.Normalmente 6:04
Since his early days João Ramos Jorge loved music. When a child, he was in various choir groups. Then, he started to study bambu flute and saxofone.

In the seventies he made part of two bands, called Status and The Bridge. Then he goes to France, where, during two years, he plays with great names of jazz and ethnical music.

He iniciates his studies in Indian music, which, along the Arabic music, are on the basis of Portuguese traditional music. Those influences would be a strong mark in all his career, creating a unique style in the Portuguese music panorama.

Malpertuis, his first album, was well aclaimed by public which hepled to consider him an important instrumentist and composer. Bambu , released in 1977, confirmed that: critics considered it the best Portuguese music album of that year.

He's invited to play in Yatra International Jazz Music Festival, in India. After that he starts to live in Bombay, to get a better knowledge of bansuri (a flute) playing style. Goa is the result of that learning experience. In 1980 he records a live jazz album, Live at Cascais, at the International Jazz Festival (Cascais Jazz, in Lisbon).

1983 marks a turning point, not only in his career, but in Portuguese music as well. Fado, the traditional urban style of music, a strong influence, leaded him to record Fado Bailado, which turned to be the first Portuguese music album to achieve the Platinum mark.

In 84 he goes to Macau where he's invited to write a work that reflects the presence of Portugal in that territory. The result was Macau, o Amanhecer. In that same year is released Estrada da Luz, which reached, once again, the Platinum mark.

1986 is the time of Oásis, which was Gold. In the end of this year he goes on tour in Brazil, country where he will record Danças de Rua. This album, released in Europe, USA and Japan, reflects a Brazilian percussion style (from "Nordeste" region). It reached Gold.

The Portuguese folk is well represented in his following album, Viagens na Minha Terra (translated: "Voyages in my land"), released in November.

In 1992, along with Ketama, he records a very rich album, "Delírios Ibéricos", in which the bridge of Flamenco and Portuguese music is straight. A record with those characteristics hadn't been made before, ever.

1999 was the last year of Portuguese adminstration over Macau, now part China. Macau - Junção is a record to mark the fact, a dialogue between Kyao flutes and the Macau Chinese Orchestra (conducted by Wong Kyn Wai).

The musician keeps on his approchings to Arabic, Indian, African and Portuguese music. During his large career he was invited to play with many artists, and his name figures in various records of Portuguese musicians...




Carlos Zens - Arapuá no Cabelo


01. Arapuá No Cabelo
02. Caixão De Gás
03. Cocorote
04. Ranchinho De Paia
05. Saxofone, Por Que Choras?
06. Do Espinho Nasce A Rosa
07. Calango Da Praia
08. Moinho De Pedra
09. Saudade Inxirida
10. Meu Agreste
11. Ceará-mirim
12. Coco De Canguleiro
13. Poema De Amor
14. Ribeira Do Passado
15. São João De Mossoró
Carlos Zens (born Carlos Alberto de Freitas in 1965) comes from Natal, the northeastern capital of the state of Rio Grande do Norte. Prior to Fuxico de Feira, he also released two independent albums: Potyguara (1996) and Carlos Zens o Tocador de Flautas (2001). Singer, composer, arranger and multi-instrumentalist, Zens has made the flute his instrument of choice. Think of Zens as a well-balanced mixture of Joaquim Callado, Pixinguinha, Altamiro Carrilho and several other Brazilian masters of the flute. Zens studied with Wascily Simões and Sando (former member of Quinteto Violado) and received his music degree from the Institute of Arts of the State University of São Paulo (UNESP). He is now a member of the Symphonic Orchestra of Natal and also teaches flute at Solar Bela Vista.

...Zens is a man who wins an audience with his simple manners. That is also noted in his original music. His music is inspired by the things in his life, his neighborhood, his hometown.

Carlos Zens - foto: Alex Fernandes - vert
Carlos Zens
Potiguar, compositor, cantor e instrumentista da flauta, imerso na música constrói sua história com maestria nestes quase 30  anos  de carreira. É daqueles músicos nato que nasceu para música, porque não dizer “nasceu para tocar flauta” e fez dela sua profissão e expressão de vida.  

Seu compromisso em preservar as raízes da Flauta Brasileira tem despertado elogios de grandes músicos nacionais como o maestro ANTONIO MADUREIRA,  do Flautista DANILO CAYMMI, do compositor FERNANDO FILIZOLA ( ex-Quinteto Violado ) e do Multi-instrumentista HERMETO PASCOAL, que reforçam  seu talento, seu trabalho de compositor e pesquisador deste instrumento.

Como professor de flauta já atuou em projetos de educação no campo da cultura como FDE - São Paulo e Conexão Felipe Camarão – ONG TerrAmar – Natal-RN. Atuaumente é professor de flauta e pífano no CMAI – Centro Municipal de Artes Integradas da Fundação Capitânia das Artes e flautista da Banda Sinfônica da cidade do Natal-RN  




Steel Band

All the Best of the 
West Indies Steel Band


1. Carnival
2. Melodies
3. Bamboo Stick
4. Mambo Mama
5. Island Home
6. Limbo
7. Sounds of the Sun
8. Rhythm
9. Trinidad Home
10. Flag Woman
11. Wings of a Dove
12. Endless Vibrations
13. Yellow Bird
14. Eine Kleine Nacht Musik in Calypso Rhythm
15. Wedding March
16. Amazing Grace in Reggae Rhythm
17. Marianne/Mathilda in Medley [Medley]
18. Perdoname
19. Jamming

Steelpans (also known as steel drums or pans, and sometimes, collectively with musicians, as a steel band) is a musical instrument originating from Trinidad and Tobago. Steel pan musicians are called pannists.

The pan is a chromatically pitched percussion instrument (although some toy or novelty steelpans are tuned diatonically), made from 55 gallon drums that usually store oil. In fact, drum refers to the steel drum containers from which the pans are made; the steeldrum is correctly called a steel pan or pan as it falls into the idiophone family of instruments, and is not technically regarded as a drum or membranophone. The pan is struck by a pair of straight sticks tipped with rubber; the size and type of rubber tip is unique to the class of pan being played. Some musicians use four pansticks, holding two in each hand. This skill and performance has been conclusively shown to have grown out of Trinidad and Tobago's early 20th century Carnival percussion groups known as Tamboo Bamboo. Pan is the National Instrument of Trinidad and Tobago.

With the mass exodus of French Creoles from Martinique  to Trinidad, the steelpan evolved from a communication device to the musical instrument it is used as today. Drumming was used as a form of communication among the enslaved Africans and was subsequently outlawed by the British colonial government in 1783. African slaves also performed during Mardi Gras celebrations, joining the French that had brought the tradition to the island.  The two most important influences were the drumming traditions of both Africa and India. The instrument's invention was therefore a specific cultural response to the conditions present on the islands of Trinidad and Tobago.

The first instruments developed in the evolution of steelpan were Tamboo-Bamboos, tunable sticks made of bamboo wood. These were hit onto the ground and with other sticks in order to produce sound. Tamboo-Bamboo bands also included percussion of a (gin) bottle and spoon. By the mid-1930s, bits of metal percussion were being used in the tamboo bamboo bands, the first probably being either the automobile brake hub "iron" or the biscuit drum "boom". The former replaced the gin bottle-and-spoon, and the latter the "bass" bamboo that was pounded on the ground. By the late 1930s their occasional all-steel bands were seen at Carnival and by 1940 it had become the preferred Carnival accompaniment of young underprivileged men. The 55-gallon oil drum was used to make lead steelpans from around 1947. The Trinidad All Steel Percussion Orchestra (TASPO), formed to attend the Festival of Britain in 1951, was the first steelband whose instruments were all made from oil drums. Members of TASPO included Ellie Mannette and Winston "Spree" Simon. Hugh Borde also led the National Steel Band of Trinidad & Tobago at the Commonwealth Arts Festival in England, as well as the Esso Tripoli Steel Band, who played at the World’s Fair in Montreal, Canada, and later toured with Liberace and were also featured on an album with him.

Steelband Invaders wearing their instruments hung around their necks - « Pan around the neck », at the beginning of the 1950’s.


Mexericos Da Rabeca

Duo Bem Temperado
Mexericos Da Rabeca
José Eduardo Gramani & Patricia Gatti

Cântaro 001 - 1997


1. Ao Coco do Riachão (José Eduardo Gramani)
2. Dobradinho (José Eduardo Gramani)
3. Seresta (José Eduardo Gramani, Ana Salvagni)
4. Sereno (José Eduardo Gramani)
5. Ana Terra (José Eduardo Gramani)
6. Morena (José Eduardo Gramani)
7. Das flores (José Eduardo Gramani, Ana Salvagni)
8. Modinha (José Eduardo Gramani)
9. Melodia (José Eduardo Gramani)
10. Calanguinho (José Eduardo Gramani)
11. Mel poema (José Eduardo Gramani)
12. Forró da Ferdinanda (José Eduardo Gramani)
13. Mexericos da rabeca (José Eduardo Gramani)
14. Carinhosa (José Eduardo Gramani)
15. Rancheira (José Eduardo Gramani)
16. Banhão-nhão (José Eduardo Gramani)
17. Além de Olinda (José Eduardo Gramani)
José Eduardo Gramani (1944–1998) was a violinist, fiddler, composer, conductor, musical scholar, and professor at the Universidade de Campinas (Unicamp). He was one of the foremost authorities on the Brazilian fiddle (rabeca) in its mutitudinous forms.
As a composer, Gramani dedicated his work to the rescue of the Brazilian musical heritage, especially that of the rabeca, a traditional Brazilian fiddle.

Gramani founded various musical ensembles that survive him, performing disparate styles of music. One of these is the vocal-instrumental group Ânima, which specializes in early music. Another is the trio Carcoarco, whose music is produced via a mind-boggling array of violins, rabecas, and percussion instruments.

Em 1995 José Eduardo Gramani, violinista e professor de Rítmica da UNICAMP, apresentou à FAPESP (Fundação de Amparo à Pesquisa do Estado de São Paulo) um projeto de pesquisa chamado "Rabeca, o som inesperado". Seu objetivo era documentar o processo de construção das rabecas de Martinho dos Santos (Morretes- PR), de Julio Pereira (Paranaguá- PR), de Arão Barbosa (Iguape- SP) e de Nelson dos Santos (Marechal Deodoro- AL). Além da pesquisa, o projeto previa o lançamento de um livro e um cd. Parte da pesquisa foi financiada pela FAPESP e aconteceu em Morretes e Paranaguá entre fevereiro e março de 1996, e em Iguape e Marechal Deodoro em julho de 1997. Gramani contou com a ajuda preciosa de Ana Salvagni durante toda a pesquisa e registrou através de fotos, gravações em DAT e K7 e filmagens em VHS, a construção e utilização dessas rabecas. Infelizmente Gramani faleceu antes de escrever sobre os dados por ele coletados, nos deixando um material fotográfico belíssimo, todo o processo de feitura registrado, mas apenas alguns pequenos textos escritos (todos publicados no livro).


Rabeca-A 16th-century Portugues violin that has been used continuously in northeastern Brazil and is common in the folk music of Pernambuco.
“A rabeca é um instrumento. Não é uma imitação de instrumento. Não é um violino mal acabado. NÃO! A rabeca é outro instrumento.” A frase do músico e professor José Eduardo Gramani é o ponto de partida para uma importante pesquisa que realizou sobre o instrumento no final da década de 90. O projeto, interrompido pela morte do pesquisador, procurava investigar uma rica fração do universo musical brasileiro, acompanhando o trabalho de quatro construtores de rabeca, de regiões diferentes e com características artesanais distintas.


Mestre Salustiano

Mestre Salustiano
Sonho da Rabeca
1. Coco de Manoel
2. Pimenta na Brasa
3. A Pata Piou
4. Toada de Cavalho-Marinho
5. Esse Coco é Bom
6. Arretação
7. Mateus e Catirina
8. Bota o Cachorro no Mato
9. Macaco Ensaboado
10. Salu na Rabeca é Bom
11. Cirandas
12. Mané Corta o Pau na Mata
13. Maracatu
14. Maracatu Rabecado

Date of birth : 12 November 1945, Aliança, Pernambuco, Brazil
Date of death : 31 August 2008, Recife, Pernambuco, Brazil (cardiac arrhythmia)

"Mestre Salustiano: Sonho da Rabeca. Northeastern Brazil has a tremendous fiddling tradition and Mestre Salustiano was among the greatest. This CD is a marvelous collection of cocos, forrós de pé de serra, toadas de Cavalo Marinho and maracatus." maria-brazil




Nelson da Rabeca

Nelson da Rabeca E Dona Benedita
Segredo das Árvores


01 Segredo das Árvores 1º Parte
02 Panavueiro da Rabeca
03 Eu Vou Chegando
04 Eu Aprovei no Canecão
05 Estava Num Campo de Areia
06 Forró pra Zé
07 Forró Bem Pisado (improviso)
08 Forró Maluco
09 Segredo das Árvores
10 Pra Vanessa
11 Cachaça Boa
12 Forró do Breque
13 De Nelson Rabeca Para Tião Marcolino
14 A Saudade é Companheira
15 Alegria da Rabeca
16 Baliciê
17 Pense Meu Filho no Que Você Vai Fazer
18 Acompanhado do Acordeon de Meu Amigo Tião
19 Jovelina
20 Bem-Ti-Vi
Nelson dos Santos, known as Nelson da Rabeca (Joaquim Gomes, March 12, 1929), is a fiddler, accordionist and composer in Brazil. Like his family, his principal occupation has always been agriculture, particularly the farming of sugar cane. Married Benedicta , has ten children. Without having attended school, therefore, unable to read, and from an unprecedented musical family, he learned to play fiddle alone, around the age of fifty.

Setteled in Marechal, Alagoas, along with work in agriculture, he plays violin and composes baiões, xotes, marches and forró pé de serra. He also plays accordion. He started building violins in the 1970s, reaching renowned originality and perfection in the letter that he taught himself by following a process of experimentation to get a result that would satisfy him. For his work, he researched different woods, aiming at the beauty and sound results from the instrument. His favorite wood is jackfruit which he said "besides being beautiful and it gives a good sound, never ends." 
With the refinement of his work as composer, instrumentalist and especially as a builder of violins, he became known in the community of Marechal Deodoro, but it was the search of  José Eduardo Gramani, who won recognition not only in Alagoas, but also for scholars in various parts of Brazil. Gramani, when in contact with the first fiddle of Nelson was so impressed with the means of musical expression with its rich timbre and he felt inspired to compose several themes that have become specific parts for that fiddle. These parts were recorded on a CD in 1994.
In 1998, aiming to strengthen this recognition, the "Association of Friends of Nelson's Rabeca" was founded  led by artists, intellectuals and cultural Alagoas, who see him as one of the legitimate representatives of popular culture and Alagoas who voluntarily promote the artwork. A number of musicians and researchers, certifying the quality of the instruments of Nelson, have recorded their admiration and respect to him, musicologist Wagner Campos, said about him: "Mastering all processes of your musical art, cutting wood, moving for all the specific steps of the construction of each of the instruments, to the creation and interpretation of his own compositions, his work supported Nelson in a secular wisdom, representing the culmination of ancient knowledge brought in the luggage of the colonizers, reducing distances between past and present, tradition and actuality. "

translation: google :) as usual

Seu Nelson e Dona Benedita na casa sonhada



Zé Coco do Riachão

LP Brasil Puro (1980) Rodeio/WEA
LP Zé Coco do Riachão (1981) Rodeio/WEA
LP Vôo das Garças (1987) Rima
Zé Coco do Riachão

José dos Reis Barbosa dos Santos
1912 Brasília de Minas, MG
13/9/1998 Montes Claros, MG
Instrumentalist. Composer. Accordionist. Manufacturer of fiddles. Created in the town of Riachão, where he was born on the banks of the river that bears the same name, at the confluence of the cities of Mirabela and Brasília de Minas, in the São Francisco Valley. His father was a maker and player of guitars. At the time of his birth, he spent a merry-of-kings, and he was consecrated by the mother to the holy kings, so "the Kings" registered.

Ze Coco made clear his devotion to the Holy Kings, and always introduced himself as Jose Reis Barbosa dos Santos. Hearing his father play since he was born, at age 8, was playing guitar that he learned to do. He was a joiner, carpenter, blacksmith, shoemaker, maker gates of ingenuity, ox cart, corral strip, wheel rolling cassava, but what became known, even internationally, was the excellence of the instruments which produced and played: viola, guitar, mandolin and fiddle. At twenty, he took the small instruments factory from his father.

Born in northern Minas Gerais, where the cultural influence of quilombos was and is very strong, he made his name in his region, but only had national recognition with almost 70 years of age. He recorded three albums in the 80s, that were not enough to save him, he died in poverty.