La Fusion

Sea of Rhythms
Le Bain D'Or



1. Le Bain d'Or, Pt. 1
2. Po Mwin Bondye
3. Le Bain d'Or, Pt. 2
4. Le Loup

From Reunion Island:
Filip Barret: Bass
Danyel Waro: Vocals

From Tamil Nadu:
S.Balachandran: Vocals
A.R.P.Ganesan: Nadaswaram
M.S.Kalyanasundaram: Tavil
G.Muralikrishan:Tabla, Konnokol
V.Muruganandan: Violin
S.Sethuraman: Kanjira
J.Sowrirajan: Morsing



The somewhat obscure CD by Filip Barrett and Danyel Waro's Sea of Rhythms ensemble, Le Bain d'Or, combines Indian nadaswaram flutes, electric bass, tavil, tabla and mridangam drums with vocals and violin for another example of highly dynamic, melodic music. Again, it was only the music which was present in the room and one needed just a little imagination to sit in the half circle of musicians playing there right in front of us on the floor.
 The essential bastard nature of La Reunion is something that Waro endorses with insistent zeal throughout our various conversations. The island is without doubt a miniature rainbow ‘nation’ with a scrabble-ready collection of richly hued Creole words to describe its various ‘tribes’; kaf (black African, from Arabic kafir meaning ‘unbeliever’), Malbar (anyone of central Asian descent, after the Malbar coast, where the first Indian arrivals on the island came from), yab or ti blan (small time poor white farmer), Malgache (anyone from Madagascar), Komor (anyone from the Comoros), Sinwa (Chinese), Zarabe (Arab or Muslim) and Zoreil (wealthier French landowning or administrative class).  The fact that all these ethnic groups coexist on their tiny island in relative peace, each with their own faiths, rituals, feast days, music and food, at times separate, at times combining and mingling, is astonishing. It reveals a shared sense of belonging and destiny that Danyel Waro holds in deep affection and praises in his music time and again.


Fujara, fujara...

Fujara, fujara...


01 - Ján Palovič - Poniky
02 - Martin Ľupták-Sanitrár - Kováčová
03 - Imrich Weis - Hriňová-Zánemecká
04 - Ondrej Macko - Banská Bystrica
05 - Juraj Ďurečka - Očová
06 - Juraj, Martin a František Kubincovci - Utekáč
07 - Ondrej Barla - Podkonice
08 - Karol Kočík - Zvolen
09 - Ján Hanuska - Detva
10 - Ľubomír Párička - Martin
11 - Pavel Bielčik - Kokava nad Rimavicou
12 - Pavel Hudec - Stará Huta
13 - Jozef Ďurica - Dúbravy-Hradná
14 - Peter Paciga - Vígľaš
15 - Milan Katreniak - Tisovec
16 - Jaroslav Spodniak - Zvolen
17 - Anton Ľupták - Veľký Krtíš
18 - Jozef Libjak - Lutila
19 - Juraj, Martin a František Kubincovci - Utekáč
20 - Svetozár Stračina - Zvučka FPS Detva




 Fujara is a 6-feet-long rare folk Slovak musical instrument from 12. century. It looks like a large flute with 3 side holes and a parallel smaller tube, which supplies air to the top of the flute. Cherished in the seclusion of Slovakian mountains by shepherds, the fujara and its rich spectrum of healing overtones were preserved over the centuries. Until recently the fujara was not known outside of Slovakia, where only a small number of traditional musicians play the instrument, and a handful of craftsmen there can make one. But now people all over the world are discovering beauty and unique qualities of fujara, and there is growing number of fujara players…

you might want to buy this and other cd's here : )


The Didgeridoo

Phillip Peris



1. Gone Walkabout
2. Rainbow Heartbeat
3. Bunyip Calling
4. Down By The Billabong
5. Under The Shade Of A Coolabah Tree


Phillip Peris (didgeridoo)
Tran Quang Hai (vocals) 3+4


 Born in 1964, Phillip Peris grew up in Western Australia. That is where he discovered the Didgeridoo and where he bengan an initiation with the aboriginal people. In 1988, when he moved to London, he began to perform numerous concerts in England and later toured ion the European, African and American continents. He was one of the first to propose Didgeridoo recitals, and the first master classes for this instrument. 

Phillip Peris' Didgeridoo - a moving CD
By Larry Iwan "Larry I"

Phillip Peris is a master of tonality and tempo. He plays with love, wisdom and great feeling. The first two tracks on this CD are long solo journeys. Phillip plays didj and clapsticks. He moves gracefully between slower and faster tempos, accenting the shifting mood with changes in tonality and adding vocalizations exactly when they are appropriate.

He is accompanied on the third and fourth tracks. The third has some exciting percussive rhythm from an instrument that is not familiar to me. There is a harmonic singer or "throat singer" on track four. If you have never heard this, be prepared for a wonderful surprise. Track five is a short "farewell" improvisation that makes the listener wish he had another Phillip Peris CD loaded to play in the next slot.

I have a large collection of didjeridu recordings. This is surely one of my favorites. 
The didgeridoo (also known as a didjeridu) is a wind instrument developed by Indigenous Australians of northern Australia around 1,500 years ago and still in widespread use today both in Australia and around the world. It is sometimes described as a natural wooden trumpet or "drone pipe". Musicologists classify it as a brass aerophone.

There are no reliable sources stating the didgeridoo's exact age. Archaeological studies of rock art in Northern Australia suggest that the people of the Kakadu region of the Northern Territory have been using the didgeridoo for less than 1,000 years, based on the dating of paintings on cave walls and shelters from this period.  A clear rock painting in Ginga Wardelirrhmeng, on the northern edge of the Arnhem Land plateau, from the freshwater period shows a didgeridoo player and two songmen participating in an Ubarr Ceremony.

A modern didgeridoo is usually cylindrical or conical, and can measure anywhere from 1 to 3 m (3 to 10 ft) long. Most are around 1.2 m (4 ft) long. Generally, the longer the instrument, the lower the pitch or key of the instrument. However, flared instruments play a higher pitch than unflared instruments of the same length.


The Nadaswaram

Nadaswaroopam G. Ramesh
Reverberations Vol 3



01. Mallari
02. Sri Chakraraja
03. Govardhana
04. Bhagyada Lakshmi
05. Maname Kanamum
06. Raghupathy
07. Abheri - Fusion
08. Thamarai pootha
09. Nadabindu
10. Brahmamokate
11. Harivarasanam




Mr.  Nadaswaroopam G. Ramesh is from Chennai, so he knows how to play the Nadaswaram very well. His music is not classical carnatic music. They call it fusion. And I am posting it for the sound of the Nadaswaram which I love. If you like it too go check one of these many classical Indian blogs... : )

The nadaswaram, nagaswaram, nadhaswaram or nathaswaram, (Tamil: நாதஸ்வரம்) is one of the most popular classical musical instruments in Tamil Nadu and the world's loudest non-brass acoustic instrument. It is a wind instrument similar to the North Indian shehnai but much longer, with a hardwood body and a large flaring bell made of wood or metal.

In South Indian Hindu culture, the nadaswaram is considered to be very auspicious, and it is a key musical instrument played in almost all Hindu weddings and temples of the South Indian tradition. It is part of the family of instruments known as mangala vadya (lit. mangala ["auspicious"], vadya ["instrument"]). The instrument is usually played in pairs, and accompanied by a pair of drums called thavil; it can also be accompanied with a drone from a similar oboe called the ottu.


The nadaswaram contains three parts namely, kuzhal, thimiru, and anasu. It is a double reed instrument with a conical bore which gradually enlarges toward the lower end. The top portion has a metal staple (mel anaichu) into which is inserted a small metallic cylinder (kendai) which carries the mouthpiece made of reed. Besides spare reeds, a small ivory or horn needle is attached to the instrument, and used to clear the reed of saliva and other debris and allows free passage of air. A metallic bell (keezh anaichu) forms the bottom end of the instrument.

Traditionally the body of the nadaswaram is made out of a tree called aacha although nowadays bamboo, sandalwood, copper, brass, ebony and ivory are also used. For wooden instruments, old wood is considered the best, and sometimes wood salvaged from demolished old houses is used.

The nadaswaram has seven finger-holes, and five additional holes drilled at the bottom which can be stopped with wax to modify the tone. The nadaswaram has a range of two and a half octaves, similar to the Indian bansuri flute, which also has a similar fingering. Unlike the flute where semi and quarter tones are produced by the partial opening and closing of the finger holes, in the nadaswaram they are produced by adjusting the pressure and strength of the air-flow into the pipe. Due to its intense volume and strength it is largely an outdoor instrument and much more suited for open spaces than indoor concerts.

and a big hello to Chennai : )


no vocals...

Fujarové nôty (bez spevu)
Fujara Tunes (no vocals)



01. Daniel Mudrak - Sanoval sa vtak vtakovi
02. Michal Filo - Takie sa tie hory
03. Lubomir Paricka - A ja tak, a ja tak
04. Pavel Bielcik - Rozohra - Bodaj skäzu vzali - Hrmelo, prsälo
05. Marian Plavec - Precoze ma môj baca klial, Nelejte, nelejte
06. Pavel Bielcik, Martin Kubinec, Jan Krotak - Rozfuky - Pomaly, ovecky
07. Pavel Bielcik - Svietila zornicka
08. Jan Krotak - Rozfuk - Bodaj skazu vzala - Pust ma, baca
09. Lubomir Paricka - Fujera, fujera
10. Marian Plavec - Ked sme vysli na Polanu
11. Jan Kulfas, Michal Filo, Daniel Mudrak - Kamarati moji - Zlapali Janika
12. Jan Krotak, Martin Kubinec - Na vrch na Polane
13. Jan Kulfas - Precoze ma môj baca klial
14. Lubomir Paricka - Môj otec bol dobry pytliak
15. Jan Kulfas, Michal Filo, Daniel Mudrak - Fujarove ozveny
16. Roman Malatinec - Vysli chlapci, vysli
17. Jozef Sulaj - Otec môj, otec môj
18. Milan Rusko - Pust ma, baca
19. Michal Palko - Rozfuk a odzemok
20. Jan Cerovsky - Spoza vrch Polany
21. Tibor Koblicek a Datelinka pod vedenim Ondreja Molotu - Keby ja bol vedel - Nelejte, nelejte


 Fujara is a typical Slovak folk music instrument. Its origin is in the Podpolanie region. It is an awesome overtone flute of four to seven feet in length made from wood. Fujara is among the 43 new masterpieces designated as UNESCO heritage items on November 2005.

 F U J A R A

overtone bass flute

» simple (and) fascinating «

Fujara is over five feet (1.7m) long, deep-bass folk flute of Slovak shepherds. Cherished in the seclusion of slovakian mountains, Fujara preserved over centuries as simple as it was in the beginning. Fujara flute uniquely combines a natural, easy to learn playing technique and an amazing voice!

The Fujara, an extremely long flute with three finger holes played by Slovak shepherds, is regarded an integral part of the traditional culture of Central Slovakia. 
The main tube of the flute has a length of 160 to 200 cm and is connected to a shorter tube of 50 to 80 cm through which the airflow is channeled to the edge of the large bass flute. The sound is characterised by a special roughness, mainly in the high calling motifs and the “mumbling” sound of the deep registers. The melancholic and rhapsodic music is structured according to the content of the songs, related to the shepherds’ daily life and their work. The repertoire of the Fujara is based on melodies determined by the technical acoustic features of the instrument. The performance starts with a mixolydic “blow-up”, which indicatesthe start of a performance. The repertoire also consists of the sound of a stream, the gurgle of a wellspring and other sounds of nature imitated by the Fujara music. The Fujara is not just a musical instrument, but also an artefact of great artistic value due to its highly elaborate, individual ornamentation.

In the course of the nineteenth and twentieth centuries, the Fujara became known and appreciated beyond the shepherds’ use. Through festivals, the instrument played by musicians from the Podpol’anie region gained recognition and popularity throughout Slovakia. The Fujara is played at various occasions throughout the year, but mainly from spring to autumn, by shepherds and by professional musicians at festivals, namely in the cities of Detva, Dýchodná, Hel’pa, Kokava and Rimavicou.
During recent decades the role of the Fujara has changed from an everyday context to the performance at exceptional events, such as at festivals or in a private environment. The communist era and the political developments in the 1990s have caused significant social, cultural and economic changes. Young people especially have become increasingly estranged from traditional folk art. Despite a lack of support, individual initiatives have been trying to safeguard the Fujara instrument and its music.



Liberdade, Liberdade...

25 Sambas
Sambas Enredo de Carnaval


01. Dominguinhos Do Estácio - Liberdade, Liberdade
02. Dominguinhos Do Estácio -  Arte Negra Na Legendária Bahia...
03. Dominguinhos Do Estácio - Paulicéia Desvairada "70 Anos De Modernismo"...
04. Paulinho Mocidade - Minha Estrela Guia...
05. União Rio Samba Enredo - Zaquia Jorge...
06. União Rio Samba Enredo - O Segredo Das Minas Do Rei Salomão
07. União Rio Samba Enredo - Imagens Poéticas De Jorge Lima
08. Emílio Santiago - Kizomba, A Festa Da Raça...
09. Mauro Diniz with Monarco - Serrinha Custa, Mas Vem (Serra Dos Meus Sonhos Dourados)...
10. Conjunto Nota 10 - No Reino Da Mãe De Ouro
11. Conjunto Samba Livre - Bum Bum, Paticumbum Prugurundum...
12. Conjunto Samba Bom - O Mundo Melhor De Pixinguinha
13. Eliana De Lima - Quem Não Arrisca Não Petisca
14. Thobias Da Vai-Vai - O Negro Em Forma De Arte
15. Royce Do Cavaco - De Piloto De Fogão A Chefe Da Nação


Samba-enredo is a sub-genre of Samba in which songs are performed by a samba school (or escola de samba) for the festivities of Carnaval. "Samba-enredo" is the Portuguese equivalent of "samba in song", or "song samba". It is one of the 8 or even 10 different styles of samba music, which also include, the following sub-genres..

1) "Samba-Canção" 2) "Samba-Exaltação" 3) "Samba de Breque" 4) "Samba Partido Alto" 5) "Samba de terreiro or de quadra" 6) "Samba Choro, choriho, or chorão" 7) "Samba de Balanço"

Choosing a samba-enredo is a long and tedious process. Before the Carnaval parade itself ( February or March), a determined samba school holds contests for writing the song. The song is written samba composers from the samba-school themselves, ("Ala dos Compositores") or sometimes from outside samba-composers section, normally in "parcerias" ( partnerships). Each school receives many, sometimes hundreds of songs, hoping to be the next samba-enredo for that year. The samba-enredo is written by these numerous composers mentioned above ONLY after the Carnival Art Director, or "Carnavalesco" officially publishes the Samba school parade theme synopsis. After a careful explanation of the parade-theme, many times done by the Carnival Art Director himself, composers may ask questions in order to clarify the synopsis, so they could start writing the samba-enredos.

They select the song by process of elimination and usually end up somewhere between five and ten songs. Around this time, the "finalist samba-enredos" are played with music and are voted on by the leaders of the samba school and the carnavalesco—the director of the school for Carnaval.

After months of deliberation, the new samba-enredo is chosen and becomes the voice of the samba school for Carnaval. The samba-enredo must be well sung by the samba school's puxador (or singer) or the school will lose points for the scoring and judging for the Carnaval competition. The most important night in this process, is called the "final de samba", or samba final, when the samba school decided normally between 2 or 3 samba-enredos. While the puxador sings, everyone marching in the Carnaval parade must sing along with him. Harmony is crucial when singing the samba-enredo. This process normally happens in Brazil from August until November, and today is highly professionalized, with samba-composers hiring fans, producing CDs, banners, and parties to promote their samba-enredo. At the end of the process, there is obviously one samba-enredo song, and that´s what the samba school sings during its formal presentation at the Sambadrome. Important to note that the samba-enredo is one of the criteria used by the Judging committee to decide who is the winner of that specific carnival championship.



Aquarela Do Brasil

25 Sambas
Samba Exaltaçao

01. Erasmo Carlos - Aquarela Do Brasil
02. David Nasser - Alcyr Pires Vermelho - Canta Brasil
03. Grupo Fundo De Quintal - A Bahia Te Espera
04. Pocho E Seu Conjunto - No Tabuleiro Da Baiana
05. Nethy - Sampa
06. Dick Farney - Copacabana
07. Miltinho - Despedida De Mangueira
08. Simonetti E Sua Orquestra - Rio De Janeiro
09. Sambossa - Corcovado
10. Raul De Suza - Salve Da Bahia
11. Simonetti E Sua Orquestra - Na Baixa Do Sapateiro
12. Simonetti E Sua Orquestra - Saudades Da Bahia
13. Grupo Fundo De Quintal - Sou Flamengo, Cacique E Manquiera
14. Simonetti E Sua Orquestra - Bahia Com H
15. Dominguinhos Do Estacio - Caruso - Caramba - Arte Negra Legendaria Bahia
16. Conjunto A Voz De Morro - Exaltacia A Madureira
17. Almir Guineto - Salgueiro Divina Magia
18. Conjunto A Voz De Morro - Exaltacia A Mangueira
19. Dick Farney - Salgueiro De Sao Fransisco
20. Dorinha Freitas - Ave Maria
21. Roberto Luna - Bom Dia Cafe
22. Grupo Fundo De Quintal - Brasil Nago
23. André Penazzi - Samba Da Minhia Terra
24. Simonetti E Orquestra Rge - Madureira Chorou


Samba exaltação – sambas that praise the beauty and richness of Brazil....
Samba-exaltação é o nome de um gênero de samba surgido em 1939

O momento de inauguração deste estilo de samba menos rústico e mais sofisticado, exaltando as qualidades e a grandiosidade do país, foi a composição Aquarela do Brasil, do mineiro Ary Barroso. A primeira audição é a da diva Aracy Cortes, a quem Ary também deve a consagração de seu nome para o público e no meio artístico.

Um segundo momento de relevância para a consolidação do samba-exaltação foi a inclusão da canção Aquarela do brasil no filme de Walt Disney, Alô Amigos (Saludo Amigos), divulgando pela primeira vez ritmos nacionais para o mundo. O sucesso fez o mundo olhar com atenção para a música brasileira.

Caracterizado por composições "meta-regionais", o ufanismo observado nas composições exalta por assim dizer a cultura do país e não um folclore específico, constituindo o primeiro momento de exportação da música popular sem precedentes na história, apresentando as cores, a aquarela do país ao resto do mundo.
From the 1930s, the popularization of radio in Brazil helped to spread the samba across the country, mainly the sub-genres samba-canção and samba-exaltação.

The ideology of Getúlio Vargas's Estado Novo contaminated the scene of the samba. With Aquarela do Brasil, composed by Ary Barroso and recorded by Francisco Alves in 1939, the samba-exaltação had become the first success abroad. This kind of samba was characterized by extensive compositions of melody and patriotic verses. Carmen Miranda popularized samba internationally through her Hollywood films.
"Aquarela do Brasil" ("Watercolor of Brazil", also known in the English-speaking countries simply as "Brazil") is called the unofficial anthem of Brazil.

It will long continue to remain among the most noted  of Brazilian patriotic songs. This song marked the creation of a new genre, the Samba-exaltação (Exaltation Samba), which was adopted by the nationalistGetúlio Vargas dictatorship of Getúlio Vargas. With the rise of the Estado Novo, (New State) centralizing efforts accelerated with a government's quest for shared national identity and the selection of Afro-Brazilian culture as a critical component. With the passing of the Old Republic, too long controlled by entrenched powerful Sao Paulo coffee oligarchs, the new president Vargas became convinced that radio and live music programmers should give priority to Brazilian performers and a new national identity. 

Brasil, meu Brasil brasileiro,
Meu mulato inzoneiro,
Vou a cantar-te nos meus versos.
Ô Brasil, samba que dá
Ô Brasil do meu amor,


Vem Chegando A Madrugada

25 Sambas


01. Pocho E Sua Orquestra - Vem Chegando A Madrugada
02. Simonetti E Sua Orquestra - Madureira Chorou
03. Hector Costita - A Nega Se Vingou
04. Orquestra E Coro Rge - Os Quindins De Yaya
05. Cid Gray E Orquestra - Sofro
06. Erlon Chaves E Sua Orquestra - Balanco Zona Sul
07. Lagna Fietta E Sua Orquestra - Lobo Bobo
08. Sylvio Mazzucca E Sua Orquestra - Garota De Ipanema
09. Pocho E Orquestra - Eu Agora Sou Feliz
10. Orquestra E Coro Rge - Falsa Baiana
11. Simonetti E Orquestra Rge - Fita Amarela
12. Pocho E Orquestra - A Fonte Secou
13. Simonetti E Sua Orquestra - Se Acaso Voce Chegasse
14. Pocho E Orquestra Rge - Fechei A Porta
15. G Gagliardi E Orquestra - Chora Menino
16. Cid Gray E Sua Orquestra - Esse Seu Olhar
17. Pocho E Orquestra - Levanta Mangueira
18. Simonetti E Orquestra Rge - Morena Boca De Ouro
19. Don Junior E Orquestra Rge - Volta Por Cima
20. Simonetti E Sua Orquestra - Mulata Assanhada
21. Cid Gray E Sua Orquestra - Recado
22. Sylvio Mazzucca E Sua Orquestra - Samba Do Orfeu
23. Carlos Pipper E Sua Orquestra - Louca De Saudade
24. Erlon Chaves E Sua Orquestra - Acender As Velas





Samba De Verao

25 Sambas
Sambas Instrumentais


01. Paulinho Nogueira - Quem Te Viu, Quem Te Ve
02. Rosinha de Valenca - Consolacao
03. Manfredo Fest Trio - Samba De Verao
04. Luis Chaves e seu Conjunto - Influencia Do Jazz
05. Tenorio Jr. e seu Conjunto - Inutil Paisagen
06. Walter Wanderley e Conjunto de Ritmos - O Orvalho Ven Caindo
07. Oscar Castro Neves - Antes e Despois
08. Toquinho - So Tinha Que Ser Con Voce- Vivo Sonhando
09. Manfredo Fest - Mas Que Nada
10. Pedrinho Mattar - Balanco Zona Sul
11. Octeto de Cesar Camargo - Desafinado
12. Zimbo Trio - Garota De Ipanema
13. Sambossa - Corcovado
14. Paulinho Nogueira - Se Acaso Voce Chegaasse
15. Raul de Sousa - Dias De Lua
16. Raul Mascarenhas - Travessia
17. Manfredo Fest e seu Conjunto - Pra Que Chorar
18. Luiz Loy Quinteto - Meu Refrao
19. Sansa Trio - Minha Namorada
20. Sambalanco Trio - O Morro Nao Tem Vez
21. Toquinho - Marcha Da 4a Feira De Cinza- Sonho De Um Carnaval
22. Quarteto de Saba - Ceu E Mar
23. Paulinho Nogeira - Morana Boca De Ouro




Bonita Paixao

25 Sambas


01. Banda Raça Negra - Quero Ver Você Chorar
02. Bebeto - Segura Nêga
03. Bernadete - Farsa Do Amor
04. Senti Firmeza - Abre A Roda
05. Almir Guinêto - Só Sei Que Te Amo
06. Solange - Amor Infinito
07. Trockadilho & Banda Serena - História Para Historiador
08. Pedrinho Da Flor & Luiz Carlos - Bonita Paixao ♥
09. Leci Brandão - Esqueci Você
10. Grupo Um Toque A Mais - Nas Cores Da Paixão
11. Elson - Coisa Gostosa
12. Grupo Cheio De Graca - Lá Vem O Negão
13. Eliana De Lima & Luiz Carlos - Volta Pra Ela
14. Jorge Aragão - Papel de Pão
15. Elaine Machado - Pagodeiro Bom
16. Zeca Pagodinho - Quando Eu Contar (Laiá)
17. Os Originais Do Samba - Preciso Dar Um Tempo
18. Sombrinha - Chega Devagar
19. Jovelina Pérola Negra - Amante Do Pagode
20. Royce Do Cavaco - Chegou Sua Vez
21. Grupo Fundo De Quintal - Enredo Do Meu Samba
22. Dhema - Tô Gamado Nela
23. Ircéa & Zeca Pagodinho - Quando Te Vi Chorando
24. Denny De Lima - Pagode Do Limao
25. Boca Nervosa - Samba Do Pc


 Pagode (Portuguese pronunciation: [pa'gɔdʒi]) is a Brazilian style of music which originated in Salvador, Brazil, and quickly went down to Rio de Janeiro region, as a subgenre of Samba. Pagode originally meant a celebration with lots of food, music, dance and party. In 1978, singer Beth Carvalho was introduced to this music, in the same time appeared the Gera Samba after É o Tchan!, liked it from the beginning and recorded tracks by Zeca Pagodinho and others. Apparently, as time has gone by, the term "Pagode" has been degraded by many commercial groups who have played a version of the music full of clichés, and there is now a sense in which the term Pagode means very commercial pop, a negative term (see Pagode Romântico).

Original Pagode developed in the start of the 1980s, with the advent of the band Fundo de Quintal and the introduction of new instruments in the classical samba formation. Pagode lyricism also represented a kind of evolution towards the tradition of malicious and ironic samba lyrics, with a much heavier use of slang and underground terms.

The 4-string banjo, whose introduction is mostly credited to Almir Guineto, has a different and louder sound than the cavaco; that loudness was an advantage in acoustic environments (samba circle), where there are lots of percussion instruments and people singing along. The 4-string banjo is one of the most characteristic instruments of the pagode sound.

The tan-tan, whose introduction is credited to Sereno, is a more dynamic type of surdo, used to keep the main beat of the samba, the `heart of the samba', and played with the hands.

The hand-repique, whose introduction is credited to Ubirany, is a percussive instrument used specially for rhythmic turnarounds.

Bonita Paixão

Depois que encontrei você,
Minha vida iluminou, vivemos um momento lindo,
Tudo agora é amor,
Esse seu olhar brilhante, chega a me enlouquecer
Sinto que estou vivendo só pra te querer,

Você chegou, com mais bondade que um anjo bom,
A luz do quarto era azul neon,
Eu me perdi no céu de pura emoção,
Nossa paixão, é mais bonita que sol de verão
Que a lua cheia no céu do sertão,
Nada é mais bonito que nossa paixão.



A Bahia Te Espera

25 Sambas
Sambas da Bahia


01. Grupo Fundo de Quintal - A Bahia Te Espera
02. Paulino Boca de Cantor - Samba Dos Novos Baianos
03. Pocho e seu Conjunto - No Tabuleiro Da Baiana
04. Terra Samba - O Bicho Vai Pegar
05. Orq. e Coro RGE - O Que E Que Baiana Tem
06. Tom Zé - Jeitinho Dela
07. Os Novos Baianos-Paulino Boca de Cantor - E O Samba Me Traiu
08. Orq. e Coro RGE - Exaltacao A Bahia
09. Paulinho Nogueira - La Vem A Baiana
10. Agostinho dos Santos - Saudade De Itapoa
11. Luis Bandeira - Saudade Da Bahia-Voce Ja Foi A Bahia-Samba Da Minha Terra
12. V. de Moraes/ Toquinho/ Marilia Medalha - Tarde Em Itapoa
13. Orq. e Coro RGE - 365 Igrejas
14. Tom Zé - La Ven A Onda
15. Dorival Caymmi- Ary Barroso - Joao Valentao- Na Baixa Do Sapateiro
16. Grupo Fundo de Quintal - Sambas De Roda Da Bahia
17. Os Novos Baianos - De Vera
18. Terra Samba - Pagode Dom Dom
19. Simonetti e sua Orq. - Bahia Com H
20. Toquinho/ Vinicius e Marilia Medalha - A Bencao, Bahia


Favela and Tias Baianas
From the second half of the 19th century onward, as blacks, mestizas, and ex-soldiers of the War of Canudos in Rio de Janeiro came from various parts of Brazil (mainly Bahia) and settled in the vicinity of Morro da Conceição, Pedra do Sal, Praça Mauá, Praça Onze, Cidade Nova, Saúde, and Zona Portuária. These stands form poor communities that these people called the favelas (later the term became synonymous with the irregular buildings of the poor).

These communities would be the scene of a significant part of Brazilian black culture, particularly with respect to Candomblé and samba amaxixado at that time. Among the early highlights were the  musician and dancer Hilário Jovino Ferreira—responsible for the founding of several blocks of afoxé and Carnival's ranchos—and Tias Baianas, a term given to the female descendants of Bahian slaves.

Thus, the samba and musical genre was born in the houses of Tias Baianas (Bahian aunts) in the beginning of the 20th century, as a descendant of the style lundu of the candomblé de terreiro parties between umbigada (Samba) and capoeira's pernadas, marked in pandeiro, prato-e-faca (plate-and-knife) and in the palm of the hand. There are some controversies about the word samba-raiado, one of the first appointments to the samba. It is known that the samba-raiado is marked by the sound and accent sertanejos / rural brought by "Tias Baianas" to Rio de Janeiro. According to João da Baiana, the samba-raiado was the same as chula raiada or samba de partido-alto. For the sambist Caninha, this was the first name would have heard at the home of Tia Dadá. At the same time, there were the samba-corrido, a line that had more work together with the rural Bahian accent, and the samba-chulado, a more rhyming and melodic style that characterized the urban samba carioca...

Vem vem vem vem em busca da bahia
Cidade da tentação onde meu feitiço impera
Vem se me trazes o teu coração
Vem a bahia te espera
Bahia bahia.


Gente Acordada

25 Sambas
Cantores Tradicionais


01. Paulinho da Viola - Arvoredo
02. Sombrinha - Gaviäo Calçudo
03. Elton Medeiros - Majoria Sem Nenhum
04. Ary Cordovil - Tristeza
05. Silvio Caldas - Homenagem
06. Jorge Aragäo - Borboleta-Malandro
07. Agostinho Dos Santos - Palpite Infeliz
08. Djalma Pires - O Orvalho Vem Caindo
09. Germano Mathias - Malvadeza Duräo
10. Jameläo - Minhas Andanças
11. Silvio Caldas - Aquarela Do Brasil-Onde O Céu É Mais Azul-Viva Meu Samba
12. Benito Di Paula - Que Brote Enfim O Rouxinol Que Existe Em Mim
13. Beto Scala - Tem Que Ser Agora
14. Alberto Gino - Gente Acordada (É Madrugada)
15. Germano Mathias - Guarde A Sandália Dela
16. Miltinho - Cinco Letras Que Choram-Oas Pés Da Cruz-Helena, Helena
17. Mauro Diniz - Tímida Tentaçao
18. Elson - Tributo A Benito: Pra Voçé Näo Ir Embora-Se Näo For Por Amor-Retalhos De Cetim




Feirinha da Pavuna

25 Sambas
Cantoras Tradicionais


01. Maysa - Vem Chegando a Madrugada - Tristeza
02. Maysa - Favela
03. Dorinha Freitas - Ave Maria No Morro
04. Cláudia - Na Baixa do Sapateiro
05. Angela María - Não Tenho Você - Nem Eu - Ninguém Me Ama
06. Jovelina Pérola Negra - Feirinha da Pavuna
07. Rosana Toledo - Não Me Diga Adeus
08. Helena De Lima - Laurindo - Zelão - Favela - Praça 11
09. Maysa - Cheiro de Saudade
10. Leci Brandäo - Zé Brasileiro
11. Helena De Lima - Na Cadência do Samba - Diz Que Fui Por Aí - O Sol Nascerá - A Fonte Secou - Mora Na Filosofia
12. Cláudia - Aquarela do Brasil
13. Elza Soares - Voltei - Bom Dia Portela - Malandro


The birth of Samba

Of all Brazilian music styles, samba is undoubtedly the best known. Both abroad and in Brazil, samba has become a symbol of the Brazilian nation and its people. Samba, as we know it today, is an urban music style that arose in the early 1900’s in the slums (favelas) of Rio de Janeiro. However, an older, more stripped down and more African form of samba, which today is called "samba de roda", has existed in the state of Bahia for several hundred years.

The samba of Rio de Janeiro has its roots in old popular music styles called lundu and jongo and Afro-Brazilian music and dance (“batuque” and “rodas de capoeira”) from Bahia. The word "samba" derives from the sensuous Afro-Brazilian dance called “semb” or “umbigada”. The heart of Afro-Brazilian culture in Rio de Janeiro in the late 19th century and early 20th century lay in the extremely run-down neighbourhoods around Cidade Nova, Praça XI and Central do Brasil, mostly populated by descendants of black slaves, many of whom were “immigrants” from Bahia. Because of the very high proportion of Afro-Brazilian residents in these neighbourhoods, the area was soon nicknamed “Pequena Africa”, (“Little Africa”).
A focal point for the earliest samba gatherings in Rio de Janeiro was the house of a group of black women from Bahia, popularly known as “Tias Baianas” (“The Aunts from Bahia") at Praça XI. As a tribute to the Tias Baianas and the Bahian roots of the samba music, it is still mandatory for all samba schools in Rio de Janeiro, during their carnival performances, to have a section that consists of older, black women dressed in the white, lace-fitted folk costumes of Bahia. That is the only constant and never changing section of the modern samba schools (or “blocos” as they are called), which parade during the carnival of Rio de Janeiro. Apart from that, the imaginative and colorful costumes and themes of the carnival samba parades vary wildely from bloco to bloco and change from year to year. Today's world-famous samba stadium in Rio de Janeiro, the Sambódromo Darcy Ribeiro, is fittingly situated in the middle of what once was “Pequena África”.
The original Rio de Janeiro samba form, which first appeared in the city during the early 1900’s, today is known as samba de morro, or samba de raiz. “Morro” means “hill” and is an allusion to Rio de Janeiro's slums, which are typically located on the hill sides. “Samba de raiz” means “root samba”. In its basic form, samba de morro consists of one, often improvised, verse sung by a solo singer, which is followed by a chorus sung by a choir.

Though samba started as an all Afro-Brazilian affair among the poor, the white and more affluent middle class in Rio de Janeiro soon also became fascinated by the exciting rhythms and samba dancing. It didn’t take all that long before the Afro-Brazilian carnival and samba traditions were incorporated into the middle-class carnival, although some of the African and sensual elements were toned down, to better fit the ideals and values of the middle class.

The early samba composers and singers remained anonymous outside the slums and their work was seldom even written down. But when the middle class had embraced the samba music, the names of the most important carnival samba composers became known among a wide middle class audience. The first samba ever to be recorded was Donga’s big carnival success Pelo Telephone, from 1917. During the 1920's, largely as an adaptation to the then new radio media, samba music continued to evolve in an increasingly europeanized and “tidy” direction. The songs were becoming ever more radio-friendly, clearly emphasizing melody and song over percussion and rhythm. The most common format for a samba song became a brief instrumental intro, followed by a verse and a chorus, accompanied by a choro band. This resulted in the surge of an entirely new kind of samba, the samba-canção, much slower and more melodic in nature, than the original samba de morro. The theme of a samba-canção is virtually always romantic boy meets girl story and the tone is often somewhat melodramatic. Samba-canção became very popular among radio listeners, and went on to dominate the repertoire of Brazilian radio during the 1920’s, 1930’s and 1940’s. This period in Brazilian music history is now widely known as the Era do Rádio (the Radio Era).



Chove Chuva

25 Sambas
Cantores de Bossa Nova


01. Agostinho dos Santos - Primavera
02. Lúcio Alves - Castigo
03. Tito Madi e Leny Andrade - Balanço Zona Sul
04. Mutinho e Toquinho - Oi Lá
05. Toquinho & Vinicius - Chega de Saudade
06. Dick Farney - Alguém Como Tu / Marina
07. Chico Buarque - Pedro Pedreiro
08. Jorge Ben Jor - Chove Chuva
09. Agostinho dos Santos - Eu Sei Que Vou Te Amar
10. Geraldo Vandré e Ana Lúcia - Samba Em Prelúdio
11. Dick Farney - Esse Seu Olhar
12. Paulinho Nogueira - Menino, Desce Daí
13. Cauby Peixoto - Bastidores
14. Agostinho dos Santos - Dindi
15. Tito Madi - Ternura Antiga
16. Geraldo Vandré - Sonho de Amor e Paz
17. Toquinho e Jorge Ben Jor - Que Maravilha
18. Edú Lobo e Yvette - Aleluia
19. Paulinho Nogueira - Menina
20. Chico Buarque - Ela Desatinou
21. Toquinho e Vinicius - Januária
22. Agostinho dos Santos - Desafinado
23. Tito Madi - Ligia
24. Agostinho dos Santos - Samba de Uma Nota Só




Bossa Nova

The Birth of Bossa Nova
With his soft, quiet and almost whispering vocal style and his revolutionary way of playing the guitar, João Gilberto appeared in the late 1950's, to charm and conquer first Brazil and soon after the entire world. From the city of Juazeiro in Bahia, João Gilberto was the natural front man and the quintessential central figure for a brand new style of Brazilian music: bossa nova.

In the beginning, the term “bossa nova”, simply referred to a new way of playing and singing samba, incorporating some elements from jazz music and with a pronounced softness, both in terms of musical and poetic presentation. The North American influences, in the form of dissonant chords, typical of jazz, was criticized very heavily by some influential Brazilian critics and cultural figures at the time. It may be hard to imagine today, but João Gilberto's low-key and whispering vocal style, full of small details and nuances, was perceived as highly provocative, as it broke completely with the previously existing singing tradition, with its loud voices and flamboyant presentations. Of course many other contemporary critics praised the innovative bossa nova music and hailed it as the single most important event in Brazilian music history. Apart from the music itself, the lyrics of the early bossa nova compositions, with their highly poetical content, also stood apart from the typical Brazilian popular music of the 50’s.

With his trade mark vocal style and his innovative guitar playing, João Gilberto is rightlfully and widely regarded as the most vital link in the birth of bossa nova, but he was certainly not alone in the process. In fact, bossa nova, as a musical genre, came about gradually during the late 1950's. The fundamental ideas and concept of what would become the bossa nova movement, was hatched by a group of young musicians and cultural enthusiasts from Rio de Janeiro’s middle class. They would regularly meet up to talk about, listen to and play music. One of the most enthusiastic participants in these meetings was the then only 15-year-old girl Nara Leão. Her (or rather her parents') apartment on the fashionable Avenida Atlântica in Copacabana district also became an unofficial “headquarter” for the early bossa nova movement, in 1957. Besides Nara Leão the nucleus of the group first consisted of the young musicians Billy Blanco, Carlos Lyra, Roberto Menescal and Sérgio Rica, but soon grew to include, among others, Ronaldo Bôscoli, Chico Feitosa, Luiz Carlos Vinhas - and of course also João Gilberto himself.


Agua De Beber

25 Sambas
Cantoras De Bossa Nova


01. Maysa - Por Causa De Vocé
02. Nara Leao - Maria Moita
03. Maysa - A Felecadade
04. Wanda - Vivo Sonhando
05. Elza Laranjera - Corcovado
06. Jane - Com Acucar,Com afeto
07. Olivia Hime - Tarde
08. Maysa - Se Todos Fossem Iguas A Vocé
09. Ana Lucia - Tem Do
10. Elza Laranjera - A Noite Do Meu Bem
11. Alaide Costa - Insensatez
12. Wanda - Desafinado
13. Maysa - Eu Sei Que Vou Te Amar
14. Claudia - Preciso Aprender A Ser So
15. Maysa - Dindi
16. Yvette - Preconceito
17. Ana Lucia - Carinhoso
18. Claudia - Mas Que Nada
19. Maysa - Agua De Beber
20. Lygia - Joao Ninguém
21. Wanda - Inutil Paisagem
22. Marilhia Medalha - Se O Amor Pudesse
23. Alda Perdigao - Amor De Trappo
24. Eliana Pittman - Que Maravilha
25. Maria Lucia - Malandro Quando


A new beat in the 1950s: the Bossa Nova

A movement was born in the southern area of Rio de Janeiro, strongly influenced by jazz, marking the history of samba and Brazilian popular music in the 1950s. The bossa nova emerged at the end of that decade, with an original rhythmic accent which divided the phrasing of the samba and added influences of impressionist music and jazz and a different style of singing which was both intimate and gentle. After precursors such as Johnny Alf, João Donato, and musicians like Luis Bonfá and Garoto, this sub-genre was inaugurated by João Gilberto, Tom Jobim, and Vinicius de Moraes. It then had a generation of disciples and followers including Carlos Lyra, Roberto Menescal, Durval Ferreira, and groups like Tamba Trio, Bossa 3, Zimbo Trio, and The Cariocas.

Bossa nova is a well-known style of Brazilian music developed and popularized in the 1950s and 1960s. The phrase bossa nova means literally "new trend" (Portuguese pronunciation: [ˈbɔsɐ ˈnɔvɐ]. A lyrical fusion of samba and jazz, bossa nova acquired a large following in the 1960s initially among young musicians and college students. Since its birth, it has remained a vital part of the standard jazz repertoire.


bossa nova