25 Sambas
Sambas da Bahia
1998
Tracks:
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
1998
Tracks:
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
♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫
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♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫
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♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫
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...
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.
Cidade da tentação onde meu feitiço impera
Vem se me trazes o teu coração
Vem a bahia te espera
Bahia bahia.
♥
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