Feirinha da Pavuna

  

25 Sambas

Cantoras Tradicionais
1998

Tracks:

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

  

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 Samba

  

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).

 

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