toro y loco: Coco

Showing posts with label Coco. Show all posts

5.12.10

Coco de Roda

Dona Selma
Coco de Roda, o elogio da festa
Nordeste Brasileiro
1996

Tracks:

1. Boa noite    1:04
2. Agora foi que eu cheguei    1:57
3. Ô moreninha do dente de ouro    1:26
4. Itapissuma    2:33
5. Eu vou pra Olinda    2:33
6. Ô morena bonita    2:45
7. O meu sabiá    3:02
8. Galo cantou    2:04
9. A menina me chama pra vadiar    3:50
10. Ô Odete    2:33
11. Eu encoutrei Carminha    2:36
12. Cobra verde, não me morde    2:26
13. Na praia mataram um peixe    2:58
14. Se Dona Selma nao fizer mais coco    2:00
15. Areia    4:02
16. Eu estou aquai é pra vadiar    4:17
17. Com esse coco ninguém pode    2:51
18. Dá-Lhe Manoel    3:05
19. Essa roupa pegou fogo    2:19
20. Me leva, meu bem    2:57
21. A Usina Brasileira    2:47
22. Eu tenho raiva da morte    0:28
23. Eu vi o ronco da pedra    2:44
24. O que é Mane?    2:57
25. Eram dois bois valentes    2:17
26. Meu lírio, lírio cheiroso    2:06
27. Chegou a Rainha    1:23
28. O norte Abalou    2:55

Musicians:

Dona Selma Ferreira da Silva, soliste et “tiradora”

Pandeiro: José Ferreira
FilhoGanzâ: José Ferreira de Andrade, Generino Francisco de Souza
Bombo: Alexandre Ferreira de Andrade
Chœur: les gens d’Amparo

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The coco de roda is not just a dance but also the entertainment that sets the rhythm for the evenings in the fishing villages of Pernambuco in the North-East of Brazil. Dona Selma is considered to be one of the greatest singers of the genre; here she enlivens a July evening on the beach at Olinda.

Recording in the field: Nicodème de Renesse

photo

Selma Ferreira da Silva, Selma do Coco, a singer, songwriter of the coco de roda, was born in Vitória de Santo Antão - PE in 1935. The first contacts with the coco comes from childhood when she sang and danced at parties organized by her family.

Settled in Olinda - PE in 1955, where she lived until 1994 from the trade, until in 1995 she recorded her first album. In 1998 she recorded "Minha História", which earned her the Sharp prize. Today she is the best known representative of the coco, the rhythm coming from the interior of Alagoas, probably Quilombo dos Palmares, where it mingled with the music of the Indians and African slaves in colonial times.

Dancing Coco remains the expression of popular outburst of the soul, of the people who suffered the most from northeastern Brazil.

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DONA SELMA DO COCO - One of the exponents of the coco de roda rhythm typically in Pernambuco, Mrs. Selma began to dicover her artistic talents in the Upper City of Olinda, with a tray of tapioca. The music at the time, was a way to attract customers and draw attention of tourists while selling food and drink in front of her house. In 1996 the Queen of Coco, as she also known, was one of the attractions of the Abril Pro Rock festival stood out on stage in full effervescence of Mangue Beat. A year after her song "Rolinha" present on the album "Minha História" was one of the most performed songs during the carnival. Dona Selma has defended the colors of Pernambuco in several countries in Europe and her work represents the state in many international compilations.

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Today the coco is ever present in the festivities of our people. Selma and many other traditional conquests are examples of the resistance and strength of an authentic and original manifestation. This contagious rhythm has influenced numerous popular composers through the ages, and even contemporary Pernambuco music . The famous Jackson do Pandeiro influenced Chico Science, Alceu Valença and many other local musicians who have consistently searched for this playful aspect in the creation of their work.

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Gracias Lemmy for the music :)

29.9.10

Godê Pavão

Samba de Coco Raízes de Arcoverde

Godê Pavão

2003

Tracks:

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)

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Coco

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.

source

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.

link

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lation: trans google :)

28.9.10

Coco

Grupo de Coco Ouricuri
Os Cocos
Tratore/Associacão Cultural Lua Nova - 2008

Tracks:

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

Personnel:

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

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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.

source

coco space

Coco

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.

source

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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.

wiki

Aquarelas – Tereza Moura

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26.9.10

Pife

Pifarinha - De Coco a Barroco
2007

Tracks:

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

Personnel:

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)

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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.

source

translation: google as usual :)

some space

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7.9.10

Mestre Salustiano

Sonho da Rabeca
1998

Tracks:

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

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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

Mestre Salustiano