No Vinyl, No LP, No Cassette, No CD, No MP3 - Chá de Zabumba Si !!!

  

Chá de Zabumba
Pra Sambar Um Forrozinho
Trama 2004

Tracks:

01. Pra Sambar Um Forrozinho
02. Mulheres
03. Antonio, Joao E Pedro
04. Na Manha
05. O Olhar De Juliana
06. Casar, Que Nada!
07. Agora, Sim
08. Clarice And Milena
09. Terreiro Do Cha
10. Chá De Zabumba
11. Sambastral
12. Hora Silenciosa
13. Antonio, Joao E Pedro ( Remix) 

 

 FORMAÇÃO:

Triângulo - Adriano Sargaço
Zabumba - Cleyton Coquinho
Voz - Climério de Oliveira [Clima]
Sanfona – Bequinho
Baixo - Eudes Ciriano
Percussão - Tarcísio Resende

  

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♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 

 

  

 HISTORY:

With feet firmly in tradition and minds traveling for innovation, they are outgoing, irreverent and facing the Brazilian popular imagination. The Tea Zabumba, band founded four years ago, with the second CD is warm, distributed by the DI Label Trama. With 13 tracks (twelve songs + a remix), The new CD shows called "forró with attitude", with which the band reinvents the way you do forró. And what is forró with attitude? It is a forró energetic, exciting, rich performances, which makes a link between innovation and tradition, being true to the sound of traditional forró inherited from Luiz Gonzaga, Jakson's Tambourine and other big names.

NEW CD:

The CD titled "Pra Sambar one forró" not just to say that samba is welcome to forró, as some songs reveal. This title is rather a hint of subversion in the genre made famous by Luiz Gonzaga, as the sound, the lyrics and interpretation are entitled to the slogan - "forró with attitude" - adopted by the band Zabumba tea.

Admittedly the topics covered on the CD are those that mankind has always elected. But when it comes to love, for example, the letters print a new tone. A good example is "Clarisse & Milena" (track 8), one xote whose fluent and serene melody, verses wander quietly loving, bringing to the surface a subject that was taboo until then, because the letters of forró, a novel or great friendship between people of the same sex has always been the target of gaze prejudiced. As for the sound aspect, the Tea Zabumba now launches a CD forró that makes deliberate use of electronic resources, but with such balance and consistency with the speech literary-musical sounds pretty good to the ears. The electronic sounds are not just added to the contrary, the sound effects emanating from the songs themselves.

The new sound of the CD is also endorsed by the participation of good musicians like Antonio Barreto (xylophone), Fred Andrade (guitar and viola 12 c.), Philip Johnson (violin), Marco César (mandolin), among others. The "Terreiro Tea" (track 9), with almost ten minutes in length, brings a potpourri of traditional coconut Paraíba recorded by lyricist Climério de Oliveira (Climate), except the first and last verses, which he created. This session, whose first verse is very well played by Silverio, leads other cameos: Aurinha of Coco, Josildo Sá, Valdir Santos, Kleber Magrão (Cascabulho), Cocoa Arcoverde his Michael Joseph (father Climate). Already the band's eponymous song (f. 10) - which also announces its way forrozar - proposes an intense life, a life whose resonance echoes "the beat of the bass drum." The last track (13), is a remix of the track 3, "Anthony, John and Peter," prepared by the talented Chico Correa (Electronic & Band). All this is great for those who want to enjoy forró with attitude and "Pra Sambar one forró" in the yard of tea Zabumba.

* Participation Dance Company Henry Tenorio

PROJECTS:

Climério de Oliveira, leader of the Tea Zabumba, professor at the Conservatory of Music of Pernambuco ten years ago in music graduate and post graduate studies in ethnomusicology at university, is the author of several projects involving the band:

1. The project Batuque Northeast Book, a collection of books from authors Climério and Tarcisio de Oliveira Resende. It is a series of song books of popular demonstrations in the Northeast, whose first volume (Batuque Book - maracatus), sponsored by Funcultura (Gov. of the State) is ready and will be released in November this year. The next volume will be "Seahorse" and Caboclinho ".

2. Our Steps Project, which takes music to public schools;

3. Restructuring Project Maracatu Elephant - aims to restructure the oldest maracatu de Pernambuco, both material (musical instruments and costumes), as the immaterial aspect (of the history and music).

googlr translation... Ho Ho : )

 

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A zabumba is a type of bass drum used in Brazilian music. The player wears the drum while standing up and uses both hands while playing.

The zabumba ((Portuguese pronunciation: [za'bũbɐ]) generally ranges in diameter from 16 to 22 inches, and is 5 to 8 inches tall. The shell is made of wood and may utilize either skin or plastic drum heads and is usually tensioned via metal lugs and tension rods. The top head is usually muted with tape or cloth strip(s) and struck with a cloth-covered mallet (held in the right hand) to produce a low fundamental note with minimal overtones. The bottom head is tuned tighter and is struck with a thin, twig-like stick called a bacalhão which is held in the left hand to produce a high fundamental with a sharp attack and numerous overtones.
In construction, tuning and performance technique, the zabumba is very similar to bass drums found in the eastern Mediterranean region, such as the davul.

The zabumba is used in the genres of forró, coco, baião, xaxado and xote.

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more ?
 
♥

Sem asma e nem bronquite …sanfonite!

   

Dominguinhos, Sivuca & Oswaldinho
Cada um Belisca um Pouco
2004

 

Faixas:

1 - Feira de Mangaio (Sivuca; Glória Gadelha)
2 - A Dança de Moda/Qui Nem Jiló/Fuga de África (Luiz Gonzaga; Zédantas / Luiz Gonzaga; Humberto Teixeira / Luiz Gonzaga)
3 - Eu Só Quero Um Xodó (Dominguinhos; Anastácia)
4 - Baião (Luiz Gonzaga; Humberto Teixeita)
5 - Feijoada/Pagode Russo/O Sanfoneiro Só Tocava Isso (Sivuca / Luiz Gonzaga; João Silva / Geraldo Medeiros; Haroldo Lobo)
6 - Cada Um Belisca Um Pouco (Sivuca; Dominguinhos; Oswaldinho)
7 - Nilopolitano (Dominguinhos)
8 - Sabiá/Numa Sala de Reboco/Xote das Meninas (Luiz Gonzaga; Zédantas / Luiz Gonzaga; José Marcolino / Luiz Gonzaga; Zédantas)
9 - Adeus Maria Fuiô (Sivuca; Humberto Teixeira)
10 - Isso Aqui Tá Born Demais/Quero Chá/Pedras Que Cantam (Dominguinhos; Chico Buarque / Luiz Gonzaga; José Marcolino / Dominguinhos; Fausto Nilo)
11 - Roseira de Norte (Pedro Sertanejo; Zé Gonzaga)
12 - Asa Branca (Luiz Gonzaga; Humberto Teixeira)

Músicos especialmente convidados:

João Lyra - violão e viola
Toni 7 Cordas - violão 7
Alceu Maia - cavaco
Durval - percussão
Mingo Araújo - percussão
Waldonys - sanfona nas músicas Nilopolitano, Sabiá, Numa Sala de Reboco e Xote das Meninas.

 

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source

The encounter of Dominguinhos, Sivuca and Oswaldinho on the CD, Cada um Belisca um Pouco is one of those magic moments that makes our music one of the richest in the world. While Luiz Gonzaga and Jackson do Pandeiro introduced Brazil to the Northeastern rhythms as the "baião" and the "xaxado" in the 40s and 50s, the three accordionists are responsible for giving the main instrument of this music an aura of "universitality".

Dominguinhos, from Pernambuco, Sivuca, from Paraíba and the Oswaldinho, son of the mythical Pedro Sertanejo, from Rio (author of the beautiful Roseira do Norte, remembered in this work) bring the sounds of the rural Northeast. The roads they followed looking for their musical dreams gave them other notes up their sleeves as well. That is why, in bringing the three masters to a studio, the producer, José Milton, performs a remarkable service to our music.

Luiz Gonzaga brought in his mixture of "xote, maracatu and baião" (rhythms of the Northeast), and the golden trio of national accordions understood that in the wind of the bellows more than just a regional lament of the suffering Northeastern soul breathed. When they play the same instrument all together, the sound that comes out is also improvised as American jazz or choro from Rio.

Before this, the three had played together only one time, in a trilogy performed in 1994 with José Milton in honor of Gonzaga, Jackson and João do Vale. From that time, this project filled the dreams of the producer. Intimately linked by roots, instruments and talent, Dominguinhos, Sivuca and Oswaldinho made the CD in one go only, as if they had met at some dance in Garanhuns, Campina Grande or Juazeiro. They chose the repertoire together and, when ready, went into the studio. "It was impressive. They went through the songs at the time of the recording, harmonized and knew when to solo by just looking at each other," tells José Milton.

To give more freedom to the trio, a first rate group was formed by musicians that follow the same musical line. The guitarists, João Lyra and Tony Sete Cordas, the ukulele player, Alceu Maia, and the percussionists, Durval and Minto Araújo, gave still more harmony to the work. The disciple, Waldonys, added to the choir of accordions on the beautiful, Nilopolitano, by Dominguinhos, and on the pot-pourri that brought together Sabiá, Xote das Meninas (both by Luiz Gonzaga and Zé Dantas) and Numa Sala de Reboco (by Gonzagão and Zé Marcolino). By the way, because the songs for the CD were chosen using the sole criterion of emotional memory, Gonzagão, master and friend of all, was spontaneously honored. Well-known songs as Asa Branca and Baião (by "Velho Lua" with Humberto Teixeira) were given sophisticated arrangements, with the three alternating in solos and backup. Other less known songs as Dança da Moda and Fuga da África came together thanks to the memory of the musicians.

The composer side of each musician is also seen in an interesting way. From Sivuca, the classics Feira de Mangaio (written with his wife, Glorinha Gadelha) and Adeus Maria Fulô are here, as well as Feijoada, only recorded before on a 78 record. It is put together here with another tasty pot-pourri with Pagode Russo, one more by Gonzaga, and O Sanfoneiro só Tacava by Geraldo Medeiros. From Dominguinhos are Eu só Quero um Xodó, Isso Aqui Tá Bom Demais and Pedras que Cantam (with the partners Anastácia, Nando Cordel and Fausto Nilo, respectively).

It was Oswaldinho, the guy who, to the desperation of the purists, dared to mix the Northeastern rhythms with rock, who wrote the song that gives the CD its name and synthesizes the soul of the CD: Cada um Belisca um Pouco. In other words, it is a CD that was born ready for that special place on the shelf of each lover of Brazilian music, and, why not say, universal.

JOÃO PIMENTEL 

 

Muito “roots” … virtuosidades ao extremo!
Sem asma e nem bronquite …sanfonite!

    

Vinicius Ribeiro

 

♥♥♥

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Bom dia Tiago!

 

Forró de Pife

   

Banda De Pife Princesa Do Agreste De Caruaru

(PE)
2008

Tracks:

01 - A Feira De Caruaru
02 - Caboclinhos
03 - Casa Velha
04 - Bendito De Padre Cícero
05 - Viajando Pelo Brasil
06 - Baião De Novena
07 - Os Pretos Do Norte
08 - Amassando Barro
09 - Dança Da Araruna
10 - Subindo A Serra
11 - Chamego De Mãe
12 - Cade Maria
13 - O Tocador Rebate A Marcha
14 - Banda De Pife
15 - A Briga Do Cachorro Com A Onça

   

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The “Banda de Pife”, Zabumba, Esquenta Mulher - among other names as they are known - were the most important musical development of the Northeast for a long time and lost their social function to other music, mainly from the rise of mass culture, but in small towns and villages they are still important to the community, both for the holding of religious music and for fun.

In some cases, the “Banda de Pife” take strong artistic values - the case of Princess Agreste. These groups are very varied according to locality, as in the Northeast are in all states. A band of Bahia is very different from one of “Banda Cabacal” of Ceara, and it is extremely important that people continue to exist, so that our cultural events continue. The registration and disclosure may be a way to support and help, if it is guaranteed that profits return to the people who produced it.

Biu do Pife, experienced musician in the music of Caruaru and the Northeast, 50 years of career in 2008. He recorded in 1976 with Jackson do Pandeiro monitoring, and was for 20 years leading the Zabumba Cultural Caruaru where he recorded two LPs. Cradle brings this tradition: his father was already a player and builder pife in calves, his hometown in rural Pernambuco, around 107 km from Recife. As bright as Biu, Toinho, Jose Mauricio, Gerson, Vitorino and Ari are also excellent and experienced musicians. The dynamics and the interpretations are full of moments of great virtuosity. This is still the 1st CD of all it comes in seven years when it was founded by Biu. None of them live from their music. We hope with this CD take a little of this wonderful culture and was especially Pife Brazilian Caruaru, birthplace of great artists not only Pife, but all the arts.

  

source

space

Forró de Pife

  

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you can find here :)
  

 

 ♥

Só Forró

source :)

and :)

and :)

and :)

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Só Forró
1998

Tracks:

1. MEU CENÁRIO (Petrúcio Amorim) - Maciel Melo e Petrúcio Amorim
2. FORRÓ NA PENHA (João Lyra/Adelmo Arcoverde) - Sivuca
3. VOU DE TUTANO (Jackson do Pandeiro/J. Cavalcanti) - Xangai
4. CINTURA FINA ( Zé Dantas/Luiz Gonzaga) - Dominguinhos E Marinês
5. FORRÓ MIÚDO (NÃO TEM CULÉ) (Júnior Vieira) - Maciel Melo
6. FUGA PARA O NORDESTE (Dominguinhos) - Sivuca
7. BUXADA CO ARUÁ (Jacinto Silva)

PISA MANEIRO (Juvenal Lopes – Gilson Dória) - Xangai
8. TREZE DE DEZEMBRO (Luiz Gonzaga/Zé Dantas) - Dominguinhos
9. CAIA POR CIMA DE MIM (Maciel Melo) - Maciel Melo
10. UM TOM PARA JOBIM (Sivuca/Osvaldinho) - Sivuca
11. NÓIS É JECA MAIS É JÓIA (Juraildes da Luz) - Xangai
12. GAVIÃO PENEIRA (Maciel Melo/Virgílio Siqueira) - Maciel Melo
13. A VOLTA DA ASA BRANCA (Zé Dantas/Luiz Gonzaga) - Dominguinhos e Maciel Melo
14. FORRÓ EM TIMBAÚBA (Dominguinhos) - Sivuca
15. SERRA DA BORBOREMA (Agripino Aroeira)
BALANÇO DA SEREIA (Déo do Baião)
QUEM CASOU, CASOU! (Elias José Alves) - Xangai

 

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.ღ•:*´♥`*:•ღ.

        

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

 

In a Nutshell: Forró

Forró is music for dancing! Developed in the North-east of Brazil, it is characterised by its weaving accordion and insistent rhythms and is one of the most popular forms of music in Brazil. In fact, although samba is thought as being the main musical exponent of Brazil, music from the North-east actually accounts for 40% of all sales. Forró’s humble origins as a folk music in the 40s and 50s saw it labelled as ‘hick’ or ‘country’ music by some, but forro-inspired albums by Gilberto Gil and Gal Costa saw it gain many new fans during the seventies, leading to its current popular status.

What’s it like?

Only three instruments are required to play forró, an accordion, a bass drum and a triangle (occasionally also with added percussion.) Forró has a syncopated rhythm in a similar vein to samba, and a swing similar to cumbia (from Colombia), but also has a rootsy quality that comes from its origins in the Northeast, a dry, place that seems years behind the South of the country.

Where can I find it?

In Northeastern regions of Brazil such as Pernambuco, Alagoas and Paraiba it is possible to see very good live forró and get the opportunity to enjoy/endure it’s endless dance. The bands and nights here tend to stick more to its folk roots, this is opposed to the commercial end of forró which has spread across the South, South-east and East of Brazil, where it is very popular. Any live forró in these places will tend to be targeted more at the pop end of the market, but is still thoroughly enjoyable.

What else should I know?

The allure of forró is in its ability to get couples on the dancefloor. Its accompanying dance is like a two-step shuffle, with partners staying very close. It’s far less showy than samba, with a more traditional feel. When watching couples dance forró you get the sense of its rural origins in the cattle-herding north where all the townsfolk would head out to dance on a Saturday evening to these sounds of forró. [NB: when going to a forró night in the North-east be aware that you will have no chance but to dance – there is normally nothing more to a forró evening than a dancefloor and a band.]

 

source

wiki

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Pife

  

Edmilson do Pífano

Soprando no Canudinho
1997

Tracks:

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 :)

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

EDMILSON DO PÍFANO
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.”

 

Zé da Flauta

 

“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”

  

 

some info