Caminho Da Serra

  

Dimas Soares
Boas Horas
Viola Caipira Instrumental
2005

Tracks:

01. Viola De Brinquedo
02. Saracurinha
03. O Toque Do Rio Abaixo
04. Roda Dagua
05. Serepente De Asas
06. Sinha Violeira
07. A Cigana
08. A Hora Do Cramondongue
09. Na Beira Da Ribeira
10. Valseando Na Torda
11. Caminho Da Serra
12. Adeus Viola

 

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 Dimas Soares surgiu no meio da Mata Atlântica, numa relepa que sobrou no Vale do Mucurí em Minas Gerais. Passou a infância ouvindo sons de tropas com seus sincerros na estradinha centenária, aboios, papagaios, araras, jandaias, assobios de coisas estranhas e perigosas deste e do outro mundo pelas altas horas, cancelas batendo sozinhas sem vento pelas horas mortas, causos como o da cobra que virou criança no colo da moça, violas e folias, rezas “brabas” e ou mansas e outras coisas mais.
Ieuein?!
Pesquisa e aprende viola caipira, ou de dez cordas, desde a adolescência, tendo participado de trabalhos de músicos como Tavinho Moura, Chico Lobo e outros. Gravou o CD instrumental de viola caipira, “Boas Horas”, participou do Viola Minha Viola, da Inesita Barroso, na TV Cultura de São Paulo em 1998, Viola Brasil na TV Horizonte em 2004, 2008 e outros programas de Rádio e TV, tendo tangido as cordas por diversos arrebaldes. Desde o início veio criando e aperfeiçoando técnicas de execução da viola caipira.
Formou-se em História e se mantém numa linha independente de pesquisa evitando quebrar o encanto das “coisas”, de certas coisas em determinados momentos: é que “cada santo tem seu dia e cada coisa seu lugar”. O CD Boas Horas foi o pispêio e já que a latomia saiu no jeito, continua a chulata. Taí, 12 faixas de viola caipira
instrumental, a maioria acompanhada de violão, duas somente com viola, uma delas tendendo para o barroco, com duas violas de dez cordas, violinos, viola de arco e violão.
BOAS HORAS é uma saudação gravada, cuja função é substituir o bom dia, boa tarde ou o boa noite, e é usada há muito tempo pelo homem do campo no Norte e Nordeste de Minas Gerais.

Pesquisa a viola caipira ou viola de dez cordas, tendo participado de diversos trabalhos. Gravou cd boas horas de viola caipira instrumental e o cd viola da terra, tendo ja pisado muitas estradas pelo pais. A viola que aquí no brasil é chamada de caipira, viola cabocla, viola sertaneja, viola de arame, etc. porque foi adotada pelo caboclo assim que chegou da europa no século XVI com os primeiros colonizadores, é mostrada aquí procurando valorizar a sua sonoridade, timbre, e a ampla gama de recursos oferecidos por este instrumento, dando ao violeiro um espaço infinito para criar. 

  

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The viola caipira (Portuguese for country guitar) is a ten-string, five-course guitar. Unlike most steel-string guitars, its strings are plucked with the fingers of the right hand similarly to the technique used for classical and flamenco guitars, rather than by the use of a plectrum.

It is a folk instrument commonly found in Brazil, where it is often simply called viola. Resonator models are also produced.

The origins of the viola caipira are obscure, but evidence suggests it evolved from the vihuela/viola de mano which was taken to the new world by Spanish and Portuguese settlers. It has also similarities with the 5 course baroque guitar, that elsewhere evolved into the modern guitar. It is likely a descendant of one of the many folk guitars that have traditionally been played in Portugal. The viola braguesa and viola amarantina, for instance, are two types of ten-string guitars from the north of Portugal, which are closely related to the viola caipira.

Some have described the viola caipira as Brazil's national instrument, but others argue that the tambourine-like pandeiro has a stronger claim. The Brazilian Embassy in Washington lists a national flower among the official symbols of Brazil, but no national musical instrument. What is undisputed is that the viola caipira was introduced in São Paulo before the violão, and is the basis for the música caipira, or São Paulo´s folk music, as Inezita Barroso states.

A large number of tunings are used; open tunings are common.

Violas are present in nearly all Brazilian music forms, anywhere in the country (although it is declining in some places). It most often associated with Caipira Music (Brazilian country music), with some forms of North-Eastern music and with folkloric music. It was once used to play urban music, like choro, samba and Maxixe, but has been replaced by the acoustic guitar.

The greatest virtuosos of Brazilian viola are Zé Côco do Riachão (composer from Minas Gerais), Toninho Ramos (composer from Minas Gerais live in France) and Almir Sater (successful singer-songwriter from Mato Grosso do Sul).

A National Association of Viola Players (Associação Nacional dos Violeiros) has been founded in 2004 and the Ministry of Culture has declared the preservation of the Viola tradition as of national interest.

wiki

Dimas Tube

another fine blog : ) and source for the music...

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Ao Clarão da Lua

  

Aqua

A música das lavadeiras do Jequitinhonha
Jequitinhonha washerwomen's song
La música de las lavanderas
2004

Tracks:

01 - Navio de Guerra / Cessando Areia
02 - Beira Mar da Vigia
03 - Cai Bananeira
04 - Córrego Novo
05 - Senhora Santana
06 - Mestra Diôla
07 - Peneira Gavião
08 - Tributo ao Jequitinhonha
09 - Da Sala pra Varanda
10 - Rala o Coco Bem-te-vi
11 - Ao Clarão da Lua
12 - Rosa no Batuque
13 - Saude de Portugal

As lavadeiras-cantoras são:

Adélia Barbosa da Silva, Ana Isabel da Conceição, Emília Maria de Jesus, Juracy Lima da Silva, Mirian Fernandes Pessoa, Santa de Lourdes Pereira, Sebastiana Dias Silva, Teresa Fernandes de Souza Novais e Valdenice Ferreira Santos.

A banda básica é formada por:

Carlos Farias (violão e regência),
Carlinhos Ferreira e Guê Oliveira (percussões),
Sanráh (violão solo),
Ivan Virgílio (sopros)
Aloísio Horta (baixo).

 

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Get on with the washerwomen's song

The washerwomen from the Jequitinhonha Valley, region located in the Northeast of Minas Gerais, Brazil, are old songs keepers - batuques, sambas, afoxés, frevos, rodas, modinhas and toadas (Brazilian rhythms and beatings)- which origin is lost in time's memory. They are working, playing and laudation canticles, influenced by the African, Indian and Portuguese tradition. They reveal the ethnic blending that bred the rich Brazilian Popular Music.

  

  

The history of "The Choir of the Washerwomen" began in 1991 when they were encouraged by the she singer and cultural researcher Carlos Farias and started to sing as a group and built up an association in the city of Almenara, where they still live. The recording of the CD-Book "Batukim Brasileiro", a gathering part of this collection, and its launching at Ilha da Madeira - Portugal, in 2002, just like the fulfilling of a victorious tour over many Brazilian Cities, consolidated a work that quests for enriching Brazilian immaterial cultural heritage, generate income and promote social inclusion. "Aqua", released in 2005 by Carlos Farias, is the sequence of this project. The rhythm and the lyrics reveal the interbreeding and the Brazilian religious blending. It really worth listening to CDs, and specially be touched by their in live performance. In both situations, the fusion of their voices with the sounds from the drums, the rattles, the guitars and the flutes create a revealing and fascinating presentation of the Brazilian soul." 

 

 Source

wiki

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"Batukim Brasileiro"

  

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Contact for shows, speeches and CDs requesting:

epovaleeventos@yahoo.com.br

carlosfarias@terra.com.br

Grande Poder

  

«Tum Tum Tum by Déa Trancoso was born eternal. The repertoire is unique, universal, of rare beauty and essence. Music runs through time praying in joy, showing, on an impeccable production, the heart of Jequitinhonha. It’ll strike for many, many years within the best Brazilian music analogical albums.» 

Tavinho Moura

 

  

Déa Trancoso
TUM TUM TUM
2006

Tracks:

01. Filho Da Folha - catimbó
02. Tupinamba - catimbó
03. Passarinho Pintadinho - lundu
04. Grande Poder - coco
05. Indio-Filho Do Mato
06. Beija-Flor - congo
07. Rainha - catimbó
08. Luandas - maracatu
09. Benzim Veloso - acalanto
10. Canarim Do Mato
11. Meus Amo - coco
12. Canto De Uma Terra
13. Lagartixa No Fuba

  

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Déa Trancoso

It all began with a ten year research on the traditions of Vale da Jequitinhonha, Minas Gerais, Brazil. The result was Tum Tum Tum, an album well acclaimed by the critics and nominated to several best record and best singer awards, alongside names such as Maria Bethânia, Alcione and Marisa Monte.

Influenced by violeiros (guitar players), cantadores (singers) and foliões (merrymakers) from Jequitinhonha, Déa Trancoso presents a work based on the mineira tradition of Terno de Catopés from Bocaiúva, a centenary group that accompanied her through a series of shows. Winner of the X Festivale – Popular Culture of Jequitinhonha Festival, Déa Trancoso entered the Brazilian musical scene with her natural voice surprising by its tuning but also by its technical abilities.

Endless scholar (with a degree on journalism and vocal techniques) she studies musical Brazilian roots, addresses to the origins of samba and its connection to the popular music of Congo and Angola, building rhythms both traditional and contemporary. In the words of the musician Ivan Vilela her voice has a “coming out of God knows where” strength and Egberto Gismonti, one of the most ingenious Brazilian composers, considers her voice to be incredibly beautiful and truthful.
   

      

“Este CD me dá a certeza do diamante jubiloso de Diamantina, que, como parte do Vale, aclarou os caminhos assanhados da Déa. Uma beleza inesgotável: Déa Jequitinhonha Trancoso!
As músicas têm o sabor que mais se gosta de saborear, o ritmo que mais se gosta de dançar, o sacolejo que se deve vascolejar até o riso se engraçar. Têm cantoria, melodia, harmonia e ladainha com ternura e meiguice. Têm invento, invenção e achado. Têm mentira com tanta verdade que parece coisa inventada, encantador, parece coisa encantada! “TUM TUM TUM” é muito perigoso porque quando a gente se agarra nele não consegue se soltar nem de noite pra sonhar”

Egberto Gismonti
  

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blog

 

one more:
  

 Chico Lobo & Déa Trancoso – O Violeiro e A Cantora

  

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Zé Coco do Riachão

LP Brasil Puro (1980) Rodeio/WEA
LP Zé Coco do Riachão (1981) Rodeio/WEA
LP Vôo das Garças (1987) Rima
  

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source

  

Zé Coco do Riachão

José dos Reis Barbosa dos Santos
1912 Brasília de Minas, MG
13/9/1998 Montes Claros, MG
  

Instrumentalist. Composer. Accordionist. Manufacturer of fiddles. Created in the town of Riachão, where he was born on the banks of the river that bears the same name, at the confluence of the cities of Mirabela and Brasília de Minas, in the São Francisco Valley. His father was a maker and player of guitars. At the time of his birth, he spent a merry-of-kings, and he was consecrated by the mother to the holy kings, so "the Kings" registered.

Ze Coco made clear his devotion to the Holy Kings, and always introduced himself as Jose Reis Barbosa dos Santos. Hearing his father play since he was born, at age 8, was playing guitar that he learned to do. He was a joiner, carpenter, blacksmith, shoemaker, maker gates of ingenuity, ox cart, corral strip, wheel rolling cassava, but what became known, even internationally, was the excellence of the instruments which produced and played: viola, guitar, mandolin and fiddle. At twenty, he took the small instruments factory from his father.

Born in northern Minas Gerais, where the cultural influence of quilombos was and is very strong, he made his name in his region, but only had national recognition with almost 70 years of age. He recorded three albums in the 80s, that were not enough to save him, he died in poverty.

  
Zé Coco do Riachão
  

Zé Côco do Riachão
  

  
Viola caipira

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