Feb 9, 2016

RhoDeo 1606 Roots

Hello, finally after months adrift in the doldrums we've reached the Brailian shores just in time for carnival....

In 1974 the prestigious Discos Marcus Pereira decided to record the repertoire that marked the path of the direct Rio samba schools from the source. Mangueira, Portela, Imperio Serrano and Salgueiro are the most important of the early 70 's They were chosen , each has a unique album here. Within this historical review can be found Carlos Cachaça, Nelson Sargento, Monarco, Dona Ivone Lara and many other masters. A valuable collection  .....N'Joy

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The samba is a sub-genre of modern samba emerged in Rio de Janeiro in the decade of 1930, made specifically for the parade of a samba school. Every year, the samba schools often promote internal competitions, where several songs are presented to the public in their courts, where at the end, usually between the months of September and October, one of them is chosen as official samba theme for Carnival next year . Sometimes the option is to merge two or more sambas-plot that is to the liking of school members.

The samba champion packs to school during the preparation phase, technical trials to be presented in the carnival parade. For a Samba is considered samba-plot, it should portray the plot chosen by the school carnival committee (not to be confused with plot theme). The samba is one of the items used in the trial of the parades of the schools. The evolution of school much depends on the progress of samba and its development on the promenade: some schools prefer to leave the calmer samba, other busier, or even more romantic! It all depends on your parade style that can change costumes for carnival.

Samba schools that traditionally present with a very large number of components generally use a faster beat to accelerate the movement of revelers in the street and keep the harmony of the whole. Until 1947 the samba schools sang during the show, two or three sambas that made no allusion to the plot. Composed of a previously ready chorus, and during the parade, were made improvisations. In 1946, the institution at the time, organized the parades of the samba schools, banned improvisation, requiring all used the samba-plot, which had already emerged, eventually being sung by some schools. Became famous this year's samba school case Delight Serrinha, who rehearsed the samba-plot "the San Francisco Conference" (authored by Silas olive and Mano Décio da Viola), but when the show turned out to present a samba the yard, which led the school to poor

Among the questions posed by a samba school during carnival, the most important of them is the samba-plot, where it is a snapshot of the history of the college present. It appeared in Rio de Janeiro in mid-1930 by presentation of a samba school that brought the news to the catwalk. The success was so great that other associations have joined the model. The choice of the samba-plot is made through internal competitions in schools, where the songs are presented. But choosing the samba is made ​​by the listening public, namely school members themselves. Often, when two sambas dispute the classification, the leaders choose to merge them in order to achieve better results, a more harmonious and rich rhythm. The lyrics of the samba-plot may be interpretative or descriptive, and the descriptive features the subject in great detail.

The melody should be lively and contagious, with striking features, own school which has, beyond good taste
as the joint letter. It is important that the harmony of melody facilitates the corner, because in this way promotes the learning of the letter and contagious the audience, singing fervently, making the most beautiful sight. In the event of breakdown in the sound truck during the presentation of some samba school, the members will be responsible for pulling the samba until the end of the parade, in total harmony with the battery drums to ensure they do not lose points.

In fact, a crash sound car does not cause loss of points, but if the members do not take the paper handles, it will lead to such losses. Therefore, it is important that all components participate in the testing in order to sustain the school if any problem at the time of the parade. The harmony and integration become perfect when the group is well rehearsed. Of sambas-plot, will be evaluated by the judges: the letter, the suitability of the same to the plot, good taste and poetic richness, the meshing of the verses to the melodies, the built-in rhythm to lyrics, the musical harmony, ease letter and music, among others.

There are always those sambas that, each year, are remembered at dances, parties and carnival celebrations as the best ever written and sung since 1932, when it happened the first parade of the Rio schools. Whether through symbolize the breaking of barriers in the world of samba or the inventiveness of his verses and melodies, they went down in history as carnival classics. To warm your revelry with the best of samba, elected our top 10, we share with you below. Listen, recall old times and good romping!

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Rio samba school founded on April 28, 1928, on the hill of the hose. The Recreation Club Samba School Mangueira is proud to have as founders; Carlos Cachaça, Cartola and Zé Espinguela. Before the school's founding in the Morro da Mangueira had already Gras beads, among which stood out "Warriors of the Mountain" and "Trumps the hose." Besides the cords, had ranches that allow the participation of women in the processions, the use of allegories, plots and standard door. In the history of the carnival was the first to hold a unique marking the first deaf on drums.

The school symbol, the deaf is the samba; its laurels, the victories; the crown, the imperial district of Saint Kitts; and the stars, titles. The school has in its history, 18 titles and a super championship won in the year of inauguration of the Sambadrome in 1984. The Jamelão singer, who did not like being called puller, was the interpreter of the 1949 school sambas to 2006. One of the most old (though not the first) of the samba schools of Rio.

Historia das Escolas de Samba - Mangueira  (flac 173mb)

01. Padeirinho - A mais querida 02:13
02. Nelson Sargento - Cântico à natureza 02:50
03. Carlos Cachaça - Vingança 01:34
04. Padeirinho - O grande Presidente 02:35
05. Preto Rico - Lendas do Abaeté 02:19
06. Cartola - Vale do Sao Francisco 02:49
07. Grupo Mangueira - Imagens Poéticas de Jorge de Lima 02:23
08. Cartola - Todo o tempo que eu viver 02:33
09. Jurandir - Mercadores e suas tradições 03:21
10. Carlos Cachaça  - Homenagem 02:56
11. Cartola - Chega de demanda 01:26
12. Velha Baiana - Velha Baiana 02:50

 (ogg 00mb)


The Portela name comes from the time of colonial Brazil when the then Irajá parish, during the eighteenth and nineteenth centuries was a region occupied by productive sugar mills, including the Mill of Portela between the Treasury Camp to Rio das Pedras. - what is known today as Madureira (Lourenço Madureira, one of the most famous traders of his time)
With the crisis of the economic model based on labor, slave labor throughout the nineteenth century, the region was slowly going into crisis. After the Proclamation of the Republic of Brazil and the urban reforms that resulted in much of expulsion of population living in the center of Rio de Janeiro, many ended up fleeing to the farthest regions of the center, occupying the hills and old estates, including, the old Mill of Portela. With the changes in Rio de Janeiro, hitherto region of Rio das Pedras inherit the name of the nearby river, named the sanitarian Oswaldo Cruz that wiped out yellow fever in the city.
The region of Oswaldo Cruz was occupied mostly by former slaves in Minas Gerais and former State of Rio de Janeiro (which did not include the city of Rio de Janeiro, autonomous federal district) and, during the process of cleaning the center of Rio, did not receive basic assistance from the government, why there was no water or common electricity in the most affluent neighborhoods in Rio. Access and movement of the residents was also hampered by huge Walloons. The main route of the region was the road Portela, who inherited the old mill name. Among the social problems, the residents of Oswaldo Cruz manifested themselves culturally in religious festivals, drumming and jongo, past heritage and slave ancestors, something which would influence the history of Portela.

Historia das Escolas de Samba - Portela (flac  228mb)

01. Manacéia - Brasil de ontem 02:17
02. Francisco Santana - Hino à velha guarda da Portela 02:58
03. Alvaiade - O mundo é assim 02:29
04. Alvaiade - O quitandeiro 03:00
05. Alvaiade - Brasil, Pantheon de glórias 03:21
06. Monarco - Sentimentos 02:42
07. Mestre Marçal - Macunaíma 03:40
08. Casquinha - Recado 02:45
09. Walter Rosa - Rio, capital eterna do Samba 02:30
10. Alcides Lopes e Alvaiade - Falem de mim 02:06
11. Monarco - De Paulo da Portela a Paulinho da Viola 02:55
12. Alcides Lopes - Cidade Mulher 03:00

Historia das Escolas de Samba - Portela  (ogg   98mb)


Was founded on March 5, 1953 from the union of two samba schools in the Morro do Salgueiro: Blue and White and When I Say. The States Willow, third existing school in that area and had as main representative the samba Joaquim Pants Larga, did not agree with the merger and, therefore, missed out. Later he disappeared. In his first parade, with the theme "Pilgrimage to Bahia" in 1954, the Academic Willow surprised the audience and achieved third place, ahead of Portela.
The first president of the Willow was Paulino de Oliveira and in the years that followed, school dared to deal with scenarios that they put the black highlighted, and not as extras. It is striking example of this new style, Ship Slave (1957). But it was in 1958, under the presidency of Nelson Andrade, the college adopted the motto that brings to this day: neither better nor worse, just a different school. Nelson Andrade was responsible for the way the carnival Fernando Pamplona for Willow in 1960, ushering in a major change in school look. Pamplona has created a team of it, the couple Dirceu and Marie Lousie Nery, Arlindo Rodrigues and Nilton Sá, revolutionized the aesthetics of parades of schools samba.Essa trend was reinforced with the arrival of Fernando Pamplona and later Arlindo Rodrigues, they rescued black characters that have enriched the history of Brazil, although they were slightly portrayed in textbooks, as Zumbi dos Palmares (Palmares - 1960), Xica da Silva (Xica da Silva - 1963) and King Chico (Chico Rei - 1964) . in the 1970s, the school embodies the young artist Joãosinho Thirty, who was a student of Pamplona, in memorable shows 1971 Feast for a King Black (samba composed of Zuzuca, with the carnival Joãosinho Thirty with which obtains its 5th title and the championship in 74/75 with king of France in haunt Island (samba composed in 1974 by Joe Di and Trickster having as carnivalesque Thirty Joãosinho that earned him his 6th title of the carnival) and king Solomon's mines (samba compound in 1975 by Nininha Rossi, Dauro Ribeiro, Zé Mário Pinto and stone and with the carnivalesque Thirty Joãosinho with which he won his 7th title).

Rebuilding in 2007 Willow went in search of their roots to find in East Africa, the history of Candaces, black queens who ruled the Empire Meroe seven centuries before Christ. Everything seemed perfect for a victory - or at least the runner-up. The school made ​​a brilliant show and left acclaimed by the public and the press as a postulant for the title. This expectation lasted only until the reading of the first notes on Ash Wednesday. Inexplicably jurors gave poor grades to school. Away from the championship battle, Willow finished the investigation in 7th place. In 2008, speaking of the city of Rio de Janeiro, the Willow won the runner-up.
After the runner-up, Willow held elections for the choice of the executive board responsible for school command in the triennium 2008-2010. The winner was the candidate of the situation, Regina Celi Fernandes Duran, second woman in history to preside over the school.

História Das Escolas De Samba - Salgueiro (flac 252mb)

01. Geraldo Babão - Morro inspiração 02:54
02. Noel Rosa de Oliveira - Chica da Silva 03:28
03. Geraldo Babão - Nega, o que queres de mim 03:16
04. Pindonga - Casa do pequeno jornaleiro 03:37
05. Romário - Bahia 02:12
06. Geraldo Babão - Homenagem a Antenor Gargalhada 02:37
07. Sam Rodrigues - O segredo das minas do Rei Salomao 03:44
08. Noel Rosa de Oliveira -  Quilombo dos Palmares 02:47
09. Pindonga - Imperatriz do Samba 03:37
10. Geraldo Babão - Historia do Carnaval 04:27
11. Noel Rosa de Oliveira - Assim não é legal 03:13
12. Iracy Serra - Sambista 03:07

História Das Escolas De Samba - Salgueiro   (ogg 107mb)

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While many schools have only window, the Empire Serrano has mirror. If sees, appreciates, it dignifies. He is less interested in "appears" and more interested in "being what it is." Thank God! Mirror that reflects to transmit their ancestral knowledge, his shrine lessons, principles and fundamentals. The Empire Serrano is a giant who does not give in easily to the ripple of modern times. Being large, it has with himself and his supporters that sacred commitment to preserve the richness of its history. Touching and charming that your journey! For this, the school picked up a lot. He picked up back there when he broke the hegemony of the great and became a glance great too. Caught when his poet-symbol, Silas de Oliveira, was called to testify on some samba praised freedom in days of political dictatorship. He picked up, too, when this story began sponsoring the carnival. When he opened his book to tell the story of a businessman, in the distant 1997, there Empire understood that distance themselves from their historical verve does not match its flag. I could hardly imagine that after that incident, the error would become the rule, and it would be the last bastion of samba to fight and resist against invasive fury of sponsored themes, personalities and foreign elements to samba. Today penalized are those who do not surrender to marketing. But since "Imperian faith not tired," the fight're purchased, and the Empire does not give up. The Empire is so. It has its peculiarities. It is a capital school, imperative male ... "The" Empire is a man with H! "A child's green hope not run from a fight / Come fight!" - Proclaims in one of his poetic and self-explanatory verses. And even though our children and our children's children one day begin to lose the reference that takes a samba school parade of leading a people to sing with tears a samba-plot; and even if one day lose the notion that the spectacle of the samba schools can grow without losing its fundamental roots ... suffice someone look, wherever you are parading the Empire Serrano

História Das Escolas De Samba - Império Serrano (flac  246mb)

01. Avarase - Sou Imperial 02:36
02. Dona Ivone Lara - Os cinco bailes da historia do Rio 03:10
03. Jorginho Peçanda - Não chore, amor 02:24
04. Dona Ivone Lara - Amor inesquecível 03:18
05. Avarase - Antônio de Castro Alves 02:35
06. Jorginho Peçanha - Heróis da liberdade 03:01
07. Avarase - Zaquia Jorge, estrela do subúrbio, vedete de Madureira 03:00
08. Jorginho Peçanha - Aquarela Brasileira 03:27
09. Mestre Fuleiro - Minhas primaveras 03:35
10. Dona Ivone Lara - Glórias e graças da Bahia 03:18
11. Wilson Diabo - Nordeste, seu povo, seu canto e sua glória 03:46
12. Jorginho Peçanha - Meu drama (senhora tentação) 03:30

História Das Escolas De Samba - Império Serrano  (ogg   101mb)

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