Apr 26, 2016

RhoDeo 1617 Roots

Hello, we'll be staying in Brazil until the Olympics there's plenty of time to explore the it's music scene. The music of Brazil encompasses various regional music styles influenced by African, European and Amerindian forms. After 500 years of history, Brazilian music developed some unique and original styles such as samba, bossa nova, MPB, sertanejo, pagode, tropicalia, choro, maracatu, embolada (coco de repente), mangue bit, funk carioca (in Brazil simply known as Funk), frevo, forró, axé, brega, lambada, and Brazilian versions of foreign musical genres, such as Brazilian rock and rap.

Today, one of Brazil's greatest jazz and ballad singers of the 1960s and '70s, a highly-regarded but tragic artist who was something like her country's version of Edith Piaf. She hosted a popular television show ("O Fino Do Fino") and used her fame to boost the careers of many of the best new Brazilian composers of the era. Before her untimely death at the age of thirty-six, she was widely regarded as Brazil's greatest living popular vocalist. She was noted for her vocalization, as well as for her personal interpretation and performances in shows... .....N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Elis Regina was born in Porto Alegre, where she began her career as a singer at age 11 on a children's radio show, O Clube Do Guri on Rádio Farroupilha. In 1959, she was contracted by Rádio Gaúcha and in the next year she travelled to Rio de Janeiro where she recorded her first LP, Viva a Brotolândia (Long Live Teenage Land) and her second LP, "Poema", employing a number of popular musical styles of the era.

She won her first festival song contest in 1965 singing Arrastão (Pull The Trawling Net) by Edu Lobo and Vinícius de Moraes, which, when released as a single, made her the biggest selling Brazilian recording artist since Carmen Miranda. The second LP with Jair Rodrigues, Dois na Bossa, set a national sales record and became the first Brazilian LP to sell over one million copies. Arrastão by Elis also launched her career for a national audience, since that festival was broadcast via TV and radio. For the history of Brazilian music, the record represented the beginning of a new musical style that would be known as MPB (Música popular brasileira or Brazilian Popular Music), distinguished from the previous bossa nova and other preceding musical styles, although samba is very much at its core. Most of her entire 20 year recorded discography is still available.

In the late 1960s and early 1970s, along with Gal Costa, Caetano Veloso and Gilberto Gil, Elis Regina helped to popularize the work of the tropicalismo (Tropicália) movement, recording songs by musicians such as Gilberto Gil. Her 1974 collaboration with Antonio Carlos Jobim, Elis & Tom, is often cited as one of the greatest bossa nova albums of all time, which also includes what many consider the all-time best Brazilian song, "Águas de Março". She also recorded songs by Milton Nascimento, João Bosco, Aldir Blanc, Chico Buarque, Guinga, Jorge Ben, Baden Powell, Caetano Veloso and Rita Lee. Her nicknames were "furacão" ("hurricane") and "pimentinha" ("little pepper"), opening a window on both her singing style and personality.

She sometimes criticized the Brazilian dictatorship which had persecuted and exiled many musicians of her generation. In a 1969 interview in Europe, she said that Brazil was being run by "gorillas". Her popularity kept her out of jail, but she was eventually compelled by the authorities to sing the Brazilian national anthem in a stadium show, drawing the ire of many Brazilian Leftists. She was later forgiven because they understood that, as both a mother and daughter, she had to protect her family from the dictatorship at any cost. Along with many other artists Elis was living each verse of Geraldo Vandré's political hymn: Yet they make of a flower their strongest refrain, And believe flowers to defeat guns. While her earlier records were mostly apolitical, from the mid-'70s on her music became more engaged, and she began to choose compositions and structure her conceptually complex live shows in ways as to criticize the military government, capitalism, racial and sexual injustice and other forms of inequality. Lyrics to songs recorded towards the end of her career carried overt socialist leanings, and in 1980, she joined the Workers' Party.

Her rendition of Jobim / Vinicius' song "Por Toda A Minha Vida" appeared on the soundtrack to the 2002 movie Hable con Ella (Talk to Her) directed by Pedro Almodóvar and her song "Roda" appeared on the soundtrack to the 2005 movie Be Cool.

Elis married twice and gave birth to three children. Her first marriage was to Ronaldo Bôscoli in 1967. She gave birth to a son, João Marcelo Bôscoli, in 1970. She later married her long-time collaborator, pianist/composer/arranger César Camargo Mariano, and had two more children with him: Pedro Camargo Mariano in 1975, and Maria Rita in 1977. The three children all later became musicians and/or producers. After many years of complete obscurity, Maria Rita became a national singing sensation after a lengthy marketing campaign, like her mother, winning three Latin Grammies for her debut eponymous CD. João Marcello Boscoli, owner of the Trama recording company, produced the first Elis Regina DVD allowing many of her fans to see her performing for the first time. The DVD was a recording of a 1973 Brazilian TV show featuring songs, Elis' running commentary introducing each song, and an interview. Pedro Camargo Mariano most recently sang with his father, the brilliant pianist and arranger César Camargo Mariano, on a Latin Grammy–nominated CD called "Piano & Voz" (Piano and Voice). More DVDs of Elis Regina performances have subsequently been released.

Elis Regina died at the age of 36 in 1982, from an accidental cocaine, alcohol, and temazepam interaction. More than 15,000 people, among friends, relatives and fans, held her wake at Teatro Bandeirantes, in São Paulo, with large groups of fans singing her songs. More than 100,000 people followed her funeral procession throughout São Paulo. She was buried in Cemitério do Morumbi.

xxxxx xxxxx xxxxx xxxxx xxxxx

"..Em Pleno Verao" (At The Height of Summer) is another Big Performance from Elis Regina. One year after the amazing "Aquarela do Brasil", Elis is caught at the top of her game as Brazil's pre-eminent female singer in a series of big band and live perfomances that captivated Brazil and showcased her supreme abilities as a 'singer's singer'. Not only that but she, in turn, showcases several already/soon-to-be famous songwriters, such as Baden Powell, Jorge Ben, Gilberto Gil, AC Jobim, and Caetano Veloso, among others.

Powell's "Vou Deitar E Rolar" with it's now famous "quaquaraquaqua" refrain starts off the album in a joyous manner (musically, at least, subject matter aside), with Elis having a lot of fun with the refrain and expertly surfing over the big band arrangement. Note how she runs the song through several nuances, including a dead stop in mid-song, and a wild riff. Also note her 'time management', how she plays with it, stretches it: it's impeccable. Jorge Ben's "Bicho Do Mato" is likewise upbeat and downright raucous with Elis' distinctive 'vamp' stamp.

The most outstanding 'Pieces D'Resistance' on this album begin with the mysterious "Verao Vermelho" (Red Summer), with Elis literally joining the orchestra in a wordless tour de force that ends much too soon. Those who eschew the fact that Elis was a jazz singer at heart, note this performance (and any of her performances of "Wave"). Jazz plays a major part in Musica Popular Brasilera. On Veloso's "Nao Tenha Medo" (Have No Fear), Elis grabs us immediately and pulls us into the song. "These Are The Songs", a rare and wonderful performance by Elis in English/Portuguese, is a 'Do Wop' tribute sung individually and in duet with platinum-selling Tim Maia (using a wild but poignant vibrato). This song grows on one with each hearing. "Comunicacao" is one of the best performances, with the jazzy walking bass, tuba/piano unison, flutes, and soaring violins all playing an integral role in the proceedings: a fabulous performance. And the final 'Piece D'Resistance' is the airy "Copacabana Velha De Guerra" musically ending on an up note. Score another wonderful album for Elis Regina.

Elis Regina - Em Pleno Verao  (flac  192mb)

01 Vou Deitar E Rolar (Quaquaraquada) 3:24
02 Bicho Do Mato 3:25
03 Verão Vermelho 1:38
04 Até Aí Morreu Neves 2:16
05 Frevo 2:31
06 As Curvas Da Estrada De Santos 3:41
07 Fechado Pra Balanço 2:40
08 Não Tenha Medo 2:46
09 These Are The Songs 3:09
10 Comunicação 2:46
11 Copacabana Velha De Guerra 2:59

       (ogg   mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

When Ella Fitzgerald came to Rio de Janeiro in 1971, she got impressed by a track she listened to from a cassette tape someone had presented her. It was the smash hit of the moment - "Madalena" by composer Ivan Lins as sung by Elis Regina. It was 1971 and Ella has recorded it live in 1972 in her Jazz the Philharmonica concert at the Santa Monica Civic. The master Elis Regina counted on the great Chiquinho de Morais as her arranger for this album. Another smash hit from this album was Marcos Valle's "Black is Beautiful".

Elis Regina - Ela (flac 200mb)

01 Ih! Meu Deus Do Céu 3:08
02 Black Is Beautiful 5:22
03 Cinema Olympia 2:53
04 Golden Slumbers 2:35
05 Falei E Disse 3:06
06 Aviso Aos Navegantes 2:33
07 Mundo Deserto 2:36
08 Ela 4:50  
09 Madalena 2:37
10 Os Argonautas 3:08
11 Estrada Do Sol 2:14

 (ogg   mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

The Brazilian diva Elis Regina was considered to be the representative singer of MPB (Musica Popular Brasileira) throughout the '70s. Elis, from 1972, is one of her best albums, the smooth production values never spilling over into the ersatz disco sound which marred too much of Brazilian pop during the MPB period of the '70s and especially '80s. It's worth comparing Regina's version of Tom Jobim's masterpiece "Aguas de Marco" with João Gilberto's on his spare 1991 album João Gilberto. Though both interpretations are superb, Regina just might have the edge on the great bossa nova master. She later got to do yet another with the composer himself on the classic Elis & Tom, recorded in Los Angeles in 1979.

Elis Regina - Elis-20 Anos (flac 172mb)

01 20 Anos Blue 3:13
02 Bala Com Bala 3:15  
03 Nada Será Como Antes 2:44
04 Mucuripe 2:30
05 Olhos Abertos 2:36
06 Vida de Bailarina 2:29
07 Aguas de Março 3:08  
08 Atrás Da Porta 2:51
09 Cais 3:19
10 Me Deixa Em Paz 2:11
11 Casa No Campo 2:53  
12 Boa Noite, Amor 2:30  
13 Entrudo 2:50

 (ogg   mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

This solid 1974 studio session has great songs, at least three of her smash hits come from this album: "Dois pra La, Dois pra Ca" and "Mestre-Sala dos Mares" both by composer Joao Bosco and "Amor ate o Fim" by Gilberto Gil. She also sings Milton Nascimento's "Travessia" (aka 'Bridges'). plus a rare recording of "Na Batucada da Vida" by Ary Barroso. It includes complete Portuguese lyrics. Arrangements by the master Cesar Camargo Mariano.

Elis Regina - Elis-Na Batucada (flac 194mb)

01 Na Batucada da Vida 3:23
02 Travessia  5:30
03 Conversando No Bar  4:14
04 Ponta de Areia  2:57
05 O Mestre-Sala Dos Mares 3:08
06 Amor Até O Fim 3:49
07 Dois Pra lá, Dois Pra Cá 4:27
08 Maria Rosa 3:56
09 Caça À Raposa 3:34
10 O Compositor Me Disse 1:51

   (ogg   mb)

xxxxx xxxxx xxxxx xxxxx xxxxx


Anonymous said...

Thanks for the great posts on Brazil. Please note the "Na Batucada" link is blank.

Rho said...

Hello yes just noticed my mistake it's live now N'Joy

Anonymous said...

Thanks a ton!