Hello,
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's artist started her career in Rio de Janeiro in 1964 with the show "Opinião" ("Opinion"). Due to its popularity, with performances all over the country, and the popularity of her 1965 single "Carcará", the artist became a star in Brazil. She has released 50 studio albums in 47 years of career, and is among the 10 best-selling music artists in Brazil, having sold more than 26 million records.. ........N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Maria Bethânia, sister of Caetano Veloso, is a renowned singer on her own. Her scenic, dramatic abilities, in a profoundly Brazilian tradition, make her performances quite personal, which has brought her a massive and faithful audience over the decades.
As a child, she wanted to be an actress right from the start. But, as her mother loved to sing, music was always around. Her father was not musically gifted, but loved to listen to Dorival Caymmi and Noel Rosa compositions. At 13, her family moved to Salvador, and she began to frequent the "university circles," intellectual groups gathering around art exhibitions and performances. The access to theater plays strengthened her desire to become an actress. At that time, a novice Caetano Veloso had become the musical partner of the play director Álvaro Guimarães. For Guimarães's short movie Moleques de Rua, Veloso composed a soundtrack which should have had, according to him, his sister singing in it. At 16, Bethânia tried to refuse, as she had never sung under such pressure. But Guimarães loved her timbre, and included her in his 1963 staging of Nelson Rodrigues' musical Boca de Ouro, where she performed a cappella. In the same year, they became acquainted with Gilberto Gil and Gal Costa.
Next year, Veloso was invited to organize a Brazilian popular music show at the opening of Salvador's Teatro Vila Velha. The show, called Nós, por Exemplo, included Veloso, Maria Bethânia, Gilberto Gil, and Gal Costa (still under her name Maria da Graça). The show was a success and was reenacted two weeks later, with the addition of Tom Zé (still presented as Antônio José). The success was even bigger, and the group (without Zé) soon presented another show, Nova Bossa Velha, Velha Bossa Nova. In that same year, Bethânia acted alone in her musical Mora na Filosofia, directed by Veloso and Gil.
Edu e Bethania In January 1965, still a school student earning bad grades, she was surprised by the invitation to substitute for Nara Leão, already an established young singer who had had a problem with her vocal cords, in her highly successful show Opinião. Bethânia's opening on February 13, 1965, was very successful, and her dramatic performance of "Carcará" (João do Vale/José Cândido) launched her as an overnight national success, repeated during the São Paulo season. Because of the sucess, Guilherme Araújo, then assistant for Aluísio de Oliveira at the RCA label, invited her, through Veloso, to record for the label. In May of that year, Bethânia recorded her first single, and some months later, her first LP. On September 26, 1965, the Vila Velha gang opened the show Arena Canta Bahia, at São Paulo's Teatro de Arena. In April 1966, Bethânia, invited by Guilherme Araújo, opened her show Recital at the Cangaceiro nightclub, in Rio. It also opened the way for Guilherme Araújo to become the manager of Veloso, Gil, and Costa (receiving 20 percent for 70 of his songs, he would be sued by Gil in 1992). She also performed at the Barroco nightclub (Rio). In the same year, Bethânia performed in the show Pois É, together with Gilberto Gil and Vinícius de Moraes, at the Teatro Opinião. In the following month, October 1966, Bethânia performed "Beira mar" (Caetano/Gil) at the I FIC. In 1967, she recorded with Edu Lobo the Elenco album Edu Lobo e Maria Bethânia. Through 1970, she would also be featured in the shows Yes, Nós Temos Maria Bethânia (Teatro de Bolso, Rio), Comigo Me Desavim (Teatro Miguel Lemos, Rio), Recital Na Boite Blow Up (São Paulo), and Brasileiro Profissão Esperança (Teatro Casa Grande, Rio).
Caetano Veloso, Maria Bethania and Gilberto Gil In 1968, she performed on the LP Veloso, Gil e Bethânia (RCA) and the solo LP Recital na Boite Barroco. In 1969 and 1970 respectively, Bethânia released the LPs Maria Bethânia and Maria Bethânia Ao Vivo. In 1971, she recorded for Philips the LP A Tua Presença. In July, backed by the Terra Trio, she opened at Rio's Teatro da Praia her show Rosa Dos Ventos, which yielded a live album under the same name, produced by Roberto Menescal. In 1971, she went to Europe and performed at the MIDEM (Cannes, France), and in Italy. Next year, she appeared, together with Chico Buarque and Nara Leão, in the film Quando o Carvaval Chegar. The movie's soundtrack was released in 1972 by Philips. Bethânia wrote the lyrics for Caetano Veloso's song "Trampolim," released on her album Drama. A European tour through Italy, Germany, Austria, Denmark, and Norway followed. In 1973, she opened her show Drama, Luz da Noite, also recorded as an album under the same title. Commemorating the tenth year of her career, she opened her show A Cena Muda (1974), recorded and released in November 1974. On June 6, 1975, Bethânia performed in a live show together with Chico Buarque, recorded and released as Chico Buarque e Maria Bethânia Gravado ao Vivo no Canecão. In 1976, she recorded Pássaro Proibido. In July, together with Caetano Veloso, Gilberto Gil, and Gal Costa, she toured Brazil with the show Os Doces Bárbaros, which yielded a film of the same name by Jom Tob Azulay and a double album released by Philips in November 1976.
On January 13, 1977, her show Pássaro da Manhã opened, released as a studio LP under the same title, which brought her second gold record. In May 1978, Bethânia released, with Veloso, a live show recorded in LP as Maria Bethânia e Caetano Veloso ao Vivo. Alibi In 1978, the LP Álibi was released (certified as a gold record before hitting the streets, making her the first Brazilian female singer to reach one million sold copies), producing a show with the same name in July of the next year. In December 1979, she released the album Mel, which also brought the show Mel in January 1980. The same year came the LP Talismã. In the next year, she opened her show Estranha Forma de Vida and released her album Alteza. In 1982, Bethânia performed in the show Nossos Momentos. In 1983, she took another turn in her career with the album Ciclo, branching out of her popular formula toward a new acoustic direction. In 1984, she performed in her show A Hora da Estrela, with songs especially written by Veloso and Chico Buarque. The album A Beira e o Mar followed. In 1985, the show 20 Anos opened.
The next year, Bethânia signed with RCA for the release of Dezembros, which contained unpublished songs by Tom Jobim, Chico Buarque, and Caetano Veloso, and "Canções e Momentos," written especially for her by Milton Nascimento. In 1988, she recorded Maria, with guest stars Jeanne Moreau and Gal Costa, which also was the name of her show which opened in that year. In 1989, the album Memória da Pele was released, and Bethânia presented the show Dadaya -- As Sete Moradas. Her 25th career anniversary was commemorated with the album and show 25 Anos, with participation from Nina Simone, Hermeto Pascoal, Egberto Gismonti, João Gilberto, and others. In 1982, she released the album Olho D'água, which was included in a major soap opera's soundtrack. Her 1993 album As Canções Que Cocê Fez Para Mim, also a show, was the best-selling record of that year (1,500,000 copies sold). For the label EMI/Odeon was recorded the album Âmbar, and also a show which was recorded live and released in 1997 as Imitação da Vida.
In 2015, her album Meus Quintais was nominated for the 16th Latin Grammy Awards in the Best MPB Album category.
xxxxx xxxxx xxxxx xxxxx xxxxx
Actress and vocalist Maria Bethânia recorded Recital Na Boite Barroco for the Odeon label in 1968 and it was reissued on compact disc in 2007 by EMI. Born Maria Bethânia Vianna Telles Veloso in 1946, this passionate interpreter of Brazilian popular song was some three years into her recording career when she was taped in live performance with the Tamba Trio (pianist Luiz Eca, bassist Bebeto, and percussionist Helcio Milito). The Maria Bethânia heard on this album was already an adept handler of intimate ballads, jazz samba and bossa nova. Standing as it does among the earliest entries in her discography, Recital Na Boite Barroco serves as a pleasant prologue to her major triumphs of the '70s and her subsequent successes over the years.
Maria Bethania - Recital Na Boite Barroco (flac 196mb)
01 Blue Planet (Planeta Blue) 3:38
02 Dream Merchant (O Vendedor de Sonhos) 4:08
03 Jaguar (Yuarete) 3:00
04 Enchanted City (Cidade Encantada) 3:45
05 Heart Is My Master (Meu Mestre Coracao) 3:54
06 Children's Dance (Danca Dos Meninos) 3:19
07 Eldorado 3:39
08 Letter to the Republic (Carta a Republica) 3:25
09 Old Hill (Morro Velho) 5:07
10 Mountain 4:55
11 Songs and Moments (Cancoes e Momentos) 3:40
(ogg mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
This album captures Maria Bethania's professional first project with actor and director Fauzi Arap,who would continue to direct her in subsequent projects.Conceived in 1971,the show aimed at showcasing Bethania's theatrical abilities while presenting both popular songs and poems.This recording,however only presents about one third of the setlist presented during the 71-72 Brazil tour.Starting with the esoteric Sueli Acosta's Assombracoes,dancing through folk songs such as Toalha Da Saudade, and exploring the tango El Dia Que Me Quieras,Bethania sounds the most comfortable with the Chico Buarque penned title track and with brother Caetano's Janelas Abertas Nº 2. Maria makes it all a worthwhile journey with her raspy contralto wrapped with her passion and theatricality.
Maria Bethania - Rosa Dos Ventos (flac 175mb)
Assombracoes 19:02
01 Assombrações
02 O Tempo E O Rio
03 Ponto De Oxum
04 Texto Nº 1
05 O Mar (Canção Praieira)
06 Suíte Dos Pescadores
07 Avarandado
08 Toalha Da Saudade
09 Imitação
10 Hora Da Razão
11 Cantigas De Roda
12 Doce Mistério Da Vida (Ah! Sweet Mystery Of Life)
Texto No.2 17:19
13 Texto Nº 2
14 Minha História (Gesubambino)
15 Lembranças
16 El Dia Que Me Quieras
17 Rosa Dos Ventos
18 Texto Nº 3
19 Janelas Abertas Nº 2
20 Não Identificado
21 Flor Da Noite
22 Texto Nº 4
23 Movimento Dos Barcos
24 Texto Nº 5
(ogg mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Toquinho is probably the most famous Brazilian guitarist of all times. His greatest success began in 1970 when he joined singer Vinicius De Moraes, with whom he recorded dozens of records throughout the 1970s. Nicknamed "O Poetinha" (The Little Poet) Vinícius was a seminal figure in contemporary Brazilian music. As a poet, he wrote lyrics for a great number of songs that became all-time classics. Vinícius was also a composer of Bossa nova, a playwright, a diplomat and, as an interpreter of his own songs, he left several important albums.
Ever since, the duo's mild and touching bossanova and samba are very well-known worldwid.
When they started the '70 and bossa nova was already somewhat recognized worldwide. Hence for a show at La Fusa (Buenes Aires) they invited Maria Bethania who took her first steps outside Brazil at that time.
And while doing many songs from Vinicius himself, near the public what would a few years later to explode worldwide, more precisely what would the Tropicalia and its references; which are interpreted and endorsed and on this album and the previous as a sign of the times.
Today over the years can see better and enjoy some humility that openness and Vinicius; and as he envisions the future when submitting to Bethania to interpret the song of his brother Caetano Veloso , E manha. That is to say it is an exciting and endearing version, only voice and guitar. Here also it appears in the vocal strength of the singer, Viramundo , a song by Gilberto Gil (another promise of those days) that is distinguished by its musicality and with another character. In addition Bethania beautifully sings the theme Jobin-Vinicius : Or tinha be . . In turn Toqinho blunts elegantly his guitar playing an instrumental track , authored by him with his beloved Vinicius do Moraes
This work really recreates the idea of the live show and the atmosphere of the café concert so well encourages Vinicius, but was recorded in studio. The end result is charming and excellent. The only thing different live concerts, is adding up to two Argentine session musicians. Today we can say that it is a historical registration, full of beautiful compositions that are part of the collective memory. A prized collector 's item, since it was conceived more than 40 years ago- and has and holds the powerful grace of the transcendent.
Vinicius de Moraes, Maria Bethânia, Toquinho - La Fusa (flac 258mb)
01 A Tonga Da Mironga Do Kabulete 4:04
02 É De Manhã 2:36
03 Samba Da Rosa 2:35
04 Testamento 2:15
05 Samba Da Bênção 9:11
06 Tarde Em Itapoan 4:35
07 Viramundo 1:58
08 Apelo 3:34
09 Como Dizia O Poeta 3:46
10 O Que Tinha De Ser 1:55
11 O Dia Da Criação 4:25
Vinicius de Moraes, Maria Bethânia, Toquinho - La Fusa (ogg 114mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
This exceptional 1972 recording by Maria Bethânia, the matriarch of tropicalia and bossa nova, was produced by her brother, Caetano Veloso. Bethânia had been performing outside her native Brazil in Italy, Germany, Austria, Denmark, and Norway, and in 1973 Antonio Bivar and Isabel Chamber commissioned the direction of the full-blown stage show Drama Luz da Noite (Drama, Light From the Night). The show was recorded live in December 1973, and features the songs of Veloso, Gilberto Gil, Luiz Melodia, and Paulo Vanzolini, among many others who wrote specifically for her. The finest tunes are those written in collaboration with Veloso and the adapted traditional Bahian songs. The live stage version is not comparable to the exquisite LP from the previous year, which features some of the tropicalia movement's finest tunes. However, this work reveals the genius of Maria Bethânia, a mainstay (along with her brother) of the new Brazilian bossa nova sound of the early '70s.
Maria Bethania - Drama Anjo Exterminado (flac 175mb)
01 Portal Da Cor (Threshold Of Colours) 4:09
02 Caso De Amor (Love Affair) 3:20
03 Noites Do Sertão (Country Nights) 2:34
04 Mar Do Nosso Amor (Sea Of Our Love) 3:21
05 Lágrimas Do Sul (Southern Tear) 3:40
06 Raça (Race) 2:49
07 Para Eu Parar De Me Doer (So I Can Stop Feeling Hurt) 3:03
08 Encontros E Despedidas (Meetings And Farewells) 3:35
09 Quem Perguntou Por Mim (Who Asked For Me) 3:52
10 A Primeira Estrela (The Morning Star) 5:02
11 Vidro E Corte (Glass And Cut) 4:40
12 Radio Experiência (Radio Experience) 2:45
(ogg mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
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's artist started her career in Rio de Janeiro in 1964 with the show "Opinião" ("Opinion"). Due to its popularity, with performances all over the country, and the popularity of her 1965 single "Carcará", the artist became a star in Brazil. She has released 50 studio albums in 47 years of career, and is among the 10 best-selling music artists in Brazil, having sold more than 26 million records.. ........N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Maria Bethânia, sister of Caetano Veloso, is a renowned singer on her own. Her scenic, dramatic abilities, in a profoundly Brazilian tradition, make her performances quite personal, which has brought her a massive and faithful audience over the decades.
As a child, she wanted to be an actress right from the start. But, as her mother loved to sing, music was always around. Her father was not musically gifted, but loved to listen to Dorival Caymmi and Noel Rosa compositions. At 13, her family moved to Salvador, and she began to frequent the "university circles," intellectual groups gathering around art exhibitions and performances. The access to theater plays strengthened her desire to become an actress. At that time, a novice Caetano Veloso had become the musical partner of the play director Álvaro Guimarães. For Guimarães's short movie Moleques de Rua, Veloso composed a soundtrack which should have had, according to him, his sister singing in it. At 16, Bethânia tried to refuse, as she had never sung under such pressure. But Guimarães loved her timbre, and included her in his 1963 staging of Nelson Rodrigues' musical Boca de Ouro, where she performed a cappella. In the same year, they became acquainted with Gilberto Gil and Gal Costa.
Next year, Veloso was invited to organize a Brazilian popular music show at the opening of Salvador's Teatro Vila Velha. The show, called Nós, por Exemplo, included Veloso, Maria Bethânia, Gilberto Gil, and Gal Costa (still under her name Maria da Graça). The show was a success and was reenacted two weeks later, with the addition of Tom Zé (still presented as Antônio José). The success was even bigger, and the group (without Zé) soon presented another show, Nova Bossa Velha, Velha Bossa Nova. In that same year, Bethânia acted alone in her musical Mora na Filosofia, directed by Veloso and Gil.
Edu e Bethania In January 1965, still a school student earning bad grades, she was surprised by the invitation to substitute for Nara Leão, already an established young singer who had had a problem with her vocal cords, in her highly successful show Opinião. Bethânia's opening on February 13, 1965, was very successful, and her dramatic performance of "Carcará" (João do Vale/José Cândido) launched her as an overnight national success, repeated during the São Paulo season. Because of the sucess, Guilherme Araújo, then assistant for Aluísio de Oliveira at the RCA label, invited her, through Veloso, to record for the label. In May of that year, Bethânia recorded her first single, and some months later, her first LP. On September 26, 1965, the Vila Velha gang opened the show Arena Canta Bahia, at São Paulo's Teatro de Arena. In April 1966, Bethânia, invited by Guilherme Araújo, opened her show Recital at the Cangaceiro nightclub, in Rio. It also opened the way for Guilherme Araújo to become the manager of Veloso, Gil, and Costa (receiving 20 percent for 70 of his songs, he would be sued by Gil in 1992). She also performed at the Barroco nightclub (Rio). In the same year, Bethânia performed in the show Pois É, together with Gilberto Gil and Vinícius de Moraes, at the Teatro Opinião. In the following month, October 1966, Bethânia performed "Beira mar" (Caetano/Gil) at the I FIC. In 1967, she recorded with Edu Lobo the Elenco album Edu Lobo e Maria Bethânia. Through 1970, she would also be featured in the shows Yes, Nós Temos Maria Bethânia (Teatro de Bolso, Rio), Comigo Me Desavim (Teatro Miguel Lemos, Rio), Recital Na Boite Blow Up (São Paulo), and Brasileiro Profissão Esperança (Teatro Casa Grande, Rio).
Caetano Veloso, Maria Bethania and Gilberto Gil In 1968, she performed on the LP Veloso, Gil e Bethânia (RCA) and the solo LP Recital na Boite Barroco. In 1969 and 1970 respectively, Bethânia released the LPs Maria Bethânia and Maria Bethânia Ao Vivo. In 1971, she recorded for Philips the LP A Tua Presença. In July, backed by the Terra Trio, she opened at Rio's Teatro da Praia her show Rosa Dos Ventos, which yielded a live album under the same name, produced by Roberto Menescal. In 1971, she went to Europe and performed at the MIDEM (Cannes, France), and in Italy. Next year, she appeared, together with Chico Buarque and Nara Leão, in the film Quando o Carvaval Chegar. The movie's soundtrack was released in 1972 by Philips. Bethânia wrote the lyrics for Caetano Veloso's song "Trampolim," released on her album Drama. A European tour through Italy, Germany, Austria, Denmark, and Norway followed. In 1973, she opened her show Drama, Luz da Noite, also recorded as an album under the same title. Commemorating the tenth year of her career, she opened her show A Cena Muda (1974), recorded and released in November 1974. On June 6, 1975, Bethânia performed in a live show together with Chico Buarque, recorded and released as Chico Buarque e Maria Bethânia Gravado ao Vivo no Canecão. In 1976, she recorded Pássaro Proibido. In July, together with Caetano Veloso, Gilberto Gil, and Gal Costa, she toured Brazil with the show Os Doces Bárbaros, which yielded a film of the same name by Jom Tob Azulay and a double album released by Philips in November 1976.
On January 13, 1977, her show Pássaro da Manhã opened, released as a studio LP under the same title, which brought her second gold record. In May 1978, Bethânia released, with Veloso, a live show recorded in LP as Maria Bethânia e Caetano Veloso ao Vivo. Alibi In 1978, the LP Álibi was released (certified as a gold record before hitting the streets, making her the first Brazilian female singer to reach one million sold copies), producing a show with the same name in July of the next year. In December 1979, she released the album Mel, which also brought the show Mel in January 1980. The same year came the LP Talismã. In the next year, she opened her show Estranha Forma de Vida and released her album Alteza. In 1982, Bethânia performed in the show Nossos Momentos. In 1983, she took another turn in her career with the album Ciclo, branching out of her popular formula toward a new acoustic direction. In 1984, she performed in her show A Hora da Estrela, with songs especially written by Veloso and Chico Buarque. The album A Beira e o Mar followed. In 1985, the show 20 Anos opened.
The next year, Bethânia signed with RCA for the release of Dezembros, which contained unpublished songs by Tom Jobim, Chico Buarque, and Caetano Veloso, and "Canções e Momentos," written especially for her by Milton Nascimento. In 1988, she recorded Maria, with guest stars Jeanne Moreau and Gal Costa, which also was the name of her show which opened in that year. In 1989, the album Memória da Pele was released, and Bethânia presented the show Dadaya -- As Sete Moradas. Her 25th career anniversary was commemorated with the album and show 25 Anos, with participation from Nina Simone, Hermeto Pascoal, Egberto Gismonti, João Gilberto, and others. In 1982, she released the album Olho D'água, which was included in a major soap opera's soundtrack. Her 1993 album As Canções Que Cocê Fez Para Mim, also a show, was the best-selling record of that year (1,500,000 copies sold). For the label EMI/Odeon was recorded the album Âmbar, and also a show which was recorded live and released in 1997 as Imitação da Vida.
In 2015, her album Meus Quintais was nominated for the 16th Latin Grammy Awards in the Best MPB Album category.
xxxxx xxxxx xxxxx xxxxx xxxxx
Actress and vocalist Maria Bethânia recorded Recital Na Boite Barroco for the Odeon label in 1968 and it was reissued on compact disc in 2007 by EMI. Born Maria Bethânia Vianna Telles Veloso in 1946, this passionate interpreter of Brazilian popular song was some three years into her recording career when she was taped in live performance with the Tamba Trio (pianist Luiz Eca, bassist Bebeto, and percussionist Helcio Milito). The Maria Bethânia heard on this album was already an adept handler of intimate ballads, jazz samba and bossa nova. Standing as it does among the earliest entries in her discography, Recital Na Boite Barroco serves as a pleasant prologue to her major triumphs of the '70s and her subsequent successes over the years.
Maria Bethania - Recital Na Boite Barroco (flac 196mb)
01 Blue Planet (Planeta Blue) 3:38
02 Dream Merchant (O Vendedor de Sonhos) 4:08
03 Jaguar (Yuarete) 3:00
04 Enchanted City (Cidade Encantada) 3:45
05 Heart Is My Master (Meu Mestre Coracao) 3:54
06 Children's Dance (Danca Dos Meninos) 3:19
07 Eldorado 3:39
08 Letter to the Republic (Carta a Republica) 3:25
09 Old Hill (Morro Velho) 5:07
10 Mountain 4:55
11 Songs and Moments (Cancoes e Momentos) 3:40
(ogg mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
This album captures Maria Bethania's professional first project with actor and director Fauzi Arap,who would continue to direct her in subsequent projects.Conceived in 1971,the show aimed at showcasing Bethania's theatrical abilities while presenting both popular songs and poems.This recording,however only presents about one third of the setlist presented during the 71-72 Brazil tour.Starting with the esoteric Sueli Acosta's Assombracoes,dancing through folk songs such as Toalha Da Saudade, and exploring the tango El Dia Que Me Quieras,Bethania sounds the most comfortable with the Chico Buarque penned title track and with brother Caetano's Janelas Abertas Nº 2. Maria makes it all a worthwhile journey with her raspy contralto wrapped with her passion and theatricality.
Maria Bethania - Rosa Dos Ventos (flac 175mb)
Assombracoes 19:02
01 Assombrações
02 O Tempo E O Rio
03 Ponto De Oxum
04 Texto Nº 1
05 O Mar (Canção Praieira)
06 Suíte Dos Pescadores
07 Avarandado
08 Toalha Da Saudade
09 Imitação
10 Hora Da Razão
11 Cantigas De Roda
12 Doce Mistério Da Vida (Ah! Sweet Mystery Of Life)
Texto No.2 17:19
13 Texto Nº 2
14 Minha História (Gesubambino)
15 Lembranças
16 El Dia Que Me Quieras
17 Rosa Dos Ventos
18 Texto Nº 3
19 Janelas Abertas Nº 2
20 Não Identificado
21 Flor Da Noite
22 Texto Nº 4
23 Movimento Dos Barcos
24 Texto Nº 5
(ogg mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Toquinho is probably the most famous Brazilian guitarist of all times. His greatest success began in 1970 when he joined singer Vinicius De Moraes, with whom he recorded dozens of records throughout the 1970s. Nicknamed "O Poetinha" (The Little Poet) Vinícius was a seminal figure in contemporary Brazilian music. As a poet, he wrote lyrics for a great number of songs that became all-time classics. Vinícius was also a composer of Bossa nova, a playwright, a diplomat and, as an interpreter of his own songs, he left several important albums.
Ever since, the duo's mild and touching bossanova and samba are very well-known worldwid.
When they started the '70 and bossa nova was already somewhat recognized worldwide. Hence for a show at La Fusa (Buenes Aires) they invited Maria Bethania who took her first steps outside Brazil at that time.
And while doing many songs from Vinicius himself, near the public what would a few years later to explode worldwide, more precisely what would the Tropicalia and its references; which are interpreted and endorsed and on this album and the previous as a sign of the times.
Today over the years can see better and enjoy some humility that openness and Vinicius; and as he envisions the future when submitting to Bethania to interpret the song of his brother Caetano Veloso , E manha. That is to say it is an exciting and endearing version, only voice and guitar. Here also it appears in the vocal strength of the singer, Viramundo , a song by Gilberto Gil (another promise of those days) that is distinguished by its musicality and with another character. In addition Bethania beautifully sings the theme Jobin-Vinicius : Or tinha be . . In turn Toqinho blunts elegantly his guitar playing an instrumental track , authored by him with his beloved Vinicius do Moraes
This work really recreates the idea of the live show and the atmosphere of the café concert so well encourages Vinicius, but was recorded in studio. The end result is charming and excellent. The only thing different live concerts, is adding up to two Argentine session musicians. Today we can say that it is a historical registration, full of beautiful compositions that are part of the collective memory. A prized collector 's item, since it was conceived more than 40 years ago- and has and holds the powerful grace of the transcendent.
Vinicius de Moraes, Maria Bethânia, Toquinho - La Fusa (flac 258mb)
01 A Tonga Da Mironga Do Kabulete 4:04
02 É De Manhã 2:36
03 Samba Da Rosa 2:35
04 Testamento 2:15
05 Samba Da Bênção 9:11
06 Tarde Em Itapoan 4:35
07 Viramundo 1:58
08 Apelo 3:34
09 Como Dizia O Poeta 3:46
10 O Que Tinha De Ser 1:55
11 O Dia Da Criação 4:25
Vinicius de Moraes, Maria Bethânia, Toquinho - La Fusa (ogg 114mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
This exceptional 1972 recording by Maria Bethânia, the matriarch of tropicalia and bossa nova, was produced by her brother, Caetano Veloso. Bethânia had been performing outside her native Brazil in Italy, Germany, Austria, Denmark, and Norway, and in 1973 Antonio Bivar and Isabel Chamber commissioned the direction of the full-blown stage show Drama Luz da Noite (Drama, Light From the Night). The show was recorded live in December 1973, and features the songs of Veloso, Gilberto Gil, Luiz Melodia, and Paulo Vanzolini, among many others who wrote specifically for her. The finest tunes are those written in collaboration with Veloso and the adapted traditional Bahian songs. The live stage version is not comparable to the exquisite LP from the previous year, which features some of the tropicalia movement's finest tunes. However, this work reveals the genius of Maria Bethânia, a mainstay (along with her brother) of the new Brazilian bossa nova sound of the early '70s.
Maria Bethania - Drama Anjo Exterminado (flac 175mb)
01 Portal Da Cor (Threshold Of Colours) 4:09
02 Caso De Amor (Love Affair) 3:20
03 Noites Do Sertão (Country Nights) 2:34
04 Mar Do Nosso Amor (Sea Of Our Love) 3:21
05 Lágrimas Do Sul (Southern Tear) 3:40
06 Raça (Race) 2:49
07 Para Eu Parar De Me Doer (So I Can Stop Feeling Hurt) 3:03
08 Encontros E Despedidas (Meetings And Farewells) 3:35
09 Quem Perguntou Por Mim (Who Asked For Me) 3:52
10 A Primeira Estrela (The Morning Star) 5:02
11 Vidro E Corte (Glass And Cut) 4:40
12 Radio Experiência (Radio Experience) 2:45
(ogg mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
many thanks
ReplyDelete