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 became popular with the songs Se Acaso Você Chegasse, her first single, Mas Que Nada, A Carne, and other well-known samba songs. She was nominated to the Grammy Awards and was elected by the BBC London as "the singer of the millennium." In 2007, Soares was invited to sing a cappella the Brazilian National Anthem at the opening ceremony of the 2007 Panamerican Games. In 2016, she performed at the opening ceremony of the Olympic Games in Rio de Janeiro, where she sang O Canto de Ossanha, a classic by Baden Powell and Vinícius de Moraes......N'Joy
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Owner of a distinctive, harsh voice (even if considering the conspicuous Armstrong mannerisms), Elza Soares is one of the most swinging samba singers. Having appeared in 1959 with the samba "Se Acaso Você Chegasse," Soares always had her artistic career complicated by her personal life, which certainly impeded her enjoyment of a more widespread popularity. Having gotten married at 12 and lost three children who died of hunger, she later became the wife of Garrincha, one of the most genial soccer players ever, and also a chronic alcoholic. The peak of her career was in the '60s, with albums like O Máximo em Samba (1967), Elza Soares & Wilson das Neves (1968), and Elza, Miltinho e Samba (a three-album series shared with Miltinho). In that decade she had several hits, among them "Boato," "Edmundo" (a version of "In the Mood"), "Beija-me," "Devagar Com a Louça," "Mulata Assanhada," "O Mundo Encantado de Monteiro Lobato," "Bahia de Todos os Deuses," "Palmas no Portão," and "Palhaçada." In the '70s, she had further success with "Salve a Mocidade" (1974) and "Malandro" (1977; this song launched Jorge Aragão as a composer). But it wasn't enough to prevent her from facing huge economical adversity, and at the same time she was being systematically turned away by recording companies. With Garrincha, Soares had a very troubled marriage and the untimely demise of their son Garrinchinha in 1986 in a car accident didn't help.
Living in extreme poverty throughout her childhood and teens, Soares had her first audition in radio at Ary Barroso's novice show when she was 16, winning first place. She was then hired as a crooner by the Orquestra Garam de Bailes (led by conductor Joaquim Naegli). She worked in the orchestra until 1954, when she became pregnant. In 1955, she was invited to star with Grande Otelo in the play Jour-Jou-Fru-Fru, which was a smash. Three years later, she toured Argentina, returning in the next year when she was hired by Rádio Vera Cruz. Also in 1959, she recorded a 78 rpm with "Se Acaso Você Chegasse" (Lupício Rodrigues/Felisberto Martins), one of her biggest hits. In 1960, she went to São Paulo where she performed regularly in the show I Festival Nacional de Bossa Nova and recorded her first LP, Se Acaso Você Chegasse. In 1962, she represented Brazil in Chile during the World Soccer Cup, where she met Garrincha.
Having recorded several albums with the hits "Só Danço Samba" (Tom Jobim/Vinícius de Moraes), "A Banca do Distinto" (Billy Blanco), "Pressentimento" (Elton Medeiros/Hermínio Bello de Carvalho), and "Princesa Isabel" (Sérgio Ricardo), she moved to Italy in 1969, where she performed at the Sistina Theater (Rome), returning to Brazil in 1972. In the same year, she opened the show Elza em Dia de Graça at the Opinião Theater (Rio) and participated in the Brasil Export Show (Canecão). Rediscovered in the '80s as a cult heroine by Os Titãs, she performed with the band in a regular show at the Madame Satã nightclub.
Trying unsuccessfully to develop a career abroad, she returned to Brazil in 1994, poor and depressed. Finally, she was rediscovered in the '80s by the younger generations of Brazilian rockers (Os Titãs, Lobão) and MPB artists like Caetano Veloso, having been awarded with a Sharp Prize award as the Best Samba Singer of 1997. Soares also recorded in duet with Caetano Veloso on his album, Velô, and with Lobão on Casa de Samba. With her Trajetória (1997), in which she was paid tribute by Zeca Pagodinho, she won the Prêmio Sharp Award as Best Samba Singer.Her life was depicted in the musical Crioula, which had several songs written specially for her by Chico Buarque, Chico César, Nei Lopes, and others. In November 1999, Soares participated in the show Desde Que o Samba é Samba (at Royal Albert Hall, London, England), together with Chico Buarque, Caetano Veloso, Gilberto Gil, Gal Costa, and Virginia Rodrigues. In 2000, her life was depicted in the musical Crioula (by Stella Miranda). In 2000, she was appointed Singer of the Millennium by London's BBC. Soares continues to challenge her destiny, performing shows in every venue available.
Do Cóccix Até O Pescoço In 2002, she released the acclaimed Do Cóccix Até O Pescoço on Maianga Discos, which successfully wedded samba, bossa, and MPB with electronic sounds. Produced and recorded by Alê Siqueira, it featured an enormous cast of guest musicians under the direction of pianist Jose Miguel Wisnik, including Caetano Veloso, Chico Buarque, and Carlinhos Brown. It sold well internationally and received a Grammy nomination. Vivo Feliz followed on Tratore in 2004 and contained the singles "Rio de Janiero" and a reading of "Concordia" by Nando Reis, featuring the songwriter in a duet. Working again with Wisnik, she released the live Beba-Me Ao Vivo and a concert DVD with the same title in 2007.
Though Soares continued to perform, she took an extended break from recording. A year later she was the featured vocalist on the soundtrack of the film Chega de Saudade. She fell from the stage during a performance and required numerous spinal column surgeries. It slowed her down and forced her to perform in a chair, but she never stopped. In 2015, she re-entered the studio with with producer Guilherme Kastrup of São Paulo’s groundbreaking samba sujo scene. She didn't like his idea of recording a set of classic sambas in modern settings and instead insisted on creating entirely original new material -- a first in her long career. He hired the city's vanguard post-punk band Passo Torto (with Metá Metá's Kiko Dinucci) and several players from Bixiga 70. A Mulher Do Fim Do Mundo, a collection of 11 songs (culled from over 50), focuses on the achievement of justice for women, people of color, and members of the LGBT community -- causes she had celebrated throughout her life. Issued in Brazil in October by Circus Produções Culturais, it was celebrated in the national press as the year's best album by a national artist, regardless of genre. Due to global acclaim, it was re-released internationally by Mais Um Discos in June of 2016.
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Great stuff! A big band-and-salsa-tinged take on the Brazilian samba cancao sound, music that had definitely grown stale by the time this disc came out. Working once again with bandleader Astor Silva, Soares re-works oldies from the 1930s, '40s and '50s, giving them a rhythmic punch that lands it all somewhere between Lucio Alves and Ella Fitzgerald, with a strong hint of Carmen Miranda thrown in as well. I'm not sure how "bossa" one could actually consider this disc -- Soares was pals with the key members of the early bossa nova scene, but this disc is very much rooted in the pre-Jobim era, and the rowdy, jazz-tinged gafieira style. Anyway, it's a very good record. Highly recommended.
Elza Soares - Se Acaso Você Chegasse, A Bossa Negra (flac 480mb)
01 Se Acaso Você Chegasse
02 Casa De Turfista...
03 Mulata Assanhada
04 Era Bom
05 Samba Em Copa
06 Dedo Duro
07 Teleco-Teco Nº 2
08 Contas
09 Sal E Pimenta
10 Cartão De Visita
11 Nêgo Tu...Nêgo Vós...Nêgo Você...
12 Não Quero Mais
A Bossa Negra
13 Tenha Pena De Mim (Ai, Ai, Meu Deus) 2:45
14 Boato 3:22
15 Fala Baixinho 2:17
16 Marambaia 2:05
17 O Samba Está Com Tudo 2:31
18 Cadeira Vazia 3:22
19 Perdão 2:18
20 Beija-me 2:24
21 O Bilhete 2:13
22 O Samba Brasileiro 2:26
23 As Polegadas Da Mulata 2:06
24 Eu Quero É Sorongar 2:51
bonus
25 Mack the knife
26 Edmundo
27 Avec no leblon
28 Aconteceu no leblon
29 A barata Serafina
Elza Soares - Se Acaso Você Chegasse, A Bossa Negra (ogg 170mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
A fun, lively album, with perky pop-samba tunes arranged by bandleader Astor Silva, who's kind of old-school, but still a little hip. Many of the songs were samba-cancao golden oldies, but there's a also a whiff of newer material, such as Tom Jobim and Blilly Blanco's "Acho Que Sim." Monsueto Menezes duets on a couple of tracks, including his novelty scat, "Ziriguidum," which sufferes here under the weight of Astor's blatting brass arrangements, but is still a groovy little tune. All in all, this is a fun album, although it's a bit staid and static. Elza's such a cheerful presence, though -- hard not to love her!
Sambossa (1963), without surprise, is a continuation of the previous albums made for Odéon by Elza Soares: Se Acaso Voce Chegasse (1960), O Samba and Elza Soares (1961) and A Bossa Negra (1961). The interest of this type of album lies mainly in the vocal qualities of Elza Soares and its ability to generate an enthusiasm and a good mood thanks to its radiance. The compositions are not exceptional, but they are fairly well presented by the singing and pretty arrangements of Milton Miranda. In addition, the album is extremely rhythmic, only one song, "Maria, Mária, Mariá" (Billy Blanco) exceeds three minutes. This song is proposed twice, the second, which dates from 1962, being superior to the first. But the very good surprise of Sambossa, which is worth listening to, is the totally successful and sublimated version of the very good title of Tom Jobim and Vinicius de Moraes, "Só Danço Samba" (in link). A very good record without pretension to immerse yourself in the futile universe of the Samba-Cançao Pop version Elsa Soares.
Elza Soares - O Samba É Elza Soares, Sambossa (flac 522mb)
01 Eu E O Rio
02 Vedete Certinha
03 Teleco-Teco
04 Bom Mesmo E' Estar De Bem
05 Fez Bobagem
06 Amor De Mentira
07 Na Base Do Bilhetinho
08 Cantiga Do Morro
09 Acho Que Sim
10 Ziriguidum
11 Vou Sonhar Prá Você Ver
12 Reconciliação
Sambossa
13 Rosa Morena
14 Gamação
15 A Banca Do Distinto
16 Primeira Comunhão
17 Sim E Não
18 Leilão
19 Só Danço Samba
20 A Corda E A Caçamba
21 Vaca De Presépio
22 Maria, Mária, Mariá
23 Quando O Amor Não É Mais Amor
24 Mulata De Verdade
Bonus
25 Maria, Maria, Maria
26 Praga
27 Galã enganadora
28 Escurinho
Elza Soares - O Samba É Elza Soares , Sambossa (ogg 173mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
A lively, high-powered album matching Soares's irrepressible vocals with groovy, jazzy gafieria backing from Severino Araujo and his band... The whole album features A-list studio talent: producer Milton Miranda is joined by Lyrio Panicalli and the Odeon studio crew... The results are first-rate: Elza's in fine form, and the music matches her mood, and her talent. Most of the songs are by (now) obscure composers -- of note are contributions from Orlandivo (the title track, "Na Roda De Samba") and Rildo Hora... Some inventive arrangements amid the standard-issue, big band-y samba-pop, but mostly it's about the feeling of the music: Elza's caught fire, and the guys at EMI are zeroing in on her wavelength.
In Brazilian music, the term "show" usually means a live performance, so you'd imagine that this would be a live album... Strangely, it isn't, although with the high proportion of material from classic, canonical composers -- including Atualfo Alves, Ary Barroso, Dorival Caymmi, Lupicino Rodrigues and Tom Jobim -- I think this was meant to be representative of what her live shows were like. Unfortunately, although the repertoire is all first-class, the backing by Maestro Nelsinho is a drab, at least in comparison to her earlier albums. Okay, but not great.
Elza Soares - Na Roda do Samba , Um Show de Elza (flac 470mb)
01 Na Roda Do Samba
02 Dja Ba Dja
03 Convite Ao Samba
04 Na Base Do Pingüim
05 Pressentimento
06 Samba Primeiro
07 Nêga
08 Gostoso É Sambar
09 Vou Rir De Você
10 Princesa Izabel
11 Domingo Em Copacabana
12 Banca De Pobre
Um Show de Elza
13 Ocultei
14 Verão No Meu Rio
15 Dindi
16 Samba Da Minha Terra
17 Ombro A Ombro
18 Pé Redondo
19 Vingança
20 Sambou Sambou
21 Porque E Para Que
22 Neném
23 Cais Do Porto
24 Se Acaso Você Chegasse
Bonus
25 Eu sou a outra
26 Amor impossível
27 De amor ou paz
28 Toque balanço, moço!
Elza Soares - Na Roda do Samba , Um Show de Elza (ogg 165mb)
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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 became popular with the songs Se Acaso Você Chegasse, her first single, Mas Que Nada, A Carne, and other well-known samba songs. She was nominated to the Grammy Awards and was elected by the BBC London as "the singer of the millennium." In 2007, Soares was invited to sing a cappella the Brazilian National Anthem at the opening ceremony of the 2007 Panamerican Games. In 2016, she performed at the opening ceremony of the Olympic Games in Rio de Janeiro, where she sang O Canto de Ossanha, a classic by Baden Powell and Vinícius de Moraes......N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Owner of a distinctive, harsh voice (even if considering the conspicuous Armstrong mannerisms), Elza Soares is one of the most swinging samba singers. Having appeared in 1959 with the samba "Se Acaso Você Chegasse," Soares always had her artistic career complicated by her personal life, which certainly impeded her enjoyment of a more widespread popularity. Having gotten married at 12 and lost three children who died of hunger, she later became the wife of Garrincha, one of the most genial soccer players ever, and also a chronic alcoholic. The peak of her career was in the '60s, with albums like O Máximo em Samba (1967), Elza Soares & Wilson das Neves (1968), and Elza, Miltinho e Samba (a three-album series shared with Miltinho). In that decade she had several hits, among them "Boato," "Edmundo" (a version of "In the Mood"), "Beija-me," "Devagar Com a Louça," "Mulata Assanhada," "O Mundo Encantado de Monteiro Lobato," "Bahia de Todos os Deuses," "Palmas no Portão," and "Palhaçada." In the '70s, she had further success with "Salve a Mocidade" (1974) and "Malandro" (1977; this song launched Jorge Aragão as a composer). But it wasn't enough to prevent her from facing huge economical adversity, and at the same time she was being systematically turned away by recording companies. With Garrincha, Soares had a very troubled marriage and the untimely demise of their son Garrinchinha in 1986 in a car accident didn't help.
Living in extreme poverty throughout her childhood and teens, Soares had her first audition in radio at Ary Barroso's novice show when she was 16, winning first place. She was then hired as a crooner by the Orquestra Garam de Bailes (led by conductor Joaquim Naegli). She worked in the orchestra until 1954, when she became pregnant. In 1955, she was invited to star with Grande Otelo in the play Jour-Jou-Fru-Fru, which was a smash. Three years later, she toured Argentina, returning in the next year when she was hired by Rádio Vera Cruz. Also in 1959, she recorded a 78 rpm with "Se Acaso Você Chegasse" (Lupício Rodrigues/Felisberto Martins), one of her biggest hits. In 1960, she went to São Paulo where she performed regularly in the show I Festival Nacional de Bossa Nova and recorded her first LP, Se Acaso Você Chegasse. In 1962, she represented Brazil in Chile during the World Soccer Cup, where she met Garrincha.
Having recorded several albums with the hits "Só Danço Samba" (Tom Jobim/Vinícius de Moraes), "A Banca do Distinto" (Billy Blanco), "Pressentimento" (Elton Medeiros/Hermínio Bello de Carvalho), and "Princesa Isabel" (Sérgio Ricardo), she moved to Italy in 1969, where she performed at the Sistina Theater (Rome), returning to Brazil in 1972. In the same year, she opened the show Elza em Dia de Graça at the Opinião Theater (Rio) and participated in the Brasil Export Show (Canecão). Rediscovered in the '80s as a cult heroine by Os Titãs, she performed with the band in a regular show at the Madame Satã nightclub.
Trying unsuccessfully to develop a career abroad, she returned to Brazil in 1994, poor and depressed. Finally, she was rediscovered in the '80s by the younger generations of Brazilian rockers (Os Titãs, Lobão) and MPB artists like Caetano Veloso, having been awarded with a Sharp Prize award as the Best Samba Singer of 1997. Soares also recorded in duet with Caetano Veloso on his album, Velô, and with Lobão on Casa de Samba. With her Trajetória (1997), in which she was paid tribute by Zeca Pagodinho, she won the Prêmio Sharp Award as Best Samba Singer.Her life was depicted in the musical Crioula, which had several songs written specially for her by Chico Buarque, Chico César, Nei Lopes, and others. In November 1999, Soares participated in the show Desde Que o Samba é Samba (at Royal Albert Hall, London, England), together with Chico Buarque, Caetano Veloso, Gilberto Gil, Gal Costa, and Virginia Rodrigues. In 2000, her life was depicted in the musical Crioula (by Stella Miranda). In 2000, she was appointed Singer of the Millennium by London's BBC. Soares continues to challenge her destiny, performing shows in every venue available.
Do Cóccix Até O Pescoço In 2002, she released the acclaimed Do Cóccix Até O Pescoço on Maianga Discos, which successfully wedded samba, bossa, and MPB with electronic sounds. Produced and recorded by Alê Siqueira, it featured an enormous cast of guest musicians under the direction of pianist Jose Miguel Wisnik, including Caetano Veloso, Chico Buarque, and Carlinhos Brown. It sold well internationally and received a Grammy nomination. Vivo Feliz followed on Tratore in 2004 and contained the singles "Rio de Janiero" and a reading of "Concordia" by Nando Reis, featuring the songwriter in a duet. Working again with Wisnik, she released the live Beba-Me Ao Vivo and a concert DVD with the same title in 2007.
Though Soares continued to perform, she took an extended break from recording. A year later she was the featured vocalist on the soundtrack of the film Chega de Saudade. She fell from the stage during a performance and required numerous spinal column surgeries. It slowed her down and forced her to perform in a chair, but she never stopped. In 2015, she re-entered the studio with with producer Guilherme Kastrup of São Paulo’s groundbreaking samba sujo scene. She didn't like his idea of recording a set of classic sambas in modern settings and instead insisted on creating entirely original new material -- a first in her long career. He hired the city's vanguard post-punk band Passo Torto (with Metá Metá's Kiko Dinucci) and several players from Bixiga 70. A Mulher Do Fim Do Mundo, a collection of 11 songs (culled from over 50), focuses on the achievement of justice for women, people of color, and members of the LGBT community -- causes she had celebrated throughout her life. Issued in Brazil in October by Circus Produções Culturais, it was celebrated in the national press as the year's best album by a national artist, regardless of genre. Due to global acclaim, it was re-released internationally by Mais Um Discos in June of 2016.
xxxxx xxxxx xxxxx xxxxx xxxxx
Great stuff! A big band-and-salsa-tinged take on the Brazilian samba cancao sound, music that had definitely grown stale by the time this disc came out. Working once again with bandleader Astor Silva, Soares re-works oldies from the 1930s, '40s and '50s, giving them a rhythmic punch that lands it all somewhere between Lucio Alves and Ella Fitzgerald, with a strong hint of Carmen Miranda thrown in as well. I'm not sure how "bossa" one could actually consider this disc -- Soares was pals with the key members of the early bossa nova scene, but this disc is very much rooted in the pre-Jobim era, and the rowdy, jazz-tinged gafieira style. Anyway, it's a very good record. Highly recommended.
Elza Soares - Se Acaso Você Chegasse, A Bossa Negra (flac 480mb)
01 Se Acaso Você Chegasse
02 Casa De Turfista...
03 Mulata Assanhada
04 Era Bom
05 Samba Em Copa
06 Dedo Duro
07 Teleco-Teco Nº 2
08 Contas
09 Sal E Pimenta
10 Cartão De Visita
11 Nêgo Tu...Nêgo Vós...Nêgo Você...
12 Não Quero Mais
A Bossa Negra
13 Tenha Pena De Mim (Ai, Ai, Meu Deus) 2:45
14 Boato 3:22
15 Fala Baixinho 2:17
16 Marambaia 2:05
17 O Samba Está Com Tudo 2:31
18 Cadeira Vazia 3:22
19 Perdão 2:18
20 Beija-me 2:24
21 O Bilhete 2:13
22 O Samba Brasileiro 2:26
23 As Polegadas Da Mulata 2:06
24 Eu Quero É Sorongar 2:51
bonus
25 Mack the knife
26 Edmundo
27 Avec no leblon
28 Aconteceu no leblon
29 A barata Serafina
Elza Soares - Se Acaso Você Chegasse, A Bossa Negra (ogg 170mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
A fun, lively album, with perky pop-samba tunes arranged by bandleader Astor Silva, who's kind of old-school, but still a little hip. Many of the songs were samba-cancao golden oldies, but there's a also a whiff of newer material, such as Tom Jobim and Blilly Blanco's "Acho Que Sim." Monsueto Menezes duets on a couple of tracks, including his novelty scat, "Ziriguidum," which sufferes here under the weight of Astor's blatting brass arrangements, but is still a groovy little tune. All in all, this is a fun album, although it's a bit staid and static. Elza's such a cheerful presence, though -- hard not to love her!
Sambossa (1963), without surprise, is a continuation of the previous albums made for Odéon by Elza Soares: Se Acaso Voce Chegasse (1960), O Samba and Elza Soares (1961) and A Bossa Negra (1961). The interest of this type of album lies mainly in the vocal qualities of Elza Soares and its ability to generate an enthusiasm and a good mood thanks to its radiance. The compositions are not exceptional, but they are fairly well presented by the singing and pretty arrangements of Milton Miranda. In addition, the album is extremely rhythmic, only one song, "Maria, Mária, Mariá" (Billy Blanco) exceeds three minutes. This song is proposed twice, the second, which dates from 1962, being superior to the first. But the very good surprise of Sambossa, which is worth listening to, is the totally successful and sublimated version of the very good title of Tom Jobim and Vinicius de Moraes, "Só Danço Samba" (in link). A very good record without pretension to immerse yourself in the futile universe of the Samba-Cançao Pop version Elsa Soares.
Elza Soares - O Samba É Elza Soares, Sambossa (flac 522mb)
01 Eu E O Rio
02 Vedete Certinha
03 Teleco-Teco
04 Bom Mesmo E' Estar De Bem
05 Fez Bobagem
06 Amor De Mentira
07 Na Base Do Bilhetinho
08 Cantiga Do Morro
09 Acho Que Sim
10 Ziriguidum
11 Vou Sonhar Prá Você Ver
12 Reconciliação
Sambossa
13 Rosa Morena
14 Gamação
15 A Banca Do Distinto
16 Primeira Comunhão
17 Sim E Não
18 Leilão
19 Só Danço Samba
20 A Corda E A Caçamba
21 Vaca De Presépio
22 Maria, Mária, Mariá
23 Quando O Amor Não É Mais Amor
24 Mulata De Verdade
Bonus
25 Maria, Maria, Maria
26 Praga
27 Galã enganadora
28 Escurinho
Elza Soares - O Samba É Elza Soares , Sambossa (ogg 173mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
A lively, high-powered album matching Soares's irrepressible vocals with groovy, jazzy gafieria backing from Severino Araujo and his band... The whole album features A-list studio talent: producer Milton Miranda is joined by Lyrio Panicalli and the Odeon studio crew... The results are first-rate: Elza's in fine form, and the music matches her mood, and her talent. Most of the songs are by (now) obscure composers -- of note are contributions from Orlandivo (the title track, "Na Roda De Samba") and Rildo Hora... Some inventive arrangements amid the standard-issue, big band-y samba-pop, but mostly it's about the feeling of the music: Elza's caught fire, and the guys at EMI are zeroing in on her wavelength.
In Brazilian music, the term "show" usually means a live performance, so you'd imagine that this would be a live album... Strangely, it isn't, although with the high proportion of material from classic, canonical composers -- including Atualfo Alves, Ary Barroso, Dorival Caymmi, Lupicino Rodrigues and Tom Jobim -- I think this was meant to be representative of what her live shows were like. Unfortunately, although the repertoire is all first-class, the backing by Maestro Nelsinho is a drab, at least in comparison to her earlier albums. Okay, but not great.
Elza Soares - Na Roda do Samba , Um Show de Elza (flac 470mb)
01 Na Roda Do Samba
02 Dja Ba Dja
03 Convite Ao Samba
04 Na Base Do Pingüim
05 Pressentimento
06 Samba Primeiro
07 Nêga
08 Gostoso É Sambar
09 Vou Rir De Você
10 Princesa Izabel
11 Domingo Em Copacabana
12 Banca De Pobre
Um Show de Elza
13 Ocultei
14 Verão No Meu Rio
15 Dindi
16 Samba Da Minha Terra
17 Ombro A Ombro
18 Pé Redondo
19 Vingança
20 Sambou Sambou
21 Porque E Para Que
22 Neném
23 Cais Do Porto
24 Se Acaso Você Chegasse
Bonus
25 Eu sou a outra
26 Amor impossível
27 De amor ou paz
28 Toque balanço, moço!
Elza Soares - Na Roda do Samba , Um Show de Elza (ogg 165mb)
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