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About this product |
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A fine interpreter of various types and times of samba from Rio, Marcos Sacramento reaffirms his preference - skillfully - for the genre on his new CD, Memorável Samba, from Biscoito Fino. This is the second album by Sacramento released by the recording company. In 2002, his album, Saravá Baden Powell, together with the singer, Clara Sandroni, came out. The title of the new CD gives a precise idea of the concept proposed by Sacramento. There are 13 sambas, all to definitely be remembered, written between the decade of the 30s and 50s.
The expression, Memorável Samba was taken from Meu Romance, composed by J. Cascata in 1938, in honor of Mangueira, his “jakfruit and his pastor”: “On the afternoon of that memorable samba / I remember you were wearing sandals / with your jersey dress / in the middle of those sharks”. Sacramento is accompanied by Luis Flavio Alcofra (guitar) and Jaime Vignoli (ukulele), together with the percussionists João Hermeto, Marcelinho Moreira and Netinho.
These songs are also from 1938: Deixa Falar, by Nelson Petersen; Meu Rádio e meu Mulato, by Herivelto Martins; and Errei...Erramos, by Ataulfo Alves. Deixa Falar, originally by Carmem Miranda, was a kind of Brazilian hymn for the World Cup of that year, which took place in France. The lyrics mention the great clubs of the time: Flamengo, Fluminense, Botafogo, São Paulo, and, suprisingly, São Cristóvão and the great player, Leônidas da Silva, known as the “Black Diamond”. The arrangement, by Jaime Vignoli, brings out the participation of the members of the group, Água de Moringa (Alcofra, Vignoli and Rui Alvim on the clarone), along with Marcelo Bernardes (sax), Jessé Sadoc (trumpet), Pedro Paes (clarinet). The harmonica is borrowed from the original recording, “interpreted” by Ary Barroso.
Meu Rádio e meu Mulato tells the saga of a pretty woman who takes a radio to where she lived on the hill, where its waves caused a commontion in the neighborhood: “Gather around the door / but the one I wanted to come won´t come / because he doesn´t like music / and doesn´t have a heart”. The arrangement by Luís Flavio Alcofra (now with the members of Água de Moringa), makes room for the accordion of Marcos Nimrichter and for the violin fingered by Nicolas Krassic Alcofra, the Frenchman from Rio, who also signs the orchestration of Errei...Erramos, with Andréa Ernest Dias on flute and Marcílio Lopes on the mandolin.
Since it is practically impossible to talk about the decade of the 30s in Rio de Janeiro without mentioning Noel Rosa, Sacramento chose four of the poet´s sambas: Mulato Bamba (1932), O X do Problema (1936), Triste Cuíca (1935), Só Pode Ser Você (with Vadico, 1936). The specialists call Mulato Bamba the first song of Brazilian popular music to emphasize homosexuality among streetwise vagabonds. Many people guarantee that a strong black man “who knows how to face anyone / but doesn´t want to even flirt with a pretty woman” was inspired by Madame Satã himself. The original recording is by Mario Reis. The other three sambas were released by Aracy de Almeida. Triste Cuíca, written in partnership with Hervê Cordovil, describes adultry with that false irony typical of Noel: “He didn´t even explain to Zizica / and put the cuíca in Conceição´s house”, here with an arrangement for wind instruments (flute, trumpet, flugelhorn and trombone) by Carlos Fuchs.
Esta Noite eu Tive um Sonho, was written by Wilson Baptista and Moreira da Silva. O Samba-de-Breque, from 1941, was released on an anthology album by Kid Morengueira, and places the streetwise bum right in Germany during the Second World War, among Graaf Zeppelins and sausages, with rights to probably the only citation in the world of a samba in the language of Goethe: “Ich nag dich” (the translation is on the insert). From the slums to the city, Sacramento recreates Meu Moreno Fez Bobagem (1942), by Assis Valente; Onde Está a Florisbela (1944), by Geraldo Pereira, Imperador do Samba (1937), by Waldemar Silava, as well as the most recent, Notícia (1955), by Nelson Cavaquinho, who sees betrayal in love in a peculiar way and detective-like irony, more resigned that that of Noel in treating the same theme: “the cigar left in my room / is the mark of smoke / confess the truth / you shouldn´t negate it”.
Silvério Pontes and Zé da Velha participate, respectively, on the trumpet and trombone. The choice of repertoire is by Sacramento himself, with production by Flavio Alcofra and Carlos Fuchs, and musical direction by Alcofra and Jaime Vignoli. |
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Tunes |
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| 01 |
Deixa Falar!
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3m51s
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| 02 |
Meu Romance
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3m17s
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| 03 |
Mulato Bamba
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4m06s
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| 04 |
X do Problema
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4m46s
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| 05 |
Meu Rádio e meu Mulato
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3m19s
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| 06 |
Esta Noite eu Tive um Sonho
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3m24s
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| 07 |
Fez Bobagem
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3m33s
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| 08 |
Triste Cuíca
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4m24s
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| 09 |
Só Pode Ser Você
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2m09s
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| 10 |
Notícia
 R$ 2,00 adicionar a seus downloads
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4m10s
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| 11 |
Errei... Erramos
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3m09s
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| 12 |
Onde Está a Florisbela?
R$ 2,00 adicionar a seus downloads
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3m08s
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| 13 |
Imperador do Samba
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5m34s
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Credits |
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Recorded and mixed at “Tenda da Raposa” Studio, Rio de Janeiro, July/August of 2003.
Musical Production - Luiz Flávio Alcofra and Carlos Fuchs
Musical Direction - Luiz Flávio Alcofra and Jayme Vignoli
Recording Engineer - Carlos Fuchs and Daniel Vasques
Mixing- Carlos Fuchs, Jayme Vignoli and Luis Flávio Alcofra
Artistic Direction - Marcos Sacramento
Executive Production - Miguel Bacellar
Regency - Luis Flávio Alcofra, Jayme Vignoli and Carlos Fuchs
Mastering - Ricardo Garcia - Magic Master (RJ)
Cover / graphic project - Luciane Ribeiro
Photos - André Vilaron
Photography Assistant - Cinara Barbosa
Production Assistant - Tomaz Secco
A Biscoito Fino Production
General Direction - Kati Almeida Braga
Artistic Direction - Olivia Hime
Production Coordinator - Martinho Filho |
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