Mestre Cardoso

  

Mestre Cardoso

Galo de Campina (2005)

    

 Tracks:
 
1. As origens de Ourém (5:38)
2. Galo de campina (3:10)
3. Sereia (2:27)
4. Baiana (2:18)
5. Mandamento da cachaça (4:24)
6. Eu mandei fazer uma rosa (2:51)
7. Ataque de nova York (3:10)
8. A prisão de Saddam Hussein (2:45)
9. Baralho (8:13)
10. Mandei fazer uma trincheira ontem (2:50)
11. Marcha do Clube do Remo (2:04)
12. Marcha do Paysandu (2:16)
13. O namoro de hoje em dia (2:54)
14. Adeus morena (5:16)

The Musicians:

Aristides Borges ("cavaquinho");
João "Cego" da Silva Matos (accordion and choir);
Raimundo "Tuíca" da Silva Matos (percussions and choir);
Fábio Cavalcante (flute and choir);
Lila Bemerguy (choir) and
Mestre Cardoso (percussions and voice).

Produced, arranged and recorded by Fábio Cavalcante.

This record was released in october 2005, in Ourém (PA).

It shows Cardoso singing marchs, sambas, "xotes" and "carimbós".

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Here is a brief biography of Mestre Cardoso:

"José Ribamar Cardoso" was born in Parnaíba - Piauí, in january 4, 1933. His parents were João Cândido Cardoso and Maria Francisca Cardoso. He started playing the "boi-bumbá" with 10 years and with 14 years he was commanding the "Dominante".

When he was 20 years, he came to Maranhão State, where he met his wife Raimunda Lima da Silva. They had 14 sons, but only six survived. In 1954, they moved to Carutapera, and soon afterwards, to the Pará State. Cardoso arrived in Ourém in 1993, and has been living there until now.

Cardoso worked as cowboy in every place he lived. Currently, he leads the "Boi-bumbá Ouro Fino".

On this record, the tracks 'Eu mandei fazer uma rosa', 'O Ataque de Nova York', 'A prisão de Saddam Hussein', 'Mandei fazer uma trincheira ontem ' and 'Adeus morena', are played by the Ouro Fino's members.

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Galo de campina

Lá no jardim da princesa / No pátio do varandão
Tem muito pássaro bonito / Preso em um gaiolão
Tem sabiá verdadeiro / Canário e corrupião
E o galo de campina é campeão

Quem quiser ver belos pássaros / Vá no museu de Belém
Diferentes uns dos outros / Que só na mata é que tem
Mas se você não conhece / Eu acho bom ir também
Para ficar sabendo e querer bem

Tem muitos pássaros que andam / Parece que vai à praça
Uns cantam outros assoviam / E já outros acham graça
Tem deles de médio porte / Deles parece de raça
E nós temos a boniteza da garça

Tudo é da natureza / E para o homem ficou
Tem a terra e as águas / Foi Jesus que separou
Tem ave que é feroz / Com diferença de cor
E o pássaro Uirapuru é traidor

 

...and if you like it, there is more at the "source" including all the lyrics!

  

about the the producer:

 Hi, my name is Fábio Gonçalves Cavalcante.

I am 33 years old, musician, and I live in Santarém, Capital of Pará. My available material is free for non-comercial copy, use and abuse. Feel free. 

Well I did :) Thank you Fábio & Mestre Cardoso!

Mestre Verequete

 

Mestre Verequete

O Carimbó não morreu, está de volta outra vez.
O Carimbó não morreu , está de volta outra vez.
O carimbó nunca morre, quem canta o carimbó sou eu.
O carimbó nunca morre, quem canta o carimbó sou eu.
Sou cobra venenosa, osso duro de roer.
Sou cobra venenosa, cuidado eu vou te morder.

The Carimbó is not dead, it's back again.
The Carimbó is not dead, it's back again.
The carimbó never dies, who sings the Carimbó is me.
The carimbó never dies, who sings the Carimbó is me.
I am a poisonous snake, a tough cookie.
I am a poisonous snake, watch out I'll bite.

 

Mestre Verequete, um dos ícones da cultura paraense, em uma apresentação no

palco do Teatro Experimental Waldemar Henrique, em fevereiro de 2009

Foto: Eunice Pinto/Agência Pará

 

source

Pescador

  

Carimbó Do Mestre Lucindo

Tracks:

1. Roda Pião
2. Fita Verde
3. Adeus Morena
4. Lua, Luar
5. Pescador, Pescador
6. Peguei Meu Passaporte
7. Deixei Meu Amor Chorando
8. Meu Amor Me Abandonou
9. Em Cima Daquele Morro
10. Nega Do Cabelo Loiro
11. Verde Rama
12. Quando Eu Vim Da Minha Terra
13. O Galo E A Galinha
14. Piriquitamboia

  

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Pescador Pescador
Composição: Mestre Lucindo

Pescador, pescador por que é
Que no mar não tem jacaré?
Pescador, pescador por que foi
Que no mar não tem peixe-boi?
Eu quero saber a razão
Que no mar não tem tubarão?
Eu quero saber por que é
Que no mar não tem jacaré?
Ah! como é bom pescar
Na beira mar
Em noite de luar
Ah! como é bom pescar
Na beira mar
Em noite de luar

Fisherman Fisherman
Composition: Master Lucindo

Fisherman, fisherman why
That the sea has no alligator?
Fisherman, fisherman why
That the sea has no Manatee?
I wonder why
That the sea has no shark?
I wonder why
That the sea has no alligator?
Ah! how good fishing
At sea
On a moonlit night
Ah! how good fishing
At sea
On a moonlit night

 

   

Brief history of Carimbó

More than a musical genre of Pará, the Carimbó is one of the most representative manifestations of Amazonian culture. According to some researchers, the contributions of indigenous culture and black African in order to form the roots of rhythm, which had already more than 200 years of history.

The Carimbó was and is played today with the drum lying on the ground and the musician sitting on to drum with his hands. In 1767, Jesuit Fr John Daniel wrote about the pace sung and danced for twenty years, from a hollow drum made of wood covered with fur: the curimba, which led to the current name of the song and dance.

In addition to registration indigenous characteristics demonstrate their originality, as the use of rattles and flute in accompaniment of music, and dance the foot dragging and hunched. However, the resemblance to the African drumming and dance hump, along with the stories submitted by communities in the interior of Pará, the origin of Carimbó back to the communities of blacks from the Maranhao or fugitives from the region.

Identity

By taking into account the various cultures that contributed to the emergence of the Carimbó, the pace is presented as an important element in the formation of Brazilian cultural identity, with the peculiarities of the Amazon.

Their form of dance, the instruments that accompany the curimbas and dress of groups and dancing carimbó are elements that may vary according to the Para region in which the rhythm is present. But his lyrics are always composed of short verses that speak of the day-to-day the fisherman and the farmer, their jobs, their loves, their concern for the environment.

Masters

Oral transmission in families, communities and traditional lifestyles kept inside of Pará are primarily responsible for resistance Carimbó called root (which brings the unique features of the rhythm). But the most notable performers, great composers, musicians and broadcasters of the Carimbó and they are awarded the title of Masters.

One of the most famous masters in Pará was Lucindo Rebelo da Costa, or Mestre Lucindo, municipality of Marapanim, on the coast of Pará. Nature and romanticism were two constants in the work of master fisherman and seal, which would complete its centenary in 2008.

 

    

Mestre Lucindo

 

source

translation as usual google

Carimbó

   

Nativos do Canal
Carimbó de Algodoal

Tracks:

1. Galo da Princesa
2. Zezinho traz a canôa
3. Carimbó para Maiandeua
4. Balanço da maresia
5. Minha praia linda
6. Na areia escrevi meu nome
7. Poupurry
8. Tá chegando
9. Já fui na Mocooca
10. Carimbó São Jorge
11. Ê...do lado de lá
12. Eu subi a duna
13. Poupurry

  

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source

Located in the Amazon Atlantic, northeastern state of Para and northern municipality of Maracanã, Algodoal Island is part of the micro-geographical Salgado and has the geographical boundaries to the north, the Atlantic Ocean to the south of the hole Mocooca, the East Bay and Maracanã West Bay Marapanim.

  

 
It is impossible to describe the charm of the Isle of Algodoal. Clearly the power of nature, the lightness of air, the white sand, blue mixed with green - turning everything in incredible alchemy. The charm is undeniable and irresistible. The feelings are more intense, strong and true. Talent Master of Carimbó Chico Braga, along with the Nativos do Canal. Respect the Teacher of 66 years of age, and as he himself says: “50 de Algodoal” is true. For anyone who was curious about this citizen of Algodoal hear the sound!

 

Mestre do Carimbó Chico Braga

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¡Baila!

  

Verequete
Verequete é o Rei
2007

Tracks:

01. Chama Verequete
02. Vou Tirar Cipó
03. Borboleta da Asa Amarela
04. A Camisa de Murim
05. Xote de Verequete
06. Retumbão Bragantino
07. A Cobra é Venenosa
08. A Casinha do Caboco
09. O Ralador
10. O Galo da Campina
11. Morena Penteia o Cabelo
12. Sereia do Mar
13. Ilha do Marajó
14. Verequete da Coluna
15. Verequete é o Rei

  

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Mestre Verequete (1916-2009)

At the age of 85 Augusto Gomes Rodrigues, known as Verequete, is considered the grand old master of carimbó, the local dance music in the region east of the Amazon. In the 1960s he brought this traditional style with African features out of the backwoods into the city Belém and modernized it. In his youth he was acclaimed as an innovator; in his old age, as a traditionalist.

With the exception of track “Verequete é o rei” (Verequete is the king) composed in the tambor de mina rhythm and the popular domain hit “Chama Verequete” (Call Verequete) which is inspired by Afro-Brazilian religious rituals, the album is completely dedicated to so-called roots carimbó. As the mestre himself says, “string and wood,” that is, completely acoustic. The regional group Uirapuru accompanies Mestre Verequete on this album as it has since the beginning of his career.

    

Documentário "Chama Verequete" - Parte 01.
    

Documentário "Chama Verequete" - Parte 02.

Carimbó drum

Carimbó is a tall African drum. It is made of a hollow trunk of wood, thinned by fire, and covered with a deerskin. It is about 1m tall and 30cm wide.

   

   
Carimbó dance

Carimbó is also a Brazilian dance. The dance was a common dance in the northern part of Brazil, from the time that Brazil was still a Portuguese colony, originally from the Brazilian region of Pará, around Marajó island and the capital city of Belém.

Carimbó was a loose and very sensual dance which involved only side to side movements and many spins and hip movement by the female dancer, who typically wore a rounded skirt. The music was mainly to the beat of Carimbó drums. In this dance, a woman would throw her handkerchief on the floor and her male partner would attempt to retrieve it using solely his mouth.

Over time, the dance changed, as did the music itself. It was influenced by the Caribbean (for example, Kompa, Zouk and Merengue styles) and French/Spanish dance styles of the Caribbean.

The style survives today, with Caribbean radio stations in the northern states of Brazil, such as Amapá, playing the music. The Carimbó style has formed the basis of some new rhythms like the Sirimbó, the Lari Lari and the Lambada.
  

 

 some more music :)

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