Chove Chuva

   

25 Sambas

Cantores de Bossa Nova
1998

Tracks:

01. Agostinho dos Santos - Primavera
02. Lúcio Alves - Castigo
03. Tito Madi e Leny Andrade - Balanço Zona Sul
04. Mutinho e Toquinho - Oi Lá
05. Toquinho & Vinicius - Chega de Saudade
06. Dick Farney - Alguém Como Tu / Marina
07. Chico Buarque - Pedro Pedreiro
08. Jorge Ben Jor - Chove Chuva
09. Agostinho dos Santos - Eu Sei Que Vou Te Amar
10. Geraldo Vandré e Ana Lúcia - Samba Em Prelúdio
11. Dick Farney - Esse Seu Olhar
12. Paulinho Nogueira - Menino, Desce Daí
13. Cauby Peixoto - Bastidores
14. Agostinho dos Santos - Dindi
15. Tito Madi - Ternura Antiga
16. Geraldo Vandré - Sonho de Amor e Paz
17. Toquinho e Jorge Ben Jor - Que Maravilha
18. Edú Lobo e Yvette - Aleluia
19. Paulinho Nogueira - Menina
20. Chico Buarque - Ela Desatinou
21. Toquinho e Vinicius - Januária
22. Agostinho dos Santos - Desafinado
23. Tito Madi - Ligia
24. Agostinho dos Santos - Samba de Uma Nota Só

 

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Bossa Nova

The Birth of Bossa Nova
 
With his soft, quiet and almost whispering vocal style and his revolutionary way of playing the guitar, João Gilberto appeared in the late 1950's, to charm and conquer first Brazil and soon after the entire world. From the city of Juazeiro in Bahia, João Gilberto was the natural front man and the quintessential central figure for a brand new style of Brazilian music: bossa nova.
In the beginning, the term “bossa nova”, simply referred to a new way of playing and singing samba, incorporating some elements from jazz music and with a pronounced softness, both in terms of musical and poetic presentation. The North American influences, in the form of dissonant chords, typical of jazz, was criticized very heavily by some influential Brazilian critics and cultural figures at the time. It may be hard to imagine today, but João Gilberto's low-key and whispering vocal style, full of small details and nuances, was perceived as highly provocative, as it broke completely with the previously existing singing tradition, with its loud voices and flamboyant presentations. Of course many other contemporary critics praised the innovative bossa nova music and hailed it as the single most important event in Brazilian music history. Apart from the music itself, the lyrics of the early bossa nova compositions, with their highly poetical content, also stood apart from the typical Brazilian popular music of the 50’s.
With his trade mark vocal style and his innovative guitar playing, João Gilberto is rightlfully and widely regarded as the most vital link in the birth of bossa nova, but he was certainly not alone in the process. In fact, bossa nova, as a musical genre, came about gradually during the late 1950's. The fundamental ideas and concept of what would become the bossa nova movement, was hatched by a group of young musicians and cultural enthusiasts from Rio de Janeiro’s middle class. They would regularly meet up to talk about, listen to and play music. One of the most enthusiastic participants in these meetings was the then only 15-year-old girl Nara Leão. Her (or rather her parents') apartment on the fashionable Avenida Atlântica in Copacabana district also became an unofficial “headquarter” for the early bossa nova movement, in 1957. Besides Nara Leão the nucleus of the group first consisted of the young musicians Billy Blanco, Carlos Lyra, Roberto Menescal and Sérgio Rica, but soon grew to include, among others, Ronaldo Bôscoli, Chico Feitosa, Luiz Carlos Vinhas - and of course also João Gilberto himself.

 

read it all here : )

 

 

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Agua De Beber

  

25 Sambas

Cantoras De Bossa Nova
1998

Tracks:

01. Maysa - Por Causa De Vocé
02. Nara Leao - Maria Moita
03. Maysa - A Felecadade
04. Wanda - Vivo Sonhando
05. Elza Laranjera - Corcovado
06. Jane - Com Acucar,Com afeto
07. Olivia Hime - Tarde
08. Maysa - Se Todos Fossem Iguas A Vocé
09. Ana Lucia - Tem Do
10. Elza Laranjera - A Noite Do Meu Bem
11. Alaide Costa - Insensatez
12. Wanda - Desafinado
13. Maysa - Eu Sei Que Vou Te Amar
14. Claudia - Preciso Aprender A Ser So
15. Maysa - Dindi
16. Yvette - Preconceito
17. Ana Lucia - Carinhoso
18. Claudia - Mas Que Nada
19. Maysa - Agua De Beber
20. Lygia - Joao Ninguém
21. Wanda - Inutil Paisagem
22. Marilhia Medalha - Se O Amor Pudesse
23. Alda Perdigao - Amor De Trappo
24. Eliana Pittman - Que Maravilha
25. Maria Lucia - Malandro Quando

  

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A new beat in the 1950s: the Bossa Nova

A movement was born in the southern area of Rio de Janeiro, strongly influenced by jazz, marking the history of samba and Brazilian popular music in the 1950s. The bossa nova emerged at the end of that decade, with an original rhythmic accent which divided the phrasing of the samba and added influences of impressionist music and jazz and a different style of singing which was both intimate and gentle. After precursors such as Johnny Alf, João Donato, and musicians like Luis Bonfá and Garoto, this sub-genre was inaugurated by João Gilberto, Tom Jobim, and Vinicius de Moraes. It then had a generation of disciples and followers including Carlos Lyra, Roberto Menescal, Durval Ferreira, and groups like Tamba Trio, Bossa 3, Zimbo Trio, and The Cariocas.

Bossa nova is a well-known style of Brazilian music developed and popularized in the 1950s and 1960s. The phrase bossa nova means literally "new trend" (Portuguese pronunciation: [ˈbɔsɐ ˈnɔvɐ]. A lyrical fusion of samba and jazz, bossa nova acquired a large following in the 1960s initially among young musicians and college students. Since its birth, it has remained a vital part of the standard jazz repertoire.
 

wiki

bossa nova
  

 

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A piano is a piano, a pianist is a pianist

Francis Hime
Meus Caros Pianistas
2001

Composições de Francis Hime interpretadas por 15 pianistas escolhidos pelo compositor:

Repertório / Intérpretes:

CD 1

1 - Pivete - Francis Hime/Chico Buarque
Por: Sônia Vieira
2 - Embarcação - Francis Hime/Chico Buarque
Por: Leandro Braga
3 - Meu Caro Amigo - Francis Hime/Chico Buarque
Por: Miguel Proença
4 - Minha - Francis Hime/Ruy Guerra
Por: Linda Bustani
5 - Pássara - Francis Hime/Chico Buarque
Por: João Carlos Assis Brasil
6 - Passaredo - Francis Hime/Chico Buarque
Por: Rosana Diniz
7 - O Sim pelo Não - Francis Hime/Edu Lobo
Por: Clara Sverner
8 - A Grande Ausente - Francis Hime/Paulo César Pinheiro
Por: Gilda Oswaldo Cruz
9 - Vai Passar - Francis Hime/Chico Buarque
Por: Cristóvão Bastos
10 - Tereza Sabe Sambar - Francis Hime/Vinicius de Moraes
Por: Antônio Adolfo
11 - Valsa Rancho - Francis Hime/ Chico Buarque
Por: Gilson Peranzzetta
12 - Ultimo Retrato - Francis Hime/Ruy Guerra
Por: Helvius Vilella
13 - Cabelo Pixaim - Francis Hime/Cacaso
Por: Fernanda Canaud
14 - Atrás da Porta - Francis Hime/Chico Buarque
Por: Wagner Tiso
15 - Mariposa - Francis Hime/Olivia Hime
Por: Maria Teresa Madeira

CD 2

16 - Parintintin - Francis Hime/Olivia Hime
Por: Rosana Diniz
17 - Trocando Em Miúdos - Francis Hime/Chico Buarque
Por: Miguel Proença
18 - Parceiros - Francis Hime/Milton Nascimento
Por: João Carlos Assis Brasil
19 - Sem Mais Adeus - Francis Hime/Vinicius de Moraes
Por: Maria Teresa Madeira
20 - Anoiteceu - Francis Hime/Vinicius de Moraes
Por: Sônia Vieira
21 - Coração do Brasil - Francis Hime/Olivia Hime
Por: Leandro Braga
22 - Cartão Postal - Francis Hime/Olivia Hime
Por: Linda Bustani
23 - A Tarde - Francis Hime/Olivia Hime
Por: Gilda Oswaldo Cruz
24 - Último Canto - Francis Hime/Ruy Guerra
Por: Wagner Tiso
25 - E Se - Francis Hime/Chico Buarque
Por: Gilson Peranzzetta
26 - Luiza - Francis Hime/Chico Buarque
Por: Helvius Vilella
27 - Amor Barato - Francis Hime/Chico Buarque
Por: Cristóvão Bastos
28 - Clara - Francis Hime/Geraldinho Carneiro
Por: Antônio Adolfo
29 - Maria - Francis Hime/Vinicius de Moraes
Por: Fernanda Canaud
30 - A Noiva da Cidade - Francis Hime/Chico Buarque
Por: Clara Sverner

  

 ♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

  

 Francis Hime, one of the maestros of MPB, got fifteen pianists to play thirty of the songs that have been central to the forty+ years of his career. A lot of those songs will be familiar especially to Brazilians.

Two CDs with piano music. And one senses immediately how those categories - is it Jazz or is it classical? - just don't capture the nature of this Brazilian music storehouse. I'm a great fan of Hime's talents as a composer AND as arranger - you may enjoy his arrangements on dozens of MPB albums (Chico Buarque's, for example). However, though Hime's albums are all way above average, they tend to be uneven. Relatively negligible songs stand next to veritable gems you can find on any of his albums. Plus, though Francis is not a bad singer, singing is not exactly one of his major talents. So, here on Meus Caros Pianistas, the questions are elegantly solved. No singing, just the music. And since Francis is a pianist, the arrangements capture the essence of the songs. And then there's the fabulous playing of those pianists: Cristóvão Bastos, Wagner Tiso, Sonia Vieira, Miguel Proença, Maria Teresa Madeira, Linda Bustani, João Carlos Assis Brasil, Rosana Diniz, Clara Sverner, Gilda Oswaldo Cruz, Antonio Adolfo, Fernanda Chaves Canaud, Gilson Peranzzetta, Helvius Vilella.

The result is something like the essence of Francis Hime.

 ~yofriend

  

 An important composer of Brazilian popular music since the '60s, Francis Hime received classical music education and has written symphonies and chamber music. Among the artists who have recorded his songs are Tony Bennett, Leni Hall, Bill Evans, Kenny Burrell, Elizeth Cardoso, Elis Regina, Chico Buarque, Tamba Trio, Milton Nascimento, Nara Leão, Simone, Toquinho, and Ângela Maria. With Chico Buarque, Hime would write songs of the quality of "Trocando em Miúdos," "Passaredo," "Meu Caro Amigo," "Vai Passar," "Atrás da Porta," and "Pivete." He has also worked with Vinicius de Moraes on "Samba de Maria," "Sem Mais Adeus," and "Anoiteceu," among others. Hime also wrote music for the films A Estrela Sobe, Dona Flor e Seus Dois Maridos, Lição de Amor, A Noiva da Cidade, and several others, having also composed for theater. As an arranger, Hime worked for Chico Buarque (also serving as the musical director on several of his LPs), Milton Nascimento, Caetano Veloso, Gilberto Gil, MPB-4, Clara Nunes, Toquinho, and Georges Moustakis. His "Sinfonia No. 1" was presented in São Paulo by the Orquestra Sinfônica de Campinas, conducted by Benito Juarez; and in Recife (Pernambuco) by the Orquestra Sinfônica de Pernambuco, conducted by Osman Gióia....

Hime Home

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O Mar... D'autres fois, calme plat...

Olivia Hime

Mar de Algodão
As Marinhas de Caymmi
2002

Tracks:

Mar da Manhã -  (arranjos e regência de Paulo Aragão e Nailor "Proveta"):

01. Abertura
02. Pescaria
03. Milagre
04. Dois de Fevereiro
05. Morena do mar introdução
06. Morena do mar
07. Quem vem pra beira do mar

Mar da Tarde -  (arranjos e regência de Wagner Tiso):

08. Mar da tarde
09. Saudade de Itapuã
10. Bem do mar
11. Cantiga da Noiva
12. O Mar

Mar da Noite -  (arranjos e regência de Francis Hime):

13. Noite de Temporal
14. A Lenda do Abaeté
15. Temporal
16. É doce morrer no mar
17. Adeus da esposa
18. Sargaço Mar
19. Quem vem pra beira do mar

Autor of all tracks: Dorival Caymmi  : )

  

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A tribute to the songwriting of popular samba composer Dorival Caymmi, whose attachment to and reverence for the sea was legendary. This album is conceived as a series of song-cycles: the sea in the morning, the sea by day, the sea at night. In some places the baroque arrangements are fairly unconventional; in others Hime displays a markedly formalist MPB approach -- very ornate, refined and sugary sweet. Her own, rather understated vocals are close in temprament to Caymmi's own plainspoken singing style. Rodolfo Stroeter produced and engineered the album; Olivia and Francis Hime wrote the arrangements, with Tutty Moreno, Sergio Santos and others performing throughout. 

source

(He was a good guide when I started listening to & buying Brazilian cd's.

 - Thank you Joe!)
   

♫
    

 Dorival Caymmi (April 30, 1914 – August 16, 2008) 

was a Brazilian singer, songwriter, actor, and painter active for more than 70 years beginning in 1933. He contributed to the birth of Brazil's bossa nova movement, and several of his samba pieces, such as "Samba da Minha Terra", "Doralice" and "Saudade da Bahia", have become staples of Música Popular Brasileira. Equally notable are his ballads celebrating the fishermen and women of Bahia, including "Promessa de Pescador", "O Que É Que a Baiana Tem?", and "Milagre". Caymmi composed about 100 songs in his lifetime, and many of his works are now considered to be Brazilian classics. Both Brazilian and non-Brazilian musicians have covered his songs...
   

 ♫
   

 Pescaria
Dorival Caymmi

Ô canoeiro
bota rede,
bota rede no mar
ô canoeiro
bota rede no mar.

Cerca o peixe,
bate o remo,
puxa corda,
colhe a rede,
ô canoeiro
puxa rede do mar.

Vai ter presente pra Chiquinha
ter presente pra Iaiá
ô canoeiro puxa do mar.

Cerca o peixe,
bate o remo,
puxa corda,
colhe a rede,
ô canoeiro
puxa rede do mar.

Louvado seja Deus
Ó meu pai.

Vai ter presente pra Chiquinha
ter presente pra Iaiá
ô canoeiro puxa rede do mar.


: )

 

 

     

Singer Olivia Hime is both an alluring performer and a great promoter of classic and modern Brazilian music. Through her thriving independent label, Biscoito Fino, she has produced and released dozens of albums by old-guard artists and lesser-known newcomers...

  

---yes you can get some very fine biscuits from there... : )

Biscoito Fino Records....

The idea of starting the record company Biscoito Fino began with the project, ComPasso Samba & Choro, developed by Olivia Hime, at the invitation of Kati Almeida Braga, in the Paço Imperial in Rio de Janeiro. Enthusiastic about that series of presentations, with musicians the caliber of Guinga, Cristina Buarque, Yamandu Costa, Miúcha, Francis Hime, Zezé Gonzaga and many others, Olivia and Kati decided to record the CDs of the shows. Their enthusiasm grew beyond just the CDs and the team aimed for an independent record company, proudly unconcerned about market tendencies. At first, Biscoito Fino edited songs by old and new composers, recorded and distributed CDs. Today, with its own studio and equipment available to musicians, Biscoito doesn´t want, to paraphrase Noel Rosa, smother anyone, but only to show that it also makes the best Brazilian popular music.

Since the writer Oswald de Andrade coined the expression “biscoito fino (fine cookie),” it has become synonymous with something selected, of high quality. Responding to comments that he was not understood by the man of the street, Oswald quipped, “the masses will some day eat the fine cookie that I produce” - a prophecy remembered 60 years later by another poet and writer, Geraldinho Carneiro, who, upon discovering that Kati and Olivia intended to set up a record company made up of the highest level of Brazilian music, exclaimed: “But what you are going to do is make a biscoito fino.” The name was baptized.

Almost five years after producing its first CD, Biscoito Fino has already released more than 150 titles. All, or almost all, of the music is popular, but there is nothing orthodox about it. One of the first releases is a collection of the work of the erudite composer, Cláudio Santoro. The flexibility of Biscoito Fino also opened the way for CDs of instrumental music, like Francis Hime´s Meus Caros Pianistas, Homenagem a Luiz Eça, by the french master Michel Legrand, and the first CD of the choro group Tira Poeira.

Olivia Hime, musical director of the record company, considers one of her utmost functions, even more important than looking for talent, to be that of selecting musicians that have an affinity with Biscoito Fino. This is because, she admits, in Brazil talent blooms so easily that three record companies would be needed to record everything. When choosing between a musician with good selling potential but not really in tune with genuine brazilian music and another, less commercialized, but with more consistent work, she doesn´t think twice: the second one is the one for Biscoito Fino. Here are some examples: Luciana Souza, singer, composer and instrumentalist, living in the United States; Lucinha Lins singing Suely Costa, Olivia Byington re-recording Canções do Amor Demais, by Tom Jobim and Vinicius de Moraes, released by Elizeth Cardoso and also a salute by Olivia herself to Dorival Caymmi in her latest CD, Mar de Algodão.

“The role of Biscoito Fino,” - says Olivia - “is to open space for the richness of brazilian music. If the whole world is consuming brazilian music and it is our prime natural resource, why not consume it here too?” And Biscoito has put things in gear by releasing compositions by Francis Hime, Sérgio Santos and Joyce, and recording with singers like Mônica Salmaso, Bibi Ferreira and Zé Renato .

Not satisfied with just releasing and re-releasing quality CDs, Biscoito Fino has widened its compromise with the vast patrimony of brazilian music by recuperating unknown choro relics, in partnership with Acari Records, and promoting the project Centro Petrobras de Referência da Música Brasileira (Petrobras Center of Reference for brazilian Music). Working together with the Instituto Moreira Salles (Moreira Salles Institute) and sponsored by Petrobras, this project has put together the largest collection of phonograms from the mechanical era and the first electric recordings in Brazil. This collection is also open for people who are interested in the preservation of brazilian music.

In 2002, Biscoito Fino contracted singer Maria Bethânia and in October of that year released Maricotinha ao Vivo, the CD that follows the 35-year career of one of the greatest interpreters of razilian popular music. Also by Maria Bethânia, Biscoito Fino still has in its catalogue the DVD, Maricotinha ao Vivo, the CD Cânticos Preces Súplicas à Senhora dos Jardins do Céu and her latest release: Que Falta Você me Faz - on which Bethânia pays a tribute to the poet, Vinicius de Moraes.

In 2005, BF completes its fifth aniversary and will reach the outstanding number of 150 titles in its catalogue, among CDs, DVDs and collections, exclusive or in partnership with the labels connected to the recording company: Quelé (a partnership between BF and Acari Records), Jobim Biscoito Fino (on which in 2004 released the unedited CD, Antonio Carlos Jobim em Minas ao vivo Piano e Voz), Biscoitinho (a label dedicated to children’s music) and Quitanda (a partnership of Maria Bethânia with Kati Almeida Braga, responsible for releases such as Brasileirinho, also by Bethânia). 

source

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