Get up, stone, out of bed, roll, roll...

  

Musiques & Musiciens Du Monde

Musique Traditionelle Du Portugal

1988

Tracks:

Beira Baixa Province

1 The Rendez-vous / Le Rendez-vous (Cançao De Embalar) 2:05
Choir [Women], Tambourine [Adufe] - Unknown Artist
2 Lullaby / Berceuse 2:39
Vocals [Woman] - Unknown Artist
3 Macelada (Picking Camomile) 1:57
Vocals [Two Women], Tambourine [Adufe] - Unknown Artist
4 Christmas Carol / Chant De Noël 4:09
Vocals [Women, Children] - Unknown Artist
5 Sao Joao (Saint John) 2:47
Vocals [Woman], Tambourine [Adufe] - Unknown Artist
6 Desejos (Wishes) 2:17
Vocals - Unknown Artist
7 For The Souls In Purgatory / Pour Les Âmes Du Purgatoire 1:57
Vocals - Unknown Artist

Alentejo Province

8 Aurora Teve Un Menino (Aurora Has Given Birth To A Son) 5:45
Vocals - Unknown Artist
Lisbon Fados / Fados De Lisbonne
9 Os Teus Olhos (Your Eyes) 1:23
Guitar - Raul Nery
Lyrics By [Poem] - Graça Ferreira do Amaral
Music By - Carlos da Maia

Viola - Joaquim do Vale
Viola [Baixo] - Joel Pina
Vocals - Maria Teresa de Noronha
10 A Nossa Rua (Our Street) 2:27
Guitar [Guitarra] - Raul Nery
Lyrics By [Poem] - Antonio Callem
Music By - José Antonio Sabrosa
Viola - Joaquim do Vale
Viola [Baixo] - Joel Pina
Vocals - Maria Teresa de Noronha
11 Fado Corrido 3:25
Guitar [Guitarra] - Avelino do Carmo
Viola - Guilherme Carvalhais
Vocals - Manuel Vicente
Words By - Traditional
12 Meia Noite (Midnight) 3:05
Guitar [Guitarra] - Avelino do Carmo
Viola - Guilherme Carvalhais
Vocals - Manuel Vicente
13 Little Fado / Fado Mineur 4:08
Guitar [Guitarra] - Avelino do Carmo
Lyrics By [Verses] - Traditional
Viola - Guilherme Carvalhais
Vocals - Manuel Vicente
Douro Littoral Province
14 Tirana (The Wild Woman) 3:27
Vocals [Woman], Choir, Percussion, Violin, Guitar [Different Types] - Unknown Artist
15 Um Viva Para Toda A Gente (A Vivat For Everyone) 2:31
Vocals - Unknown Artist
16 Misericordia, Meu Deus (Have Mercy, O Lord) 1:23
Vocals - Unknown Artist
17 Stone-cutter's Song / Chant Des Teilleurs De Pierres 2:06
Vocals - Unknown Artist

Liner Notes: Alain Daniélou

Recorded By:

Hubert de Fraysseix (tracks: 1 to 6, 8 to 14) ,
Virgilio Pereira (tracks: 7, 15 to 17)

  

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Now one of the comparatively less prosperous nations of Europe, Portugal was once a great maritime and imperial power, and that history has left linguistic and cultural traces in Africa, South America and the Far East; Madeira and the Azores are still Portuguese territory.  Continental Portugal's borders have been stable since the 13th Century, and although modernisation is making the country more uniform, and changing traditional lifestyles, there is still considerable cultural diversity among the different regions.  From 1926 to 1974, Portugal was governed by the longest enduring of all Fascist regimes; as the annotator and field recordist Salwa El-Shawan Castelo-Branco points out, the Estado Novo sought to promote an image of the country, to itself and the outside world alike, as "a predominantly rural community happily immersed in its traditions," and used folk music as one of its means to this end.  It is perhaps not surprising that for many years there was considerable hostility towards folclore among intellectuals and musicologists.

...

It will be obvious that Portugal sustains a rich variety of traditional music, some of it still an integral part of a traditional way of life, some of it the result of conscious processes of preservation, and some of it partaking of both attributes.  It also seems evident that, whatever dubious attempts at political co-option were made in the past, traditional music, revivalist and otherwise, is an important marker of both national and regional identities.  I'm well aware, of course that, in fulfilling those roles, Portuguese traditional music must have political dimensions and implications, which are doubtless of considerable importance to the democratic regimes that have happily succeeded the long rule of the military; but it seems likely that the mechanisms by which ideology interacts with folklore are considerably healthier and more respectful now than in former times.  It's also clear that, both for their variety and their quality, Portugal's folk musics are among the most interesting and enjoyable to be heard in Europe.

 

~  Chris Smith

source (about another good cd)

  

thanks for the music Lemmy :)

 

 

♥

Saudade

   

Dona Rosa - Segredos
2003

Tracks:
       
1.      Green Corn (Milho Verde)       4:24        
2.      Gum Collector (Resineiro)       4:54        
3.      Lemon Balm (Erva-Cidreira)       3:57        
4.      Dream (Dona Rosa Talks About A Dream)       0:25        
5.      Laurindinha       4:01        
6.      Put Your Little Foot In Here (Ponha Aqui O Seu Pézinho)       3:14        
7.      Libon (Lisboa)       1:04        
8.      Mariquitas       3:16        
9.      Green Are The Fields (Verdes Sao Os Campos)       3:24        
10.      Kiss (Beijinho)       3:14        
11.      Trust (Dona Rosa Talks About Confidence)       0:48        
12.      The Girl Was In Tears / A Moça Chorava       6:09        
13.      Oh Branch, What A Beautiful Branch / O Rama O Que Linda Rama       3:59        
14.      I Was Baptized By Rose / De Rosa Fui Baptizada       1:26        
15.      Variations In Major's Dream / Variaçoes Em Sonho Maior       6:07
       
Accompanied by:

Enzo D'Aversa, accordion,
Raul Abreu, Portuguese guitar, bass, piano, and percussion

 

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Besides Fados DONA ROSA sings traditional Portuguese songs that have been significant for her life.

Even today fairy tales still happen - tales that read as if they were straight out of the Arabian Nights. This is the miraculous story of the blind Fado singer DONA ROSA of Lisbon:

In 1999 a Portuguese production company was asked to find a Fado singer for an Austrian Television Company production to be recorded in Marrakesh. The programme..s musical director, the well-known Viennese artist and impresario Andr.. Heller, had a particular blind street singer in mind, a woman he had heard many years ago, whose voice had moved him deeply and haunted his memory ever since. The search proved to require quite some detective work but finally she was found - DONA ROSA.

With her live presentation at the World Music Fair WOMEX in Berlin in the year 2000, a whole new experience of life began for DONA ROSA. This was the first audience that was interested in her, as a person, for her own sake. She was confronted with all kinds of things that affected her life, disconcerted her, raised doubts in her mind: Her life changed dramatically. DONA ROSA was no longer accepted as a street singer in Lisbon. The other street and survival artists told her she was a star, expecting her to have lots of money now. Her story appeared on the front page of the Portuguese newspaper Publica (12/2000), Germany's Channel 1 (ARD) produced a documentary on her for its television programme "Kulturreport", concerts in Germany, France, Italy, England, Belgium, Denmark, Sweden, Finland, the Czech Republic, Austria and Switzerland followed. Since then, DONA ROSA has given 200 concerts in Europe and become familiar with things that were a total mystery to her in her previous life, things like airplanes.

Our understanding of the world is influenced strongly by what we see. DONA ROSA had to learn to trust things, people and situations that are taken as a matter of course for those with the power of sight. This over 40-year-old singer had to learn things other people are entirely familiar with - for example the strains of a life on tour, far from one's habitual surroun- dings.

Following one of her concerts, in the dressing room of the concert hall, the conversation once again revolved around her blindness. DONA ROSA said: "What I like to do best is dream; in my dreams I can see and I never want to wake up."

 

  

Who is Dona Rosa?

She was born on February 1, 1957 in poverty. At the age of four she contracted a severe case of meningitis to which she lost her eyesight. Her family, whose only means of livelihood was begging, could not easily accept the child’s handicap but managed to provide a basic education for her. She learned to read and write and carry out simple manual tasks ... and she became acquainted with the traditional songs of Portugal.

   

When she came of age she realised that she must leave her family for good: The day she arrived home in North Portugal she turned around and took the next train back to Lisbon.

There, with the help of other blind homeless persons, she quickly learned to master the art of survival on the street. What she didn’t earn by selling magazines and lottery tickets she earned by begging, until the day somebody suggested she use her beautiful voice as a means of livelihood.

And so there emerged on the streets of Lisbon a singer who sensitively translated her bitter fate into music. Gradually, Dona Rosa became an inseparable element of the cityscape.

Today, accompanied by a triangle once given her by a friend, she sings her own special brand of Fado. More so than traditional Fado, her song gives expression to all of the misery suffered by the poorest of the poor, and to their profound longing for the good life they will never call their own.

 

her space

♥

  

 

...my best wishes go to Jerez de la Frontera...

 

for you I will keep posting

 

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Voices

   

Voix De Femmes Du Portugal
Women's Voices of Portugal
1995

Tracks:

1. O Senhora Do Alivio (Gary Cramolini)
2. Virgem da Concilação (Catarina Chitas)
3. Senhora Do Desterro (Rancho Folclorico De Vinhó)
4. São João (Catarina Chitas)
5. Misericordia (Gary Cramolini)
6. Alvissaras (Catarina Chitas)
7. Nossa Senhora Do Leite (Catarina Chitas)
8. Menina Do Bahlo (Gary Cramolini)
9. Vai Te Lavar Morena (Gary Cramolini)
10. Moreninha de Me Um Beijo (Grupo Chorale Feminino Flores Do Alentejo)
11. Galandrum (Albino Da Igreja; Isabel Da Igreja; Jose Ventura; Maria Da Igreja; Victor Alves)
12. Eu E de Mire Acentare (Grupo Chorale Feminino Flores Do Alentejo)
13. A A Pastorinha (Catarina Chitas)
14. Somos de Vila de Cuba (Grupo Chorale Feminino Do Alentejo)
15. So Portugues Immigrante (Grupo Chorale Feminino Do Alentejo)
16. A A Barragem (Grupo Chorale Feminino Do Alentejo)
17. Ligas Verdes (Albino Da Igreja; Isabel Da Igreja; Jose Ventura; Maria Da Igreja)
18. Homem Raro (Fado) (Fontes Rocha; Judite Pinto; Luis Gonçalves)
19. Cinta Vermelha (Fado) (Judite Pinto; Luis Gonçalves)
20. Calso Entorando (Desgarrada) (De Jesus, Sebastião; Judite Pinto; Luis Gonçalves)
21. Berceuse de Madère (Graca Serrao)

  

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A collection of vocal works from the full spectrum of females in Portugal. There is much more here than simple fado to be heard, though fado is certainly represented. The quality of the album ranges from mildly grating to outstanding, touching most bases in between. There is a pair of choruses singing on the album, Cramol and the Flowers of Alentejo. Both provide some harmonic work that's appreciated in an otherwise barren-of-accompaniment album for the most part, but at the same time, the melodic work leaves something to be desired in general. More listenable perhaps are the solo singers. Catarina Chitas, an 80-year-old ex-shepherdess, performs a few numbers accompanied only by herself on a frame drum. The power left in her old voice is rather stunning as she wails through her songs. Even older is Judite Pinto, the primary fado singer on this album. Here is where the beauty of the album is truly shown. Pinto's vocals are still powerful and expressive, helped along by the outstanding guitar work of the Goncalves brothers. Unfortunately, the shining moments of fado are hardly enough to balance out the sometimes-rougher works. For a nice overview of some of the more overlooked folk forms of Portugal, this isn't a bad way to go...
says: Adam Greenberg

*****

 

Adufe

The adufe is one of the rare square double headed frame drums. A wooden structure is covered with rawhide from a sheep or goat and some rattling objects are thrown inside. The adufe is traditionally played by women in the interior provinces of Portugal, Beira Baixa and Trás-os-montes. In some regions it is simply called pandeiro (frame drum). Its sound invites meditation or even trance. To play it the adufe is held by the two hands with one corner pointing to the skies. The hands beat one of the skins and shake and hold the instrument.

  

wiki

 

another wiki

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Fado 2

  

Carlos Zel - É Fado

(Remasterização)
2002

Tracks:

01. Aquela tarde em Santarém
02. Gaivotas do meu Tejo
03. Oração
04. De Rastos Subi  A Escada
05. Restos Duma Saudade
06. Na Tarde Que O Sol Abraca
07. Neste Rio Vou Morrer
08. Riso De Crianca
09. A Nossa Estranha Canção
10. Poesia Louca
11. Corpo Vazio
12. Que Os Meus Amigos Me Cantem

  

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Fados 

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 Born in Parede on September 29, 1950, Carlos Zel began his professional career in 1967.

António Carlos Pereira Frazão was born in Parede, on September, 1950, and soon he is fond of music and show business, adopting the artistic name of Carlos Zel.

He started singing in Cascais and Estoril as amateur, but at the age of 17 he became professional singer. Then he follows on radio at Emissora Nacional, and performed on revues and television.

Carlos Zel’s style was an orthodox presence of tradition, although he had made some changes to modern times. Even his work was ruled by tradition; he also made attempts to give other melodies to Fado, as morna, typical cape-verdian song, working in collaboration with Celina Pereira. This behaviour establishes his own style, putting him distant from renowned singers, as Manuel de Almeida.

Carlos Zel was on the cast of several Fado houses, and he became well-known with performances in several casinos all over the country. In 2000, Carlos Zel gives a push to the organization “Quartas-Feiras de Fado” at Casino do Estoril, and even before, in 1993, was one of the founders of the Academia do Fado e da Guitarra.

During his career he has recorded 14 records; the last record was named "Com Tradição", dated in 2000, when he made his performance in a concert at the CCB auditorium.

The skilled Fado’s singer performed in several international stages as Spain, United Kingdom, France, Austria, Senegal, Brazil, Chile, United States of America, among others.

In 1993, Carlos Zel is distinguished with the Prémio Prestígio granted by Casa da Imprensa and in 1997 wins also the Prémio Neves de Sousa. He was also distinguished with the Medalha de Mérito da Cruz Vermelha and the Medalha de Mérito Artístico of Cascais’ Town Council. His name is a reference in the national musical universe.

He died on February, 2002.

Every year a show is organized and presented at Casino Estoril to pay homage to the singer, where all great names of fado today usually take part of. 

*

  

Fado

 

Carlos Zel

Com Tradição
2000

Tracks:

01. Guitarrada
Pedro Falcão / Raul Indipwo
02. Fado tropical
Ruy Guerra / Chico Buarque de Holanda
03. Quando o peito tem saudade
Maria Manuel Cid / Alberto Simões Costa ( Fado Bragança )
04. Mais anos de fado
Clemente Pereira / Alberto Simões Costa ( Fado Dois Tons )
05. Nova Lisbo
Nuno Frazão / Guy Valle-Flor
06. Fado da Internet
Daniel Gouveia
07. A beira-mar
Raul Indipwo
08. Nossa Senhora do Fado
Hortense Viegas César / Francisco Viana ( Vianinha ) ( Fado Vianinha )
09. Poema do nosso amor
Hotense Viegas César / Acácio Gomes dos Santos ( Fado Acácio )
10. Coração atormentado
Maria Manuel Cid / Popular ( Fado Menor )
11. Retrato de um alfacinha sub-urbano
José Niza / Popular ( Fado Corrido )
12. Ponto final
David Mourão-Ferreira / Joaquim Campos da Silva ( Fado Tango )

Acompanhamento musical:

Guitarra Portuguesa: José Luís Nobre Costa
Guitarra Clássica: Francisco Gonçalves
Viola-baixo: Joel Pina
Flauta: Siegfried Sugg ( Track 02 )
  

Bonus track: Por Te Querer Tanto

    

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Fados 

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Carlos Zel

Nasceu em Cascais na Parede a 29/09/1950

Fadista, António Carlos Pereira Frazão 1950, foi um dos poucos fadistas da sua geração a conseguirem relativo sucesso e um importante divulgador de talentos. É irmão do grande guitarrista Alcindo Frazão.
Começou a cantar cedo, apesar de sustentar que só se pode ser verdadeiramente fadista depois dos trinta anos. Ainda adolescente, cantava nas tascas e retiros da região de Cascais. Profissionalizou-se aos 17 anos. E, no ano seguinte, já cantava na Emissora Nacional. Actuou várias vezes na rádio, mas também no teatro de revista e na televisão. Passou por alguns retiros, como o Bar Galito e chegou a desempenhar a profissão de torneiro mecânico.
Pertencendo a uma geração intermédia, entalada entre os grandes nomes do fado (Amália, Maria Teresa de Noronha, Alfredo Marceneiro) e as mediáticas vozes do novo fado (Mísia, Marisa, Katia Guerreiro), ultrapassou o clima de desconfiança criado à volta do fado no pós-25 de Abril e conseguiu fazer uma carreira notável, com 14 álbuns gravados e alguma projecção internacional. Deu concertos em países como Espanha, França, Holanda, Escócia, Dinamarca, Noruega, Brasil, Argentina, Chile, Venezuela, Canadá, EUA e Senegal. O seu talento foi várias vezes reconhecido, recebendo prémios como o Prémio Prestígio e o Prémio Neves de Sousa, ambos da Casa da Imprensa.
Influenciado por Manuel de Almeida e João Ferreira-Rosa, mas com uma forma de cantar inconfundível, Carlos Zel deu voz a muitos fados. Entre outros, "Meu amor morre no mar", "Sonho Louco", "Palavra à Solta", "Fado das Mãos Sujas", "Disseste que me deixavas", "Prece", "Fado Pechincha", "Tenho Saudades da Baixa", "Amar outra Vez", "Quero tanto aos Teus Olhos" ou "Travessa do poço dos negros". Estes temas estão presentes em discos como Neste Rio Vou Morrer (1978, J. C. Donas), Lusitano Vagabundo (1978, Imavox), Fados (BMG, 1993), Minha Primeira Cantiga (Emi, 1996) ou Fado (Movieplay, 1997).
Apesar de preferir fados tradicionais, ousou fazer algumas experiências, cantando ao lado de Luís Represas, Maria João & Mário Laginha, Carlos Zíngaro, Cesária Évora e Celina Pereira. No seu derradeiro disco, Com Tradição (Movieplay, 1999), inclui fados bem-humorados como o "Fado da Internet" (letra de Daniel Gouveia) e até uma adaptação do "Fado Tropical", de Chico Buarque.
Em 1993 foi um dos fundadores da Academia do Fado e da Guitarra. Nos últimos anos da sua vida, foi o impulsionador e organizador das Quartas de Fado, no Casino do Estoril, por onde passaram muitíssimas vozes de várias gerações. Nesses concertos também desempenhou o importante papel de divulgador de novos talentos. Deu, de resto, uma importante ajuda nos primeiros passos de fadistas como Camané e Katia Guerreiro.
Em 2000, encheu o Grande Auditório do Centro Cultural de Belém num concerto que marcou definitivamente a sua consagração. Dois anos depois viria a falecer a 14 de Fevereiro de 2002, na sua casa, em Cascais.

  

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