Capoeira Senzala De Santos
Brésil
Brésil
Capoeira, Samba de roda, Maculelê
1995
Tracks:
01. Deus Deu Capoeira Para Gente
02. Capoeira E' Minha Origem
03. Bate Palmas Luana
04. Toques De Berimbau
05. Louvacao A Nossa Senhora Maculele Percussions
06. O Escravo E' Capoeira
07. Dirim Dim Dom
08. Triste Cidade Velha
09. Samba, Berimbau E' Pandeiro
10. Vida De Negro Da Senzala
Tracks:
01. Deus Deu Capoeira Para Gente
02. Capoeira E' Minha Origem
03. Bate Palmas Luana
04. Toques De Berimbau
05. Louvacao A Nossa Senhora Maculele Percussions
06. O Escravo E' Capoeira
07. Dirim Dim Dom
08. Triste Cidade Velha
09. Samba, Berimbau E' Pandeiro
10. Vida De Negro Da Senzala
♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫
.ღ•:*´♥`*:•ღ.
♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫
What they say:
John Storm Roberts:
This isn't capoeira alone but other Afro-Brazilian percussion with berimbau and a fine lead singer. The music is classic -- no synth-hedged bets here -- the mood slightly lowkey (the session was in Paris, presumably during a tour). Senzala de Santos is a newish capoeira, but its founder has roots, and so does his group. The extensive notes are no doubt fine but printed too small to be read.
BubbaCapoeira:
Vida de Negro da Senzala is probably one of the best Capoeira songs to joga to. The rhythm and chorus builds a sense of energy; you can't help but smile when you throw an armada. Axe.
Dr. Debra Jan Bibel:
Central African, Yoruba and Bantu, music from slaves had merged with Portuguese and European dance forms in the creation of choro and samba mainly in the southern cities of Rio de Janeiro and São Paulo, but in the northeast, the African idioms remained strong and more intact. Among the Afro-Brazilian styles is the rhythmic accompaniment to a martial dance exercise, capoeira, where acrobatic movements of feet and low torso are emphasized (which in turn led to break dancing in the United States and now everywhere). The berimbau, a stringed long bow and gourd instrument, the drum, and the gourd rattle are the instruments, in addition to hand clapping, of this dance art. While its origin was the need for defensive fighting, capoeira entered the mainstream as a unique dance and even incorporated various martial movements from Asia. The insert includes the lyrics in Portuguese, French, and English, which praise master teachers, support of saints, capoeira itself, and experiences in other lands. The music is often improvisational in the form of toques. This album also include the music to another martial dance, maculele, of obscure celebratory Catholic and African roots that involves participants striking sticks together in a form of fencing. Each member has a pair of sticks for use in duels. Instruments are mainly percussive, such as pandeiro tambourine and atabaque conical Conga drum and double bell agogog, but may also include a 12-string guitar. One track is purely instrumental, a samba de roda of two berimbaus and pandeiro. A glossary to 37 terms is provided. This album has fulfilled a niche in my Brazilian music collection. Its very African sound help enrich understanding of Brazil's musical culture. For the capoeira practitioner the album will support the dance and exercise.
***
♥
.ღ•:*´♥`*:•ღ.
♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫
What they say:
John Storm Roberts:
This isn't capoeira alone but other Afro-Brazilian percussion with berimbau and a fine lead singer. The music is classic -- no synth-hedged bets here -- the mood slightly lowkey (the session was in Paris, presumably during a tour). Senzala de Santos is a newish capoeira, but its founder has roots, and so does his group. The extensive notes are no doubt fine but printed too small to be read.
BubbaCapoeira:
Vida de Negro da Senzala is probably one of the best Capoeira songs to joga to. The rhythm and chorus builds a sense of energy; you can't help but smile when you throw an armada. Axe.
Dr. Debra Jan Bibel:
Central African, Yoruba and Bantu, music from slaves had merged with Portuguese and European dance forms in the creation of choro and samba mainly in the southern cities of Rio de Janeiro and São Paulo, but in the northeast, the African idioms remained strong and more intact. Among the Afro-Brazilian styles is the rhythmic accompaniment to a martial dance exercise, capoeira, where acrobatic movements of feet and low torso are emphasized (which in turn led to break dancing in the United States and now everywhere). The berimbau, a stringed long bow and gourd instrument, the drum, and the gourd rattle are the instruments, in addition to hand clapping, of this dance art. While its origin was the need for defensive fighting, capoeira entered the mainstream as a unique dance and even incorporated various martial movements from Asia. The insert includes the lyrics in Portuguese, French, and English, which praise master teachers, support of saints, capoeira itself, and experiences in other lands. The music is often improvisational in the form of toques. This album also include the music to another martial dance, maculele, of obscure celebratory Catholic and African roots that involves participants striking sticks together in a form of fencing. Each member has a pair of sticks for use in duels. Instruments are mainly percussive, such as pandeiro tambourine and atabaque conical Conga drum and double bell agogog, but may also include a 12-string guitar. One track is purely instrumental, a samba de roda of two berimbaus and pandeiro. A glossary to 37 terms is provided. This album has fulfilled a niche in my Brazilian music collection. Its very African sound help enrich understanding of Brazil's musical culture. For the capoeira practitioner the album will support the dance and exercise.
***
♥
