Caminho Da Serra

  

Dimas Soares
Boas Horas
Viola Caipira Instrumental
2005

Tracks:

01. Viola De Brinquedo
02. Saracurinha
03. O Toque Do Rio Abaixo
04. Roda Dagua
05. Serepente De Asas
06. Sinha Violeira
07. A Cigana
08. A Hora Do Cramondongue
09. Na Beira Da Ribeira
10. Valseando Na Torda
11. Caminho Da Serra
12. Adeus Viola

 

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 Dimas Soares surgiu no meio da Mata Atlântica, numa relepa que sobrou no Vale do Mucurí em Minas Gerais. Passou a infância ouvindo sons de tropas com seus sincerros na estradinha centenária, aboios, papagaios, araras, jandaias, assobios de coisas estranhas e perigosas deste e do outro mundo pelas altas horas, cancelas batendo sozinhas sem vento pelas horas mortas, causos como o da cobra que virou criança no colo da moça, violas e folias, rezas “brabas” e ou mansas e outras coisas mais.
Ieuein?!
Pesquisa e aprende viola caipira, ou de dez cordas, desde a adolescência, tendo participado de trabalhos de músicos como Tavinho Moura, Chico Lobo e outros. Gravou o CD instrumental de viola caipira, “Boas Horas”, participou do Viola Minha Viola, da Inesita Barroso, na TV Cultura de São Paulo em 1998, Viola Brasil na TV Horizonte em 2004, 2008 e outros programas de Rádio e TV, tendo tangido as cordas por diversos arrebaldes. Desde o início veio criando e aperfeiçoando técnicas de execução da viola caipira.
Formou-se em História e se mantém numa linha independente de pesquisa evitando quebrar o encanto das “coisas”, de certas coisas em determinados momentos: é que “cada santo tem seu dia e cada coisa seu lugar”. O CD Boas Horas foi o pispêio e já que a latomia saiu no jeito, continua a chulata. Taí, 12 faixas de viola caipira
instrumental, a maioria acompanhada de violão, duas somente com viola, uma delas tendendo para o barroco, com duas violas de dez cordas, violinos, viola de arco e violão.
BOAS HORAS é uma saudação gravada, cuja função é substituir o bom dia, boa tarde ou o boa noite, e é usada há muito tempo pelo homem do campo no Norte e Nordeste de Minas Gerais.

Pesquisa a viola caipira ou viola de dez cordas, tendo participado de diversos trabalhos. Gravou cd boas horas de viola caipira instrumental e o cd viola da terra, tendo ja pisado muitas estradas pelo pais. A viola que aquí no brasil é chamada de caipira, viola cabocla, viola sertaneja, viola de arame, etc. porque foi adotada pelo caboclo assim que chegou da europa no século XVI com os primeiros colonizadores, é mostrada aquí procurando valorizar a sua sonoridade, timbre, e a ampla gama de recursos oferecidos por este instrumento, dando ao violeiro um espaço infinito para criar. 

  

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The viola caipira (Portuguese for country guitar) is a ten-string, five-course guitar. Unlike most steel-string guitars, its strings are plucked with the fingers of the right hand similarly to the technique used for classical and flamenco guitars, rather than by the use of a plectrum.

It is a folk instrument commonly found in Brazil, where it is often simply called viola. Resonator models are also produced.

The origins of the viola caipira are obscure, but evidence suggests it evolved from the vihuela/viola de mano which was taken to the new world by Spanish and Portuguese settlers. It has also similarities with the 5 course baroque guitar, that elsewhere evolved into the modern guitar. It is likely a descendant of one of the many folk guitars that have traditionally been played in Portugal. The viola braguesa and viola amarantina, for instance, are two types of ten-string guitars from the north of Portugal, which are closely related to the viola caipira.

Some have described the viola caipira as Brazil's national instrument, but others argue that the tambourine-like pandeiro has a stronger claim. The Brazilian Embassy in Washington lists a national flower among the official symbols of Brazil, but no national musical instrument. What is undisputed is that the viola caipira was introduced in São Paulo before the violão, and is the basis for the música caipira, or São Paulo´s folk music, as Inezita Barroso states.

A large number of tunings are used; open tunings are common.

Violas are present in nearly all Brazilian music forms, anywhere in the country (although it is declining in some places). It most often associated with Caipira Music (Brazilian country music), with some forms of North-Eastern music and with folkloric music. It was once used to play urban music, like choro, samba and Maxixe, but has been replaced by the acoustic guitar.

The greatest virtuosos of Brazilian viola are Zé Côco do Riachão (composer from Minas Gerais), Toninho Ramos (composer from Minas Gerais live in France) and Almir Sater (successful singer-songwriter from Mato Grosso do Sul).

A National Association of Viola Players (Associação Nacional dos Violeiros) has been founded in 2004 and the Ministry of Culture has declared the preservation of the Viola tradition as of national interest.

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Violeiros

   

Os Bambas da Viola
2004

Tracks:

01. Chico Lobo E Rogério Delayon - Ibérica
02. Roberto Correa E Quinteto De Cordas - Noites Do Sertão
03. Renato Andrade E João José Da Silva - Música Do Coronel
04. Heraldo Do Monte E Luís Monte - Lágrima Nordestina
05. Helena Meireles, Milton Araújo, Francisco Machado E Montanhês - Guaxo
06. Almir Sater, Fernando Melo E Eduardo Souza - Rasta
07. Renato Andrade E João José Da Silva - Ponta Porã
08. Heraldo Do Monte - Viola Nordestina
09. Helena Meireles, Francisco Machado E Pedrão - Tropeiro
10. Roberto Correa - Extremosa-Rosa
11. Almir Sater - Mazurca-Choro
12. Renato Andrade e Roberto Dimatus - Os Ciganos
13. Heraldo Do Monte - Maria Bethânia
14. Roberto Correa - Futrica Infinita
15. Chico Lobo E Carlinhos Ferreira - Vazante

  

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 source
  

info

  

Viola Caipira

O Violão Brasileiro

Um Brasil de Viola

Violeiros

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Raiz Pantaneira

  

Helena Meirelles
Raiz Pantaneira
1997

Tracks:

1. Volta da Guira Campana
2. Agua Parada
3. 1st de Maio
4. Fandango Em Porto
5. Rincao Guarani
6. Dona Dalva
7. Rio Negrinho
8. A Familia Arrastape
9. Nha Lorona
10. Acampamento Cerrollon
11. Capelinha Branca
12. Viradouro
13. Epitaciana
14. Guiomar
 
Personnel:
 
Helena Meirelles: Violão, Dobro, Viola
Gesílio Pereira: Baixo
Francisco Machado: Violão
Ailton Torres: Violão
 
Sérgio Reis: Vocal (14)
 
All tracks Helena Meirelles,

just track 14: Haroldo Lobo, Wilson Batista

   

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I am a 49 years old Brazilian who grew up inland that country. Much to my parents disappointment, and to our maids relief in relation to the destination of my soul, I believed in mules-without-head, in devils incarnated as people with their goat-feet, and in the power of the holy water to make them explode leaving a sulphur smell... I only saw TV or a paved road when I went to Rio de Janeiro to visit my grandparents.
 
I had the privilege of living in different areas of Brazil, and to get to know its people, with their simplicity and wisdom, with their hopes and their suffering, with their disbeliefs--in politicians and government--and beliefs in the Other world, both marvelous and terrifying.
 
This way, through beloved maids and their families, I got to know the simple people's music, the ones played at backyards of simple homes at night, and at the farms by the simple workers using a "violão" (guitar), a "viola de doze cordas" (12 strings guitar), and a "sanfona" (acordeon).
 
The sounds were tangent, sad, melodious, and they were fading from the popular memory as the country started its exceedingly fast urbanization process in the late 50s.
 
Recently, some very special people have been digging the musical soil of the states of Goiás, Minas Gerais, and Mato Grosso. This "mining" process has uncovered beautiful gems, and Helena Meirelles is one of the most beautiful of them all: a clear Diamond!
 
I never heard about her until this February, when my husband came from Brazil with one of her records: "Raiz Pantaneira" (Pantaneira Roots - Pantanal is the swampy area in Mato Grosso do Sul).
 
It was fascination at first hearing: the soul of the aparently simple people of Goiás and Mato Grosso, with a Guarany background (Mato Grosso was taken by force from Paraguay one day, not long ago...), comes through her music. She is a master composer and a prodigy player, and I could only fall in love with this old Lady of Inland Brazil: Helena Meirelles!
 
May G'd bless you Helena for all the joy you bring to the world through your music, so simple and so elaborate, so happy and so sad: the music of a suffered people's soul. 

~Sonia Bloomfield Ramagem 

  

   
Helena Meirelles was born on a farm in the heart of the hinterlands of the state of Mato Grosso do Sul. The images familiar to her since she was a child were of rural workers, the routine of raising large herds of cattle, and the violeiros (rural musicians). She learned how to play the viola at nine. After an imposed marriage at 17 and the subsequent abandonment of her home, she became involved with several partners and lived in the hottest places, where there always was prostitution, music, and booze. In such hard living, she even had some of her 11 children all by herself, with no help whatsoever. In complete poverty, after 30 years without any contact with her family, she was found by her son who took her to her sister's home where she was taken care of. After a short while, in 1993, her nephew recorded a tape of her playing and sent it to Guitar Player magazine. The magazine's reporters had a hard time when they tried to find the sul-mato-grossense illiterate female musician, who lived in the distant and small city of Presidente Epitácio (São Paulo). She also didn't have a telephone and was completely unknown to the Brazilian specialized press and recording market. But in the next year, Guitar Player had included her in its list of the 100 best picks ever, together with B.B. King, Eric Clapton, and Jimi Hendrix's. In the first of three albums, Helena Meirelles released in that year, she took a large track to account for her life, providing great insight into her peculiar trajectory. She performed in a theater for the first of many times at 67, and her mostly instrumental albums reach an average 80,000 sold copies each, which is considered excellent in this market niche. 

~ Alvaro Neder, All Music Guide

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thanks to Spinning In Air for showing the way :)

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Caminhos Me Levem

   

Almir Sater
Caminhos Me Levem
1996

Tracks:

1. O vento e o tempo Ouvir (Paulo Simões, Almir Sater)
2. Caminhos me levem Ouvir (Paulo Simões, Almir Sater)
3. Brasil poeira Ouvir (Almir Sater, Renato Teixeira)
4. Floresta do arco-íris Ouvir (Almir Sater)
5. Pagode bom de briga Ouvir (Paulo Simões, Almir Sater)
6. Milhões de estrelas Ouvir (Paulo Simões, Almir Sater)
7. Viola fora de moda Ouvir (Capinan, Edu Lobo)
8. Cabecinha no ombro Ouvir (Paulo Borges)
9. Sodade matadeira Ouvir (Dorival Caymmi)
10. Mochileira Ouvir (Geraldo Roca)

  

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Almir Sater brings to us the sweet music of the Brazilian wilderness of Pantanal, one of the most beautiful parts of the Earth, most of it still untouched. All the mystery, the starry nights, simple country love, the lonely train crossing the plains and the little boat sailing down the mighty river, all these images and draems, that's what the music is all about. All through his voice and the voice of his viola (the brazilian ten strings guitar). Great music!
~ Alexandre D. Tenorio

Muita paz.
Canções com ritmo , que fazem pensar no mundo em que vivemos, na vida e nos acontecimentos... Lindos versos, poesia, excelente para românticos... Alguns ritmos lembram o velho oeste. As instrumentais fazem viajar a um mundo inexistente... cheio de paz.
~ Marianna Degen Alves

 

Foto: Daniela Pamplona

      

Almir Eduardo Melke Sater (Campo Grande, 14 de novembro de 1956) é um violeiro, compositor, cantor e ator brasileiro.

Born in Mato Grosso do Sul (CW), he used to play the guitar as a child, but only discovered the viola caipira (an adapted acoustic guitar, smaller than the usual 6-string, used in the countryside) in Rio de Janeiro, where he was studying Law. Sater gave up becoming a lawyer and, instead, decided to take guitar lessons with Tião Carreiro. Later, he returned to Campo Grande (capital of Mato Grosso do Sul) and lined-up the duo Lupe & Lampião. In 1979, he moved to São Paulo, becoming a back up musician to singers like Tetê Spíndola and Diana Pequeno. His debut album, "Almir Sater", was released on Continental in 1981, followed by "Dona", on RGE. Three years later, he put the Comitiva Esperança together, touring the pantanal region and researching the music from the area. After releasing other albums and playing the Free Jazz festival, in 1989, Sater played a part in a soap-opera, which helped projecting his music. He released "Terra dos Sonhos" in 1994...

 

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Música Caipira (Brazilian Country Music)

Brazilian countryside on viola strings
Rosa Nepomuceno

The catholic chants brought by Jesuits were mixed with Portuguese tunes and the dance and music of the Indians, original landlords of the newly discovered tropical country. Many styles emerged from that mixture, especially in the southeast, then in the south and center-western regions, integrating what would be known as "música caipira" (literally, country music). The viola, a Brazilian type of small, acoustic guitar, was carved from tree trunks. In the early days, the strings were made out of animals’ guts; later, they were switched to wire, and through the years, the viola has been testified as the basic instrument for the countryside style. Caipira is one among many words emerged from the incorporation of tupi and other indigenous idioms with Portuguese in colonial times. When broken down, we have caa (bushes), pir (something that cuts) and cururu, which is how the Indians attempted to say cruz (cross).

Missionaries moved
To prove their love
To the natives that feared
The foreign invader
But hearing the mellow sound
Of a weeping viola
The careful primitives
Leaned over to enjoy it.

(Assim Nasceu o Cururu, Cap. Furtado e Laureano)

 

...

...Through the 90s, the pop-sertanejo (tailored for foreign markets) and the neo-caipiras (educated musicians interested in rescuing the original roots of the style) managed to live in harmony. 

The latter have developed their own independent labels and show circuits. The key artists for the movement are Renato Teixeira and viola expert Almir Sater. Currently, Roberto Corrêa, Ivan Vilela, Pereira da Viola and Chico Lobo (from Minas Gerais), and Miltinho Edilberto (from São Paulo) are some of the greatest caipira music performers/composers.

...read the whole thing here

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Roberto Correa
Viola Caipira

 

here :)

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Grande Poder

  

«Tum Tum Tum by Déa Trancoso was born eternal. The repertoire is unique, universal, of rare beauty and essence. Music runs through time praying in joy, showing, on an impeccable production, the heart of Jequitinhonha. It’ll strike for many, many years within the best Brazilian music analogical albums.» 

Tavinho Moura

 

  

Déa Trancoso
TUM TUM TUM
2006

Tracks:

01. Filho Da Folha - catimbó
02. Tupinamba - catimbó
03. Passarinho Pintadinho - lundu
04. Grande Poder - coco
05. Indio-Filho Do Mato
06. Beija-Flor - congo
07. Rainha - catimbó
08. Luandas - maracatu
09. Benzim Veloso - acalanto
10. Canarim Do Mato
11. Meus Amo - coco
12. Canto De Uma Terra
13. Lagartixa No Fuba

  

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Déa Trancoso

It all began with a ten year research on the traditions of Vale da Jequitinhonha, Minas Gerais, Brazil. The result was Tum Tum Tum, an album well acclaimed by the critics and nominated to several best record and best singer awards, alongside names such as Maria Bethânia, Alcione and Marisa Monte.

Influenced by violeiros (guitar players), cantadores (singers) and foliões (merrymakers) from Jequitinhonha, Déa Trancoso presents a work based on the mineira tradition of Terno de Catopés from Bocaiúva, a centenary group that accompanied her through a series of shows. Winner of the X Festivale – Popular Culture of Jequitinhonha Festival, Déa Trancoso entered the Brazilian musical scene with her natural voice surprising by its tuning but also by its technical abilities.

Endless scholar (with a degree on journalism and vocal techniques) she studies musical Brazilian roots, addresses to the origins of samba and its connection to the popular music of Congo and Angola, building rhythms both traditional and contemporary. In the words of the musician Ivan Vilela her voice has a “coming out of God knows where” strength and Egberto Gismonti, one of the most ingenious Brazilian composers, considers her voice to be incredibly beautiful and truthful.
   

      

“Este CD me dá a certeza do diamante jubiloso de Diamantina, que, como parte do Vale, aclarou os caminhos assanhados da Déa. Uma beleza inesgotável: Déa Jequitinhonha Trancoso!
As músicas têm o sabor que mais se gosta de saborear, o ritmo que mais se gosta de dançar, o sacolejo que se deve vascolejar até o riso se engraçar. Têm cantoria, melodia, harmonia e ladainha com ternura e meiguice. Têm invento, invenção e achado. Têm mentira com tanta verdade que parece coisa inventada, encantador, parece coisa encantada! “TUM TUM TUM” é muito perigoso porque quando a gente se agarra nele não consegue se soltar nem de noite pra sonhar”

Egberto Gismonti
  

space

blog

 

one more:
  

 Chico Lobo & Déa Trancoso – O Violeiro e A Cantora

  

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Viola Caipira

  

Ivan Vilela
Paisagens
1998

Tracks:

1. Prá Matar a Saudade de Minas
2. Armorial
3. Saudade da Minha Terra
4. Cururu prá São João
5. Asa Branca
6. Valsa para Viver um Grande Amor
7. Paisagens
8. Calma Roceira
9. Nananenem
10. Pula brincando
11. Cabriolinha
12. Catira de Mariamar
13. Cururu prá São João
14. No Balanço do Jacá
15. Baiãozim Calungo
16. Solidão
17. A Força do Boi

Ivan Vilela: Viola Caipira (Ten String Guitar)

Ilustração e projeto gráfico: Fernando Vilela
  

   

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Ivan Vilela
  
Ivan Vilela is one of the main ten-string guitarists nowadays. With a special style and very developed technique, he has more than 13 albums recorded, solo or with different groups, and was nominated or awarded in several prestigious prizes in Brazil.

He is also the director and arranger of the Orquestra Filarmônica de Violas and a researcher of the traditional music from São Paulo and Minas Gerais - two Brazilian states rich in countryside culture.

He has been frequently performing not only in Brazil, but also in Spain, France, Britain, Italy and Portugal.

 

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Ivan Vilela (born August 28, 1962 in Minas Gerais) is a Brazilian composer, arranger, research, teacher and viola caipira player. Ivan Vilela is teacher of the School of Arts and Communication, University of São Paulo. He is director of Orquestra Filarmônica de Violas, a Brazilian orchestra composed by Brazilian violas. Ivan Vilela is one of the main ten-string guitarists (viola caipira) nowadays. With a special style and very developed technique, he has more than 15 albums recorded, solo or with different groups, and was nominated or awarded in several prestigious prizes in Brazil.
  
Biography

Ivan Vilela is the youngest of a family of eleven children. When he was 11 years, Ivan has gained from his father a guitar. The first guitar teacher was in 1973, Amaury Vieira, Itajubá. He began his artistic career at 18 years, integrating the "Pedra" Group and then the "Àgua doce" Group, who did research on the music roots from the state of Minas Gerais. Vilela attended the faculty of history before joining the course in Music Composition from the Universidade Estadual de Campinas (UNICAMP) where he completed a BA and MA in Arts. In 1989, he moved to Campinas. In 1995, he assumed the viola as a solo instrument. Since 1996 he has been frequently performing not only in Brazil, but also in Spain, France, Britain, Italy and Portugal. Vilela worked for over 20 years of research with popular culture. He is currently completing a doctorate in social psychology from the University of São Paulo with a thesis on the social history of Brazilian country music.
  

link

another link

 

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Zé Coco do Riachão

LP Brasil Puro (1980) Rodeio/WEA
LP Zé Coco do Riachão (1981) Rodeio/WEA
LP Vôo das Garças (1987) Rima
  

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Zé Coco do Riachão

José dos Reis Barbosa dos Santos
1912 Brasília de Minas, MG
13/9/1998 Montes Claros, MG
  

Instrumentalist. Composer. Accordionist. Manufacturer of fiddles. Created in the town of Riachão, where he was born on the banks of the river that bears the same name, at the confluence of the cities of Mirabela and Brasília de Minas, in the São Francisco Valley. His father was a maker and player of guitars. At the time of his birth, he spent a merry-of-kings, and he was consecrated by the mother to the holy kings, so "the Kings" registered.

Ze Coco made clear his devotion to the Holy Kings, and always introduced himself as Jose Reis Barbosa dos Santos. Hearing his father play since he was born, at age 8, was playing guitar that he learned to do. He was a joiner, carpenter, blacksmith, shoemaker, maker gates of ingenuity, ox cart, corral strip, wheel rolling cassava, but what became known, even internationally, was the excellence of the instruments which produced and played: viola, guitar, mandolin and fiddle. At twenty, he took the small instruments factory from his father.

Born in northern Minas Gerais, where the cultural influence of quilombos was and is very strong, he made his name in his region, but only had national recognition with almost 70 years of age. He recorded three albums in the 80s, that were not enough to save him, he died in poverty.

  
Zé Coco do Riachão
  

Zé Côco do Riachão
  

  
Viola caipira

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