100 ESSENTIAL BRAZILIAN SONGS YOU MUST HEAR Part 7: The 2000-2010s

Contemporary music –in Brazil, France and elsewhere- has been greatly influenced by social media, video sharing and music streaming, all trademarks of the 2000s and beyond. Specifically for Brazilian music, this globalizing phenomena has had positive, as well as deleterious consequences: increased foreign songs topping the charts on one side, but also Brazilian mainstream music massively available to the rest of the world. The proof: songs like Mc Fioti’s “Bum Bum TamTam” with more than 1 billion! views on YouTube, and Michel Teló’s “Ai Se Eu Te Pego” with over 800 million views…

Despite globalization, Brazil internal music market has seen a meteoric increase in popularity of regional rhythms during this period, mainly sertanejo. Actually, sertanejo is Brazilian audiences‘ preferred music genre .

No one can deny that Brazil is a country with a powerful musical history. Going through all its music repertoire while preparing this series of articles, I can’t help but admire even more its distinct and perennial beauty. Are things changing though? Is Brazilian music going through a phase of decadence? This is an ongoing debate in the country nowadays… Many music critics are definite: today’s consumer society –they believe- leads to “consumable music”; moreover, they blame the universal predominance of sertanejo as responsible for the lack of musical diversification nowadays. “We always had good music and bad music in Brazil -says one critic- but there was a balance. At this time, at least 90% of what record companies release is totally disposable”. Some go even further and state that pagoda, sertanejo and electronic forró are “a tsunami of musical trash unprecedented in the history of Brazilian music”. Other critics are more optimistic. Véronique Mortaigne, writing an article in The Guardian, states that: “Brazil is surfing a musical new wave that is now reaching Europe”, making emphasis on the quality of certain musicians’ work “not afraid to mix the old and the new, irritating a few purists along the way”.

The debate could go on forever. What is certain is that there are still many bright examples of fine Brazilian music. Check out my list with some of the most remarkable songs of the 2000-2010s, go ahead and Brazilify” your playlist!

87) Bebel Gilberto – “Samba da Bênção” (2000) 

Bebel Gilberto is an extremely talented bossa nova singer, and it couldn’t be otherwise: she is the daughter of Joao Gilberto and Miucha, and the niece of Chico Buarque

She became worldwide known after the release of her amazing album Tanto Tempo.  This particular song was written by Vinicius de Moraes and Baden Powell; it was featured in the movie Eat, Pray, Love. Read more here.

 

88) Pato Fu – “Ando meio desligado” (2001) 

This psychedelic anthem was composed by the iconic band Os Mutantes in 1970; it was listed by Rolling Stone Brazil as the 50th greatest Brazilian song.

Of the many re-recordings the song has had, I like this one, by the Belo Horizonte band Pato Fu.

 

89) Gabriel o Pensador – “Até Quando?(2001) 

Known for his intellectual and controversial lyrics, rapper Gabriel o Pensador (“Gabriel the Thinker”) stepped into the limelight with his provocative composition “Tô Feliz (Matei o Presidente)” [I’m Happy (I killed the President)]. He has had a highly successful career since then, topping often the charts with his gold or platinum-certified albums.

Até Quando? (“Until when?”) was released in the album Seja Você Mesmo (mas não Seja sempre o Mesmo) (“Be Yourself (but not always the same”). Its compelling lyrics address the issue of conformism. It was highly praised by most critics and received an award at Brazil’s MTV Video Music Awards.

 

90) Cássia Eller & Nando Reis – “Relicário” (2001)

Cássia Eller is one of the most successful pop singers/composers in Brazil. Owner of a distinctive contralto voice, she was rated as the 18th greatest vocalist by Rolling Stone Brasil.

This beautiful song was composed by Nando Reis and was included in the live album Acústico MTV, where she sings it together with Reis; it is Cássia’s final album before her death on December 29, 2001 at 39 years old.

 

91) Tribalistas – “Velha Infancia ” (2002)

Tribalistas is a Brazilian musical supergroup consisting of Arnaldo Antunes (ex-Titãs), Marisa Monte and Carlinhos Brown (Timbalada). Their debut collaboration resulted in the popular album Tribalistas, which attained considerable popularity in Brazil and Europe. The curious thing with this popular group is that, despite their great success, they have rarely performed together, deciding to go on a world tour just now in 2018.

Among their most popular songs are “Já Sei Namorar” (included on the video game FIFA Football 2004), “Passe em Casa“, “É Você” and “Velha Infância“, played on the Brazilian soap opera Mulheres Apaixonadas.

 

92) Paulinho da Viola & Marisa Monte – “Carinhoso” (2003)

Alfredo da Rocha Vianna Jr. was not yet Pixinguinha when he began to be called a prodigy, enchanting with his unusual musicality and facility for instruments and improvisations. Considered till nowadays a musical genius,  Pixinguinha is regarded as  one of the greatest Brazilian composers of popular music, particularly within the genre choro. “Carinhoso“,  was recorded in 1928 and has remained as one of the most famous melodies of Brazilian popular music. Incredibly enough, he received heavy negative criticism at that time, with complaints that it was “too Americanized.”

From Marisa Monte to Elizeth Cardoso, from Paulinho da Viola to Francisco Alves, from Elis Regina to Marcelo Camelo, dozens of artists made their impassioned interpretations of “Carinhoso”; one of my favorites is this one, by Marisa Monte and Paulinho da Viola.

93) Zeca Pagodinho – “Deixa A Vida Me Levar” (2004)

Zeca Pagodinho is a singer and songwriter considered a great name of the genre samba and pagode. He has recorded more than 20 albums and has become immensely popular, not only due to his irreverence and jocosity, bur mostly due to his rare talent, praised by critics and consecrated artists.

This song gives name to his 2004 album Deixa A Vida Me Levar (“Let life take me”), it was extremely successful, becoming double-platinum certified.

 

94) Sergio Mendes feat. Stevie Wonder & Gracinha Leporace – “Berimbau / Consolação ” (2006)

The berimbau is a single-string percussion instrument. Originally from Africa, it was eventually incorporated into the practice of the Afro-Brazilian martial art capoeira. The instrument became worldwide known for being the subject matter of this song, which belongs to Baden Powell and Vinicius de Moraes.

Maybe one of the most famous versions of “Berimbau / Consolação ” is the one performed by Toquinho and Maria Creuza in 1970; nevertheless I love this version, featured in Sergio Mendes’ 2006 Album Timeless, with the participation of his wife, Gracinha Leporace and iconic American artist Stevie Wonder.

 

95) Vanessa Da Mata & Ben Harper – “Boa Sorte/Good Luck ” (2007)

Award-winning, chart-topping singer, composer, and novelist, Vanessa da Mata got her start writing songs for artists such as Maria Bethania and Daniela Mercury. Despite the strength of her voice, it took her several years until she finally decided to record her own material, releasing her self-titled debut in 2002. It was her next album, Essa Boneca Tem Manuel, however, that really pushed her into the limelight, aided by the strength of the single “Ai Ai Ai“. Three years later her third album, Sim, was released. Sim spawned the hit single “Boa Sorte/Good Luck“, a duet with Ben Harper, which peaked at number one in both Brazil and Portugal and was the most played song in Brazilian radio stations in 2008.

96) Criolo – “Subirusdoistiozin” (2011)

Criolo is a rapper and soul singer. With a career starting in 1989, he originally got a reputation as one of São Paulo most important rappers. After the release of his second album, “Nó na Orelha” (Knot in the ear), he saw his popularity grow beyond São Paulo to all Brazil and abroad, leading to a successful worldwide tour. He has been characterized as “ the most interesting and unruly representative of the Brazilian new wave”.

Nó na Orelha” mixes rap, afrobeat, hip hop, reggae, samba and brega. It received positive reviews and was considered the best national album of 2011 by the magazine Rolling Stone. From this album, “Subirusdoistiozin” (Two-Old-Guys-Died) is the most popular track; it describes the general waywardness of favela street culture.

 

97) Marisa Monte – “Ainda Bem” (2011)

Multi-awarded singer, composer, instrumentalist, and producer, Marisa Monte is considered one of Brazil’s greatest singers; in fact, Rolling Stone Brasil listed Monte as the second greatest singer of all time after Elis Regina. She also has two records (MM and Verde, Anil, Amarelo, Cor-de-Rosa e Carvão) among the 100 best albums of Brazilian music.

Ainda Bem (“Just as well”) belongs to her highly praised eighth record O Que Você Quer Saber de Verdade (“What do you really want to know”), was considered by Billboard Brasil the best album of 2011. Originally, “Ainda Bem” was composed by Marisa for Italian singer Mina, who included it in her 2011 album Piccolino.

 

98) Dominguinhos & Arthur Maia – “Lamento Sertanejo ” (2014)

An emblematic representative of the forro music genre, Dominguinhos has had success as a musician, both solo and as a sideman for consecrated artists like Luís Gonzaga, Caetano VelosoGilberto Gil, Gal Costa, and Maria Bethânia. But also as a composer, he has produced hits recorded for some of the most important Brazilian artists; he has also written cinema soundtracks and has won four Prêmio Sharp Awards.

This is one of his biggest hits, composed in 1941. Initially instrumental, it was later re-recorded by Gilberto Gil, who wrote its lyrics. The song has received countless recordings and has been included in the soundtrack of several films and soap operas. The original version is beautiful; this version though, by Dominguinhos himself together with the great Brazilian bassist Arthur Maia, it’s just beguiling.

 

99) Adriana Calcanhotto – “Felicidade” (2015)

Adriana Calcanhotto is an MPB (Brazil popular music) singer and composer revealed in 1990, who has had great success in Brazil and helped bring MPB back to the hit parade after the 1980s’ Brazilian rock period.

Felicidade (“Happiness”) was written in 1947 by the great samba-canção composer Lupicínio Rodrigues; it was re-presented to Brazil by Caetano Veloso in 1974 who made it widely popular. Calcanhotto included it in her fourth live album Loucura (“Madness”), which is a tribute to Lupicínio Rodrigues.

 

100) Tiago Iorc & Milton Nascimento – “Mais Bonito Não Há” (2017)

Tiago Iorc is one of Brazil’s new talents. Singer-songwriter and record producer, with his debut album Let Yourself In, he gained notoriety after several of Tiago’s songs were featured on major Brazilian primetime soap operas, TV ads and films. Let Yourself In was also released in Japan with great success and in South Korea, where the public granted Tiago a Best Foreign Artist Award.

In 2017, he partnered with the incomparable Milton Nascimento (who declared being Tiago’s fan) and recorded some songs for the purpose of a national tour. This exquisite song (“Nothing more beautiful”) is the result of this partnership.

 

See also:

100 ESSENTIAL BRAZILIAN SONGS YOU MUST HEAR Part 3: The 1960s

As the bossa nova movement evolves in the early 1960s, Brazil’s original aestheticism gives way to the introduction of political themes. The politicization of popular music would take shape under Brazil’s military dictatorship of 1964 leading to the so-called “protest song“, of which one of the most emblematic is Caminhando (“Walking”) by Geraldo Vandré. It is the time of great musical festivals, when a “university” generation of composers and singers appeared. Artists such as Chico Buarque and Edu Lobo would be idolized by intellectuals and were instrumental in the creation of Música Popular Brasileira (Brazilian Popular Music) or MPB, a movement initially linked to political engagement against dictatorship.

The Tropicália movement was also a form of protest song that appeared during the same period; it was characterized by the eclectic blend of pop culture elements -such as rock- with the elite culture -the modernist and concretist schools of visual arts- having a more erudite and experimental character. The Bahians Caetano Veloso and Gilberto Gil were the main exponents of this movement.

The Iê-iê-iê style (Brazil’s rock’n’roll of the 60s, the equivalent of France’s yé-yé) was “softer” in Brazil than in the USA or UK, adopting a more romantic style. This movement came to be known as Jovem Guarda (Young Guard) and had huge commercial success. Its more representative artists were Roberto Carlos, Erasmo Carlos, Tim Maia and Wanderléa, among others.

These are some of the greatest songs of this period:


11) João Gilberto – “Corcovado” (1960) 

Corcovado” was written by Antônio Carlos Jobim in 1960 and refers to Rio de Janeiro’s iconic  Corcovado mountain. An English version was later released with the title “Quiet Nights of Quiet Stars“.

This song was included in the album Brazil’s Brilliant João Gilberto, which was released in the United States in 1960. It was the record that introduced João Gilberto, Antonio Carlos Jobim and bossa nova to the American audience, before Stan Getz scored a hit with “Desafinado”.

 

12) Carlos Lyra – “Minha Enamorada” (1960) 

This song (“My beloved”) is the most successful fruit of Carlos Lyra’s partnership with “El poetinha” Vinicius de Moraes.

“Minha Namorada” was released during the bossa nova boom, but in terms of rhythm and melody it does not have much to do with it. It is a romantic, tender and sincere ballad; Lyra and Vinicius wrote other emblematic songs, but few were as perennial as this one.

 

13) Maysa – “O Barquinho” (1961) 

One of Brazil’s most charismatic divas, known as “the Janis Joplin of Bossa Nova” due to her tumultuous personal life, Maysa would become influential for a whole generation of Brazilian artists.

This song (the title means “Little boat”) was reportedly composed by Roberto Menescal and Ronaldo Bôscoli while being with friends on a boat; suddenly the engine broke down, and the sound of the motor when they were trying to restart the boat made the tune for “O Barquinho”. It was re-recorded many times, but this is one of the most successful and beautiful versions.

 

14) João Gilberto and Stan Getz – “So Danço Samba” (1962)

“Só Danço Samba” was composed by Antônio Carlos Jobim, with lyrics by Vinicius de Moraes; it was suggested that the song was part of a failed movement to invent a bossa nova dance.

Só Danço Samba became in instant classic with hundreds recordings over the decades. With English lyrics provided by Norman Gimbel, it gained immediate international popularity under the titles Jazz Samba, Jazz ‘n’ Samba or occasionally I Only Dance Samba (literal translation of the original Portuguese title).

 

15) Antônio Carlos Jobim – “Água De Beber” (1963)

“Drinking-Water” was composed by Brazil’s towering figure of bossa nova and one of the great songwriters of the century Antônio Carlos Jobim, with lyrics by another fundamental figure in Brazilian music, the co-father of bossa nova, Vinicius de Moraes.

This was reportedly the first song composed in the new Brazil capital, Brasilia, while it was still being constructed. It has had many re-recordings; some great versions are those by Astrud Gilberto, Ella Fitzgerald and Frank Sinatra.

 

16) Astrud Gilberto, João Gilberto and Stan Getz – “The Girl from Ipanema” (1964)

This is arguably Brazil’s most iconic song; the sound of an era in which bossa nova was the lingua franca of the country and this song its anthem.

Summer 1962, Rio de Janeiro. The story goes that Antonio Carlos Jobim and Vinicius de Moraes were sitting at a bar near Ipanema Beach in Rio, when they saw the most beautiful woman walking by, and they immediately wrote this song down on a bar napkin! (not quite exactly the truth, though, read more here). The original version, Garota de Ipanema was released in 1962. Nevertheless, while an Ipanema girl named Heloísa inspired the song, it was another Carioca who made it famous worldwide.

Astrud Gilberto was the wife of singing star João Gilberto, when she entered a New York studio in March 1963. João and Jobim were making a record of the song with tenor saxman Stan Getz. The idea of a verse in English came up, and Astrud was the only one of the Brazilians who spoke English. The song with the name “The Girl from Ipanema” was released and it rapidly became a huge worldwide hit. Indeed, it is the second most re-recorded song in history after The Beatles’ “Yesterday”.

 

17) Demônios da Garoa – “Trem das onze” (1964)

This song (English: “The 11 P.M. Train”) was composed by São Paulo singer and composer Adoniran Barbosa; it portrays, in a tragicomical way, the drama of a lover who lives in a distant suburb of São Paulo, and who cannot stay longer with his beloved woman because the last train will be departing soon, at 11 p.m, and his mother won’t sleep until he gets home. “Trem das Onze” is an example of both samba paulista  (samba developed in São Paulo) and samba-de-breque (here).

It was released in 1964 and made famous that same year by the samba group Demônios da Garoa. It is one of the best known Brazilian popular songs and considered of the most representative cultural symbols of the city of São Paulo.

 

18) Moacir Santos – “Nanã – Coisa Número 5” (1965)

“Coisas” (“Things”) is the debut album by composer, maestro and multi-instrumentalist Moacir Santos. It was released in 1965; the ten tracks of the album were named as “Things” – numbered from 1 to 10. The LP was chosen by the Brazilian Rolling Stone Magazine as one of the 100 best Brazilian records of all time.

 

19) Sergio Mendes and Brasil 66 – “Mas que nada ” (1966)

If you want to hear good, uplifting samba, this is the song! Mas que nada (the English translation would be “come on” or “yeah! Right”) was the first hit of an artist who would became a real school within Brazil’s popular music, Jorge Ben (later, Jorge Ben Jor). It was an impressive hit in 1963, and the beginning of Jorge Ben’s career.

But I have to say I love this version by another great artist, Sergio Mendes. With this song he managed to go beyond Brazil’s borders in 1966, and then again in 2006 when he re-recorded with The Black Eyed Peas

 

20) Walter Wanderley Trio – “Samba de Verão” (1966)

“Summer Samba” (also known as “So Nice”) was first popularized by Walter Wanderley Trio in 1966 — the album Rain Forest on which it was issued reached platinum status in 1970. The song became an instant success, with radio stations playing it constantly. Also in 1966 the trio accompanied Astrud Gilberto on her A Certain Smile, a Certain Sadness album, which features a beautiful, sung version of this song.

Although immortalized as an “easy listening” or “lounge music” artist, Wanderley music was at that time innovative and revolutionary. The percussive rhythms reminiscent of a Brazilian black tradition were not dear to many Brazilians; in fact most of his successful career took place in the United States.

 

21) Baden Powell and Vinicius de Moraes – “Canto de Ossanha” (1967)

In candomblé (an Afro-American religious tradition), there is no ceremony without the presence of Ossanha,  the entity that holds the magic force – the axé – necessary in every ritual. Perhaps this is the reason why “Canto de Ossanha” is the opening track of Os Afro-Sambas, the third album emerged from the partnership between the music of Baden Powell and the lyrics of Vinicius de Moraes.

This syncretism of Brazil with Africa via Bahia, now so natural, was not taken for granted in the 60s. “Canto de Ossanha” helped the sound of Afro-Brazilian religions, systematically persecuted until two decades before, become an inextricable part of Brazil’s music and culture.

A great cover of this song was released in 2006 by Jurassic 5.

 

22) Caetano Veloso – “Alegria, Alegria” (1967)

“Happiness, Happiness” is a song written and performed by Caetano Veloso. Often referred to as “the Brazilian anthem of 1967”, it later appeared on his influential eponymous 1968 album.

This was the song that introduced the Tropicália movement to Brazil. The ideal exposed by the song lyrics was first presented at a memorable live performance in 1967, reinforced by the Argentine group Beat Boys, who added visual aesthetics. It was a hit at the time, and was often sung during public manifestations in favor of impeachment.

 

23) Wilson Simonal – “Nem Vem Que Não Tem” (1967)

An emblematic figure of Brazil’s popular music, Wilson Simonal was a singer with great success in the 1960s and 1970s, although he was relatively unknown outside of South America.

This is his biggest international hit (the title would be translated as “Don’t even think about it!”); it was adapted and recorded by French singer Zanini, who made a hit with the song “Tu veux ou tu veux pas”.

 

24) Edú Lobo and Marília Medalha – “Ponteio” (1967)

A singer, multi-instrumentalist, producer and composer, Edú Lobo is one of the driving forces behind the MPB movement. He has worked with the most important Brazilian artists and his songs were covered by big names of international music such as Sarah Vaughan and Earth, Wind & Fire.

This is one of his most famous songs, performed here with Marília Medalha; with this song they were the winners of the  III Festival de Música Popular Brasileira/FMPB in 1967.

 

25) Chico Buarque and Mpb4- “Roda Viva” (1967)

Arguably one of Brazil’s most renowned songwriters and singers, Chico Buarque is an iconoclastic figure in post-bossa nova Brazilian music.  With his distinctive voice, elegant phrasing, and considerable skill at lyric writing, Buarque  became extremely popular in the 1960s –particularly among women, as he was very handsome. However, Buarque resented the role of pop star and chose to be seen as a serious artist.

Roda Viva (“The wheel of life”) is a song that Buarque wrote for the eponymous play; it was a criticism to the obsessive fan culture. During the play, the pop star protagonist was literally torn apart and his flesh consumed by his fans; the performers would also offer the audience pieces of the dead pop star’s flesh to eat (it was chicken meat). Needless to say, the military dictatorship in charge those years did not like the idea of the play and soldiers were sent out to disrupt the performances, destroy sets and assault performers; Chico Buarque himself was briefly jailed.

 

26) Os Mutantes – “Panis Et Circenses” (1968)

Os Mutantes (“The Mutants”) are one of the most talented and influential Brazilian psychedelic rock bands that were linked with the Tropicália movement. Their unique blend of psychedelic rock, bossa nova, tropicália and samba has inspired many contemporary American and European artists, who cite Os Mutantes as a major influence. With many changes from the original line-up featuring Rita LeeArnaldo Baptista and Sérgio Dias, the band has been active since then, with their last album being released in 2013.

The title  of this song means “Bread and Circuses”, and it is an allusion to the classical poet Juvenal, who scorned ancient Romans for their easy and predictable manipulation through bread and circus.  The song, in turn, is a satire of bourgeois conventions. In the lyrics, a first-person poetic voice tries desperately to alarm the family, to snap them out of their mental and physical stagnation; the attempt is futile.  During these early years of military rule in Brazil, when economic liberalization brought quick financial boons to the complaisant and complicit upper middle class, expressions of rejection of these mores were frequent in Brazilian music.

 

27) Caetano Veloso – “Tropicália” (1968)

The opening track of the first tropicalista album by Caetano Veloso, “Alegria, Alegria. It was very popular upon its release in Brazil, and the Brazilian press used the song title “Tropicália” to christen the larger artistic movement it represented “Tropicalismo”, to the disdain of Caetano himself. Later it was re-recorded by Gal Costa and inspired a homonymous song, released by the American Beck, declared lover of the movement.

Although Caetano has expressed displeasure with the album, it often shows up on lists of greatest Brazilian albums, and was inducted into the Latin Grammy Award Hall of Fame in 2001.

 

28) Geraldo Vandré – “Pra não dizer que não falei das flores” (1968)

Also known as “Caminhando” (“Walking”; or “Not to say that I haven’t spoken about the flowers”), it was composed by Geraldo Vandré and was presented at the III International Festival of Song of TV Globo in 1968 where it ranked second (the winner was “Sabiá”). It caused a great controversy at that time because the public, mostly students thirsting for protest songs, booed the jury’s decision and made the explosive “Pra Não Dizer…” a sort of anthem of a generation.

The song was considered by the dictatorship a mockery of the armed forces; public playing of the song was forbidden, all the registers of Vandré’s presentation at the festival were deleted, and Vandré became one of the most hunted persons in the country, forced eventually to flee the country. The song was finally released 11 years later, with the end of dictatorship.

Walking is still used to remember the situation the country was going through at the time and to keep alive the memories of those who were victims of the hard times of dictatorship. It has been re-recorded many times, of which one of the most iconic is the one by Simone; the latter was lately sampled by Reboot and Federico Scavo.

 

29) Gilberto Gil – “Domingo No Parque” (1968)

With this song (“Sunday at the park”) Gilberto Gil got the second place at the 1967 III Festival of Popular Music, accompanied by Os Mutantes; it was later released in the album Gilberto Gil (1968). Gil, together with Caetano Veloso, became the leader of Brazil’s Tropicalia movement. His musical style provided a more universal sound to the music played at that time, mixing electric guitar with traditional Bahian elements, such as the sound of the berimbau. He is undoubtedly one of Brazil’s, and the world’s most celebrated singer/songwriters, with a musical career that has successfully spanned six decades and hits in each one.

 

30) Noriel Vilela – “Dezesseis Toneladas” (1969)

With his signature deep bass voice, Noriel Vilela made a career first as a member of the samba vocal group Cantores de Ebano. His 1969 solo album “Eis o Ôme” is a succession of sambalanço songs with strong afro influence. This was Vilela’s greatest hits, which is a Portuguese version of the American classic “Sixteen Tons” by Ernie Ford and Merle Travis.

The latest years Vilela enjoys a cult revival among fans of sambalanço. In 2014 “Dezesseis Toneladas” was used for a famous beer commercial, and since then it has been re-recorded several times.

 

31) Erasmo Carlos – “Sentado à Beira do Caminho” (1969)

“Sitting at the Edge of the Road” was composed by the legendary duo Roberto Carlos & Erasmo Carlos and released by Erasmo Carlos.

The song describes the despair and hopelessness of a lover waiting for his beloved; it became an instant hit and was adapted in many languages, the most famous version being the Italian by Ornella Vanoni with title “L’appuntamento”. Vanoni’s version was included in the musical score of the film Ocean’s Twelve.

 

YouTube playlist here

 

Coming soon:

  • The 1970s
  • The 1980s 
  • The 1990s
  • The 2000s – 2010s

 

100 ESSENTIAL BRAZILIAN SONGS YOU MUST HEAR Part 2: The 1930s, 40s & 50s


In my previous post I presented an overview of Brazil’s music history and styles. This article will focus on the music of the first half of the twentieth century.

During this period, Brazil’s Teatro de Revista became a very popular genre, inspired by European operetta. It reached its peak in the 30s and revealed talents like Carmen Miranda, Wilza Carla, Dercy Gonçalves and Elvira Pagan, who had immense success.

Also in the late 1930s, the so-called Radio Era began in Brazil. As the process of recording discs was still primitive with poor quality results, the radio became the preferred circulation channel for new productions. This communication medium played an important role on the diffusion of popular music until well into the 1950s, but it quickly lost space when television became popular. Some performers that conquered the national audience were Dolores Duran, Dalva de Oliveira, Cauby Peixoto, Nora Ney, Emilinha Borba, Marlene, Vicente Celestino and Ângela Maria.

During this period the popularity of samba intensifies, and by the end of the 50’s bossa nova starts making its appearance.

These are 10 representative songs of the 30s – 40s – 50s:


1) Francisco Alves – “Aquarela do Brasil” (1939) 

Known in the English-speaking world simply as “Brazil“, it’s one of the most famous Brazilian songs, written by Ary Barroso. With this song, he created the genre known as samba exaltation for speaking of Brazil’s great qualities. “Aquarela do Brasil” became successful after being included in Walt Disney’s animated film Saludos Amigos. Since then, it has been recorded numerous times throughout the years, and was featured prominently in Terry Gilliam’s 1985 film Brazil.

After “Garota de Ipanema”, it is the most recorded Brazilian song in the four corners of the planet. This wonderful original version was performed by Francisco Alves; other great covers are those by Elis Regina and João Gilberto.

 

2) Dorival Caymmi – “O Mar” (1940) 

No other composer of Brazilian music portrayed the sea as well as Dorival Caymmi. Among all his songs this one is certainly one of the greatest classics and has been recorded in other languages by interpreters from all over the world. The vastness of the sea of his native Bahia was Caymmi’s greatest inspiration for this song.

 

3) Carmen Miranda – “Tico-Tico No Fubá” (1947)

Although first presented in 1917, it reached the peak of popularity in the 40s. One of its most successful versions is the one by Ademilde Fonseca in 1942. This is one of the songs that contributed to the internationalization of Brazilian music, mostly since it featured in several American films, such as Copacabana (1947), in which it was eternalized by the iconic fruit-basket head-dressed Carmen Miranda.

 

4) Luiz Gonzaga – “Asa Branca” (1947)

Written by Luiz Gonzaga and Humberto Teixeira, asa branca (“white wing”) refers to a bird of the parched sertão (the semi-arid region in Northeastern Brazil ). The picazuro pigeon symbolizes peace, longing and exile. But the evocative lyrics of the song speak of the difficult conditions of sertanejo’s life. The bird flaps wings to find a better life and the protagonist of the song does the same. But he promises to his love that someday he will return, when the rain falls again. There are more than 300 versions of this song, but no interpretation beats the one by Gonzaga.

 

5) Waldir Azevedo – “Brasileirinho” (1947)

Waldir Azevedo is one of the most famous cavaquinho players of Brazil. This song, representative of the choro genre, would become a reference for all the instrumentalists of Brazil and was a huge success from the moment it was released.

 

6) Noel Rosa – “Conversa de Botequim ” (1950)

Launched in 1935, this samba perpetuates one of the lightest and most relaxed lyrics of that time. It was written, however, in a tense time – marked by the 1930 Revolution in Brazil and by the crack of the New York Stock Exchange. The most acclaimed versions are by Aracy de Almeida, Chico Buarque and by Noel himself, one of its authors.

 

7) João Gilberto – “Chega de Saudade ” (1958)

This song is often considered to be the first recorded bossa nova song. The music was composed by Antonio Carlos Jobim and the lyrics were written by Vinícius de MoraesJoão Gilberto‘s version is the most famous, although the original one was recorded one year later.

The title can be translated roughly as “enough longing,” though the Portuguese word saudade carries a far more complex meaning. The word implies an intensity of heartfelt connection that is yearned for passionately. Chega means no moreenough.

 

8) João Gilberto – “Desafinado” (1958)

There are countless recordings of this classic bossa nova song, but this one arguably surpasses all the others. Composed by Antônio Carlos Jobim, it was released in João Gilberto‘s seminal album Chega de Saudade. Its strange melody, its deliberate debauchery and the incomparable guitar sound had never been heard before. Although  Brazil had already exported some songs before this one, nothing compared to the impact that “Desafinado” had when it was recorded in 1962 by Stan Getz and Charlie Byrd for the album Jazz Samba. It was the music that definitively put bossa nova in the international scene and took Brazilian music to an era of modernity.

“Desafinado” means “out of tune” and was a response to critics who claimed that bossa nova was a new genre for singers who can’t sing.

 

9) Dolores Duran – “A Noite do Meu Bem” (1959)

This samba-canção is the most famous song of carioca Dolores Duran and the one that best defines her particular style. A successful singer in a country that, at that time, had no tradition of women composers, Dolores gained more popularity after her death at age 29, one month after releasing this song.

 

10) Luiz Bonfá – “Manhã De Carnaval ” (1959)

The most notorious composition of carioca violinist Luis Bonfá was used in the soundtrack of the film Orfeu do Carnaval (Black Orpheus) directed by Marcel Camus. The film won the Oscar for Best Foreign Language Film in 1960,  after which this beautiful song conquered the entire world.

 

Coming soon:

  • The 1960s
  • The 1970s
  • The 1980s 
  • The 1990s
  • The 2000s – 2010s

 

100 ESSENTIAL BRAZILIAN SONGS YOU MUST HEAR Part 1: Overview


Music is one of the most powerful cultural expressions of a nation, a sort of thermometer which reflects the history and mood of the people at a certain time, whether they feel happy, troubled, or oppressed.

And this is certainly true for Brazil: throughout the years music has been drawing the face of the country, mirroring Brazilians’ joy, uncertainties and longings…

Whoever has been in Brazil has most likely realized that music is deeply rooted into Brazilians’ DNA. Music is everywhere, accompanying every single mundane activity: Brazilians have fun with music, travel with music, prepare feijoada with music. And they dance… When I first visited Brazil I was amazed to see that just by hearing samba in the street, everybody -kids and grown-ups alike- would start dancing, as something natural, without inhibitions of any kind…

I love Brazil, its beautiful nature, its people, culture and music… Thus, I decided to pay a tribute to Brazil’s music by choosing 100 among the most representative songs of all times… I believe that after listening to all these songs you will realize -like I did- how timeless Brazil’s music is…

This introductory post will help you understand Brazilian music history and styles. More posts will follow presenting 100 iconic Brazilian songs in chronological order.

I hope you enjoy it!

Música do Brasil – Overview

Brazilian music originated from the fusion of indigenous, European and African elements, the latter brought mainly by Portuguese colonizers and the African slaves.

Until the 19th century, Portugal (and Europe for that matter) is the main gateway to most rhythms that would built Brazilian music, both erudite and popular. With the passage of time, African melodic and rhythmic elements begin to exert increasing influence on popular music, which would thus acquire the characteristic Brazilian sound that consolidates in the twentieth century, mainly through the diffusion of the genres lundu, frevo, choro and samba (see below). The indigenous practically left no trace in mainstream music, except in some regional folkloric genres.

In the twentieth century there is an extraordinary flowering of Brazil’s music. It is the period when national music gains autonomy and identity, although it never ceases – rather increases – the blend with new foreign rhythms. The fundamental work of Heitor Villa Lobos is the first great landmark of erudite Brazilian music, later developed by many other composers. During the same period, popular music gains the respect of elites and consolidates genres that would become trademarks of Brazil, such as samba and bossa nova. Regional folk genres such as musica sertaneja, baião and forró also gain popularity and are heard throughout the entire country.

Brazilian music styles


We all know samba and bossa nova, but Brazilian music is extremely rich and diverse. This is a brief summary of Brazil’s most important music genres:

The First Music Styles

These were some of the first styles that appeared in Brazil:

  • Lundu: brought by African slaves, it is one of the genres that would later compose samba.
  • Frevo: included on UNESCO’s list of intangible heritage, it is the traditional music of Pernambuco’s Carnival. Its trademark is the colorful umbrellas, which would “hide” the forbidden at that time capoeira (Afro-Brazilian martial art and dancing).
  • Choro: (means “cry”) a music gender originated in Rio de Janeiro. It is considered the first characteristic rhythm of Brazilian popular music, and is still very popular nowadays. In spite of its name, it usually has a fast, happy rhythm. Representative artists: Waldir Acevedo, Dominguinhos, Joaquim Callado, Pixinguinha and Luis Gonzaga (the later represents a regional form of choro called baiāo).
  • Maxixe: it is a mix of lundu with Argentinian tango, Cuban habanera and polca. It was considered so scandalous that caught international attention and travelled to Europe, together with tango. Maxixe contributed, together with lundu, to the origins of samba.

Contemporary Brazilian Music

These musical styles are Brazil’s trademark and are all listened nowadays.

Sertanejo

A music style that originated in Brazil’s countryside in the 1920s. It is the most popular music genre in Brazil, particularly throughout the southern/ southeastern and center/ western countryside. Sertanejo has seen a revival in the 90’s, regularly topping Brazilian music charts and earning a specific category at the Latin Grammy Awards. Representative artists: Sergio Reis, Chitãozinho & Xororó and Michel Teló.

Forró

When in 1945 the northeast musician Luiz Gonzaga recorded Dança Mariquinha, the genre  forró was launched – a rhythm and type of dance typical of the Northeast of Brazil. Given the vagueness of the term, there is no consensus on the definition of forró as a musical style, the name being usually used as a generalization of various musical rhythms of Northeast region.  Famous artists include Luiz Gonzaga, Wesley Safadão, and Solange Almeida.

Samba 

The year 1916 is considered the official birth of samba, a mix of maxixe with Bahia folklore rhythms. Samba rapidly spread throughout Brazil dominating not only its iconic carnival, but also the whole world. Samba is the most famous Brazilian musical style, and has many other sub genres:

  • Samba-canção: Appears in the 1920s, with slow rhythms and sentimental lyrics. Example: Ai Ioiô by Luís Peixoto.
  • Carnival Samba: composed by samba marches – known as marchinhas – and made to be danced and sung in carnival events. Examples: Abre alas, Cabeleira do Zezé, among others.
  • Samba-exaltação: With patriotic lyrics highlighting the wonders of Brazil, with orchestral accompaniment. Example: Aquarela do Brasil (see here).
  • Samba de breque: (literally brake samba) This style has moments of quick stops, where the singer includes comments, usually with critical or humorous tone. One of the masters of this style is Moreira da Silva.
  • Samba de gafieira: It was created in 1940 and has orchestral accompaniment. Fast and strong in the instrumental part, it is widely used in ballroom dancing. K-Ximbinho is a famous artist of this genre.
  • Sambalanço: Emerging in the 50s in nightclubs in São Paulo and Rio de Janeiro, it received a strong influence from jazz. One of the most significant representatives of Sambalanço is Jorge Ben Jor, which mixes elements of other genres too. This style would set the grounds for bossa nova.
  • Pagode: Born in Rio de Janeiro in the 70s, it has a repetitive rhythm and uses percussion instruments and electronic sounds. It spread rapidly throughout Brazil and conquered radios and dance floors in the next decade thanks to its simple and romantic lyrics. Representative artists are Fundo de Quintal, Negritude Jr., Só para contrariar, Raça Negra and Zeca Pagodinho.

Bossa Nova

Bossa nova is a Brazilian popular music movement of the late 50s initiated by João Gilberto, Tom Jobim, Vinicius de Moraes and other young singers and/or songwriters from Rio de Janeiro. The style was derived from samba, with a strong jazz influence. Initially, the term bossa nova (“new wave”) was used only to describe a new way of singing and playing samba.

The ground zero of bossa nova is the song Chega de Saudade (see here). Bossa nova gave a more sophisticated touch to the samba genre; over the years, it would become one of the most influential movements in the history of Brazilian music, and the song Girl from Ipanema would be its anthem.

This style went through many transformations that resulted in a new generation of composers; new artists appeared in the music scenario who were collectively named Sons of bossa nova. Artists such as Geraldo Vandré and Chico Buarque are among the Sons of bossa nova, although their style has little or nothing to do with bossa nova (see MPB).

Tropicália

Originated by the end of the 60s after bossa nova, Tropicália was the next musical movement and came at a time when Brazil was undergoing political upheaval due to a strict military dictatorship. The rebellious lyrics of Tropicalia songs bothered the government, who decided to exile the most influential Tropicália artists, such as Caetano Veloso and Gilberto Gil.

Música Popular Brasileira (MPB)

Appreciated mainly by Brazil’s urban middle classes, Brazilian popular music – known as MPB – emerged in the 1960s with the Sons of Bossa Nova. MPB was the merge of two previously divergent musical movements: bossa nova (representing musical sophistication) and folk music (which defended Brazil’s music roots). As a result of the 1964 dictatorship, the two movements became a broad cultural front against the military regime; this new genre presented at first a distinct nationalistic profile, but with time it comprised more diverse trends of Brazilian music.

MPB also includes other mixtures of rhythms such as samba and rock – giving rise to a new style known as samba-rock – or pop and samba, with famous artists like Gilberto Gil and Chico Buarque. By the end of the 1990s the mixture of Latin music together with reggae and samba gave space to a new genre known as samba-reggae.

Even though extensive, MPB should not be confused as comprising all music of Brazil; it is rather a specific music style.

Funk Carioca

Originated in the 80s in the favelas of Rio de Janeiro, the lyrics ususally describe favela life. In the 2000’s this genre would invade nightclubs, becoming a fashionable style across the country.

Although extremely successful, this genre is the target of strong criticism as performers use obscene and vulgar language, many times inciting to violence and drug consumption. See here for some of the most known funk artists.

Axé Music

Axé emerged in Bahia in the 80s during the Carnival of Salvador. It mixes frevo rhythms, reggae, merengue, forró, maracatu and other african-latino rhythms. The song Fricote by Luiz Caldas, is usually regarded as the starting point of this style.

The word “axé” is a religious greeting which means positive energy, used in Candomblé and Umbanda – religions with African origins which are commonly practiced in Bahia. It quickly spread throughout the country and still enjoyes great commercial success; its biggest names are Daniela Mercury, Ivete Sangalo, Claudia Leitte, Timbalada, among others.

 

References

https://pt.wikipedia.org/wiki/Música_do_Brasil (in Portuguese)

https://web.archive.org/web/20091101115615/http://www.brazilcarnival.com.br/samba_schools/begining-of-samba-brazil-music-origins-of

http://thebrazilbusiness.com/article/brazilian-music-styles

https://theculturetrip.com/south-america/brazil/articles/10-traditional-brazilian-music-genres-you-need-to-know-about/

http://www.greatbrazilianlmusic.com/genres.htm

See also:

Coming soon:

  • The 1960s
  • The 1970s
  • The 1980s 
  • The 1990s
  • The 2000’s
  • 2010-2016

BEBEL GILBERTO

gilberto-bebel-50675142e820c

Σήμερα ο μουσικός μας προορισμός είναι η Βραζιλία, αυτή τη φορά με τους ήχους της bossa nova. Και γι ‘αυτό, τίποτα καλύτερο από τη φωνή της Bebel Gilberto, τόσο εκπληκτική που θα μας μεταφέρει κυριολεκτικά εκεί ….

Το ταλέντο της δεν είναι τυχαίο, είναι στα γονίδιά της! Η Bebel είναι κόρη του Joao Gilberto και της Βραζιλιάνας τραγουδίστριας Miucha, και ανιψιά του Chico Buarque … Τι άλλο να λέμε;;

Σαν παιδί είχε ήδη αρχίσει να τραγουδάει με τη μητέρα της, αλλά έγινε παγκοσμίως γνωστή μετά την κυκλοφορία του καταπληκτικού της άλμπουμ Tanto Tempo (2000). Έκτοτε, κυκλοφόρησε τέσσερα ακόμα άλμπουμ, το τελευταίο φέτος, που ονομάζεται Tudo. Τα τραγούδια της έχουν ακουστεί σε πολλές ταινίες και τηλεοπτικές σειρές, και η ίδια ήταν η φωνή του πουλιού Eva στις ταινίες κινουμένων σχεδίων Rio και Rio 2

Το βίντεο που επέλεξα είναι ένα από τα αγαπημένα μου τραγούδια της Μπεμπέλ, που ονομάζεται Samba da Bencao. Είναι μια ζωντανή εκδοχή στο Ρίο ντε Τζανέιρο. Το τραγούδι, η φωνή της, οι μουσικοί, η σκηνή πάνω στο κύμα, το Rio de Janeiro ως φόντο, είναι απλά … σκέτη μαγεία !!

BEBEL GILBERTO

gilberto-bebel-50675142e820c

Today our musical destination is Brazil, this time with the sounds of bossa nova. And for that, nothing better than the voice of Bebel Gilberto,  so amazing that it literally transports you there….

Bebel’s talent is not by chance, it’s in her genes! She is the daughter of Joao Gilberto and the Brazilian singer Miucha, and the niece of Chico Buarque… What else can we say?

As a child she had already started singing with her mother, but she became worldwide known after the release of her amazing album Tanto Tempo (2000). Since then, she released four more albums, her last one this year, called Tudo. Her songs have been featured in several films and TV series, and she was the voice of the bird Eva in the animated movies Rio and Rio 2

The video I chose is one of my favourite Bebel’s songs, it’s called Samba da Bencao. This is a live version featuring in Rio de Janeiro. The song, her voice, the musicians, the stage by the sea, Rio as a background, they are just… pure magic!!