I was given one of these records when they were released by Funarte in and was very impressed with the whole album and particularly with this specific track.
The blending of a very delicate melody and poem, the sound of the pastoras with the early Mangueira drumming made a deep impression on my understanding of the history of samba. So I used exactly the same form as the original recording in making my own polyphony for the intro and harmonizing the main melody. This melody is so well done that it makes it easy for the arranger to create the other voices to accompany it.
This song remains for us in Arranco a very powerful greeting card when we make short appearances. This is the song that we first showed Beth Carvalho, and she was sincerely touched by our singing. We recorded it again on our second album in a slightly different version. In our performances, this tune gets a warm reaction from the audience. Cartola's ultra-refined melodic sense gives a frame for a poem about dishonor and betrayal in a love relationship.
The intro and middle section were created intentionally as a weeping moan ai, ai, and increase dramatic force in the tune. We recorded this tune again in our second CD, reducing many elements. Cartola didn't like fast sambas; he said that he didn't know how to make fast sambas. The intro had been originally conceived for piano, guitars, and mandolin, and I transposed it to voices.
It was sung by Ithamara Koorax, who happens to be Soraya's sister, and this was one of the reasons that in Arranco it was sung by Soraya. This pair of composers, Pedro Caetano and Claudionor Cruz, belongs to the brilliant generation of the '40s.
This poem has a very original view of loneliness: the poet tries to escape sadness by offering his heart for a party. He invites joy, happiness, and other feelings, but different characters, like silence and sadness, show up instead. This tune had a very different treatment, obviously, because of its silent nature.
Cello, piano, upright bass, and vocals make a delicate and haunting setting for Soraya's deep interpretation. The piano was recorded in my house with an Adat recorder. It's also the only song sung only by the meninas, which changes our sonority a bit, turning it a little sweeter and higher. The style of the arrangement is also different from all the rest, being all constructed with voices in parallel movement.
All these factors together create a special place for this song in our repertoire. In live performances there is a choreography that was spontaneously created by the samba crowd that gives greater life to this tune. I transcribed the original from a cassette of Bando da Lua's US recordings [they sang this samba in English], adapting it for Arranco's formation, and it was selected by us as a point of departure, as an example of the spirit for our future direction.
The show was a success, and we were invited to record it. Our show opened a series in which various artists presented music from different periods of Cartola's life; ours retraced the first phase of Cartola's career during the '30s and '40s. I believe each of us had a fine individual performance with no harm to the collective unity of the CD.
With Cartola we learned to be economical. It belongs to Cartola's first period, when he was very much acknowledged as the finest Mangueira composer. He was the first singer to record Cartola, and this was his fifth Cartola recording since This waltz feel meshed perfectly with the lyrics, where the protagonist dances with the Divine Lady at a ball.
At the end I sing it regional -style, close to the original version. I like this track very much for many reasons, and one that I like to point out is the piano sound that our producer Armando Telles was able to create. When we called Beth Carvalho to sing on our CD, we thought it would be interesting if she sang some other tune. She's been singing this one for many years, and we thought she'd love to sing something else. No way. Maria Teresa Teresa Maria Someone Else's Dream White Lily The Mysterious "J" The Cultural Ambassador Speechless Bright Red The Puppet Motel World Without End Freefall Muddy River Beautiful Pea Green Boat Tightrope Monkey's Paw Ramon Beautiful Red Dress Smoke Rings Live 2.
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Fireworks Dog Show Sharkey's Day 2. Langue D'Amour 3. Gravity's Angel 4. Thursday 14 January Friday 15 January Saturday 16 January Sunday 17 January Monday 18 January Tuesday 19 January Wednesday 20 January Thursday 21 January Friday 22 January Saturday 23 January Sunday 24 January Monday 25 January Tuesday 26 January Wednesday 27 January Thursday 28 January Friday 29 January Saturday 30 January Sunday 31 January Monday 1 February Tuesday 2 February Wednesday 3 February Thursday 4 February Friday 5 February Saturday 6 February Sunday 7 February Monday 8 February Tuesday 9 February Wednesday 10 February Thursday 11 February Friday 12 February Saturday 13 February Sunday 14 February Monday 15 February Tuesday 16 February Wednesday 17 February Thursday 18 February Friday 19 February Saturday 20 February Sunday 21 February Monday 22 February Tuesday 23 February Amazon Price.
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