No Cordão Da Saideira - Various - História Da Música Popular Brasileira - Edu Lobo (Vinyl) download full album zip cd mp3 vinyl flac
Deu no NYTimes. Por NYTimes Por Dilma Rousseff, Marcadores: ImpeachmentPartido dos Trabalhadores. Por Cleide Carvalho, Marcadores: ImpeachmentProfessor Merval. Leia a entrevista completa clicando em. Marcadores: classe trabalhadoraLula. I love I do Marcos Roberto. Whiter Shade of pale. Do you wanna dance? Poor side of Town. Summer rain. Marcadores: Anos 70Johnny Rivers. Let's get together The Glitter Band.
Sugar baby love The Rubettes. Ballroom blitz Sweet. Driftway - Dobbie Grey. Rock your baby George McCrae. Patches Clarence Carter.
Reflections of my life Marmalade. Love grows Edison Lighthouse. In the summertime Mungo Jerry. Black skinned blue eyed boys The Equals. Yellow river Christie. Open up Mungo Jerry.
Freedom come, freedom go The Fortunes. Angel face The Glitter Band. Build me up buttercup The Foundations. More more more Andrea True Connection ;, No Cordão Da Saideira - Various - História Da Música Popular Brasileira - Edu Lobo (Vinyl). Sandy John Travolta.
Vinicius de Moraesnascido Marcus Vinicius de Moraes Rio de Janeiro, 19 de outubro de — Rio de Janeiro, 9 de julho de foi um diplomata, dramaturgo, jornalista, poeta, cantor e compositor brasileiro. Emconcorreu novamente e desta vez foi aprovado. Com a morte do pai, emVinicius de Moraes retornou ao Brasil. Na madrugada do dia seguinte Vinicius foi acordado pela empregada, que o encontrara na banheira de casa, com dificuldades para respirar. What 1 really wanted was a Songbook thatwould contain everything that was most sig- nificant in that glorious chapter of the history of Brazilian popular music, which is, without any doubt, the Bossa Nova.
We were also concerned with information that would tell the reader about the history of the Bossa Nova and the circumstances that led to its creation and development. To do this, the inter- views with the leaders of the movement were fundamental. The contents of this Songbook are the result of rigorous work aimed at absolutefaithfulness to the works ofthe composers in terms of melody, harmony, rhythm and poetry. At the time, Rosinha didn'tfol- low the composition exactly.
Yet it is the origi- nal composition that y,ou willfind in the Song- book. One of the most curious things that happened in. Instead of changing the chord, as one would normallydo, CarlosLyrapreferred to keep itand change the note of the melody. His reason, he explained, was that, in this case, it was more important to accentuate the chord, as it thus transitted tyhe emotions of the lyrics exactly.
For someone like myself, who has loved the Bossa Nova ever since 1 was a child and has always been attracted by its melodic, harmonic, rhythmicandpoetic richness- somethingthat is so special in thepopular music of any age - this Songbook has, above all, providedfascina- ting work.
It is exciting to think that, from now on, because of it, the Bossa Nova is preserved, documented and made available to whom so ever shares in this, our grat invention, which has been recognized worldwide as a type of mu- sic that is truly Brazilian. Those who think that the Bossa Nova was a phenomenon that lasted onlyfrom to - its golden age - will probably find it surpri- sing that some of the music was produced well after this, such as Anos dourados, Faz parte do meu show, Tema de amor por Gabriela and Fe- bril.
These songs serve to prove the eternal re- novation ofthe Bossa Nova, a musicallanguage that is never exhausted, since it has influenced, directly or indirectly, innumerable composers who arose after thefirst years of the 60s. As one canimagine, 1resorted lomany people to make this Songbook a reality. To thesepeople 1 owe my most profound gratitude. JoOOGilberto entrou. Sergio Cabral Songbook o Bossa Nava TheDo. On the other hand, you might pin- pont the day on which Tom lobim and Newton Mendonr;a composed Desafi- nado, the words ofwhich said, "This is Bossa Nova.
This is very natural. At that time, the river was only a trickle, so to speak. Its hori- zons were broadened during the rest o] the 40s when the extraordinary guitar player Garoto Anibal Augusto Sardi- nha also went beyond the conventional limits of our music, both in his composi- tions and in his performances. Guitar player Norival Carlos Teixeira - Valzi- nho's off-key chords also surprised lis- teners. The river widened. The melody was quite differentefrom the usual songs of the time and the lyrics had no rhyme.
It was, without doubt, a harbinger ofwhat was to come. The maestro Lindolfo Ga- ya, whopdid thearrangementsfor many songs at the beginning ofthe Bossa No- va also thought that the young compo- sers ofthe 50s were highly influenced by the harmony and melodic development of the song Laura Johny Mercer and David Raskin.
Over the bed ofmusical novelties, it was no longer a stream that ran, but a river, in the yearsandwith the recordings of music by Tom Jobim and Carlos Lyra. It must be understood that, inBrazil was changing. It was the first year of luscelino Kubitschek's govern- ment and the presidential plan to make the country develop 50 years in 5 was in full swing. Lar- ge international companies had been in- vited to instal the automobile industry and the country was entering a phase of SoDgbook [J Bossa Nava great self-assertion, with a growing economy,lull employment ami a moder- nizing cultural impetus that was to be rellected in the theater, the cinema.
At the same time. Popular music, therelore, could not re- main aloollrom the atmosphere 01reno- vation, especially as it had at its dispo- sal the new technology 01 high fidelity sound and the lO-inch LP. The groups 01musicians and compo- sers who. Almost all 01their members lived in the South Zone 01Rio de laneiro. They belonged to the middle class in the Bos- sa Nova, we're all bourgeois. Vinicius de Moraes once said. They had usually been to university.
They knew about musical tech- niques we cannotlorget that most olthe music at the time was pejoratively cal- led the product 01matchbox composers and one 01their aims was to make Bra- zilian popular music as sophisticated as the music they heard on records impor- ted lrom the USo It certainly was not their intention to slavishly copy whate- ver come inlrom outside, but to use re- sources in our Samba that, in their opi- nion.
As it was not a movement that had set rules. Theyhad in common a desire to do something new and a conviction that what had been done belore. Carlos Lyra -- Roberto Menescal Songbook o Bossa Nava Vinidus de Moraes e Tom Jobim fore, throughout the years, we find the most diverse interpretations of the mo- vement in interviews with the founding members themselves.
There was a clear connection with jazz. Who doesn't re- member the famous jam sessions in the Beco das Garrafas? But to reduce the Bossa Nova to this influence alone would befar from the truth.
Tom Jobim, JustcaU my music Samba. He confessed that, in fact, his works imbibed more from the harmonies ofChopin thatfrom jazz. Jodo Gilberto, one ofthe great le- aders of the movement, once requested No Cordão Da Saideira - Various - História Da Música Popular Brasileira - Edu Lobo (Vinyl) his music be called simply Samba and not Bossa Nova.
Pianist and com- poser Jodo No Cordão Da Saideira - Various - História Da Música Popular Brasileira - Edu Lobo (Vinyl), in a interview he gave me insaid that he had no- thing to do with the Bossa Nova.
But 1 don' t like it. They want me to be one of the founders, one of the popes, but 11 that's all bullshit. He was, in fact, the first one to protest openly about the influence of jazz in the Bossa Nova in an ironic Samba with afrankly jazz orchestration. However, whether they like it or not, they werefundamental characters in the creation of the Bossa Nova. Jodo Gilberto came in with his revolutionary way of singing and his famous guitar technique.
Vinicius de Moraes, Ronaldo Boscoli, the duo Jo- bim-Newton Mendon's'aand the poorly- remembered lyricist Carlos Lyra tighte- ned up the traditional lyric forms and made them less wordy, both inform and in contento On looking back over Bra- zilian popular music, no one can deny that, during the second half of the de- cade of the 50s, a definite change of direction took place that, while it did not alter popular music' s trajectory completely, it did leave its mark on the times and influence the extraordinary generation of musicians that were tofol- low, which can be considered one ofthe most important of all.
To understand correctly what the mo- vement was it must be said that the Bos- A definite change of direction took place sa Nova did not shoot into the hit para- des of the times. But this only goes to show that rarely is the consumer society in the same boat as musical re- ality.
When the then Head of the Sales Department of Odeon in Sdo Paulo, Os- waldo Guzzoni, received the record Chega de saudade, by Tom Jobim and Vinicius de Moraes, sung by Jodo Gil- berto, he called the salesmen, put the record on the record player and intro- duced the new singer with the words, "Just listen to the shit Rio de Janeiro has sent us". He then broke the record. This is why Antonio Carlos Jobim gets annoyed when he is asked about the influence ofjazz on the Bossa Nova. Participou dos primeiros shows da Bossa Nova.
Foi ele, por exemplo, que uniu, pela primeira vez, em disco, Caetano Veloso e Chico Buarque de Holanda, gravado nwn show realizado na Bahia. A Bossa Nova foi nascendo aos poucos e se formando. A gente nao se imaginava em gueto, pois se encontrava todas as noites e achava que o mundo fazia a mesma No Cordão Da Saideira - Various - História Da Música Popular Brasileira - Edu Lobo (Vinyl).
A harmonia foi a mola inicial. E a turma foi-se formando. Antes da gente. Foi marcante. Quem inventou isso foi o Joiio. Aquilo 22. Songbook e Bossa Nava - foi um marco. Abriu-se um leque de harmonias para a gente. Tirar aquela harmonia foi um desafio. Cada um que conseguia fazer igual a Bamey Kessel telefonava para o. Enfim, com essa mudanc;ade harmonia, voce ia enriquecendo a melodia. Entraram as quartas, as famosas quartas.
Todo mundo falav. Junto com essa mudanc;a, veio a necessidade de urna letra nova. O que fizemos foi falar na linguagem deles. Um dia, veja voce, Tom bateu na minha porta. Eu estava dando aula naquela academiazinha que tinha com o Carlinhos Lyra e o Tom apareceu. Foi mais ou menos em Mas ele tinha tal forc;aque falei: "Yem pra. Don Payne. Chico Feitosa.
Chamava-se Jura de pombo. Nem gosto de falar muito dela. Vagamente e outras. Foi a noite foi um hino nacional pra gente. Chega de saudade. Dindi, tem muitas. O primeiro disco que fiz na Odeon foi aquele de Silvinha Teles cantando Foi a noite.
Para artistas como 4. Mas existem outras pessoas assim. Muito antes da Bossa Nova, houve um compositor muito importante, chamado Hekel Tavares. Tinha a bdeon, que era urna gravadora importante. Ou seja: fazia os discos na Odeon e os shows nas boates. Ele ia a boate todas as noites. O Baden Powell acrescentou um sabor africano. O Edu Lobo baseou-se em temas nordestinos.
O Tom Jobim nunca sentou no piano e disse: "You modificar isso tudo. Depois que a ge. Poderia indicar, por. Mais tarde, o Orlando Silva gravou Carinhoso e foi aquele sucesso.
Tanto assim que sempre foi chamada de "musa da Bossa Nova". Em seu primeiro disco, quando todos esperavam ouvi-Ia cantando. Rocha, Joao do Vale e Cartola, entre outros. No auge da sua carreira, largou tudo para estudar psicologia. Mais tarde,! A voz e o violao se harmonizavam, sua in. Gravaram discos no Brasil e no exterior. A sua entrevista sobre a Bossa Nova foi concedida pouco antes de falecer.
E preciso destacar, em primeiro lugar, Joao Gilberto, porque ele mudou tudo, tudo, tudo. Reparou que ele muda o lugar dos acordes? O violao, sozinho, parece urna orquestra. Com a boca, faz urna bateria, faz milhares de coisas. E, na letra. Era urna coisa leve. NARA - Na harmonia, sim. Os primeiros festivais, principalmente, foram muito bons.
A TV Record tinha. Enfim, as coisas pioraram muito. Com a ajuda do Carlinhos Lyra, fiquei com. Acho que, antes disso, eu estava No Cordão Da Saideira - Various - História Da Música Popular Brasileira - Edu Lobo (Vinyl). A gente acaba No fundo, a gente pode procurar alguma coisa, mesmo sem ter.
Cariocas, todos juntos. Estava lindo. Voce e eu. NARA - Todo mundo ia. Meu pai ficava jogando paquer com o Millar Femandes, Leon Eliachar e outros, De vez em quando, eu fazia urna macarronada para o pessoal comer. Eram sambas, mas tocados de maneira bossa-novista. Todos os direitosreseMldos.
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