3. Samba and the Music Market in Brazil in the 1990s

FELIPE TROTTA


 

1. Velha Guarda da Portela, “Corri pra ver”

From: Velha Guarda da Portela, Tudo Azul. EMI 525335-2, 2000, CD.

 

Composers: Chico Santana, Monarco and Casquinha; arrangements: Paulão 7 Cordas.
Musicians: Monarco (main voice); Mauro Diniz (cavaquinho); Paulão (acoustic guitar); Guaracy (7-string guitar); Serginho Procópio (cavaquinho); Argemiro (pandeiro); David do Pandeiro (pandeiro); Jair (tambourine); David do Pandeiro (tambourine); Paulão (tambourine); Cabelinho (surdo and tambourine); vocals: Tia Eunice, Tia Doca, Áurea Maria, Surica, David, Casquinha and Argemiro.

 

 

This recording is an excellent example of the samba polyrhythmic pattern, described and transcribed at page 51.


 

2. Jorge Benjor, “Ive Brussel”

From: Jorge Ben, Salve Simpatia. Som Livre, 1979, 33⅓ rpm.

 

Composer: Jorge Benjor; arrangements: Lincoln Olivetti; vocal: Jorge Benjor, featuring Caetano Veloso.

 

 

The main riff played by the guitar since the beginning of this recording is, perhaps, the most known example in Brazilian music of what I am calling “Benjor Pattern”. Indeed, this is one of the most famous songs from Benjor, which certainly inspired the pagode artists in the 1990s.


 

3. Só Pra Contrariar, “O samba não tem fronteiras”

From: Só Pra Contrariar (SPC), O samba não tem fronteiras. BMG  7432130688-2, 1995, CD.

 

Composers: Luiz Claudio, Regis DAnese and Alexandre Pires; arragements: Alexandre Pires; vocal: Alexandre Pires.
Musicians: Alexandre Pires (acoustic guitar and cavaquinho); Fernando Pires (drums); Luisinho Vital (bass); Serginho Sales (keyboards); Hamilton Faria (saxophone); Luiz Fernando (pandeiro); Alexandre popó (surdo); Rogério (tantã); Juliano Pires (congas); Luis Carlos de Paula (cuíca).

 

 

The title song of the third album of SPC works as a kind of argument about the samba in the 1990s. The recording of this song deals with both rhythmic patterns (“Estácio paradigm” and “Benjor pattern”), and argues that the samba has no boundaries.


 

4. Raça Negra, “É o amor”

From: Raça Negra, Raça Negra 2, RGE-320.6161, 1992, CD.

 

Composer: Zezé Di Camargo; arrangements: Julio Rosa Consentino and Irupê Rodrigues; vocal: Luiz Carlos.

 

 

In 1991, an outstanding success of the sertanejo duo Zezé Di Camargo and Luciano lead the Brazilian music charts. The song “É o Amor” (It Is Love) was played in every corner in the country, and several versions were available. Raça Negra was one of the first pagode groups that “imported” a song of other genres to the new samba riff. Since this recording, samba detached from the community environment to occupy the top 5 of music industry.