![]() ![]() Inner self and his emotions", and likewise, notes are somewhat a more intelligible way to translate the relationship between the artist and his work. As Fahey would put, through Jones, "recording is an opportunity to be in touch with his One would argue that music should speak for itself, which I agree in some extent, but sometimes music simply isn't big enough to embrace the life which surrounds it. And then I would find the missing jigsaw piece : Glenn Jones' liner notes on making the album. I listened to a couple of songs and kinda gave up.īut just like with alcohol, when I got older - and after getting more in touch with Fahey's works - I gave it another try and suddenly felt something very compelling about it. This is something you'll probably read around there: at a first listen, the album doesn't sound exactly a collaboration, but a Fahey/Cul De Sac split, with no real interaction between them. Yeah, I'll admit It wasn't quite like that. I was starting to really get into Cul De Sac (one of my favorites bands until today) when I first heard this album, and having listened to one thing or another from Fahey, I thought it would blow my brains out. You must be tired of Brazilian music, amirite? If so, fortunately I've decided to divert from it a little and dedicate this one to my jefe and accomplice, ryan (I hope you haven't listened to this one already, buddy).Īcknowledging I'm far from being literate in North American music history, it's quite evident, though, how essential John Fahey's sub-chapter was, whether ethnomusicologically or compositionally - in a similar fashion to Lomax, even though each one excelled in a different field. Well, this marks my 10th post and I'd love to hear some feedback from you guys. All I could do was my best in trying to translate the most recognizable part of the song: There are no words, in quality or quantity, which make justice to him, even in Portuguese. Paulinho da Viola ( viola is a popular way to say "classical guitar" in Brazil) is nothing less than a living heritage and one of the chillest guys in Rio. And when they asked the audience what the final encore should be, my gf and a friend yelled "Paulinho da Viola!" (they were aware I was a big fan of him), then the band gladly played one of his most famous songs, which is also the title of this album. ![]() Even though it was in a fancy Art-related party, and there were no black musicians in the band, it still felt just right - we've had free booze and snacks too, I must add. That said, one thing that particularly moved me was listening to Samba in its natural habitat. Its architecture is fascinating and diverse, but for me, its natural features are much more overwhelmingly beautiful - no city will ever be a match for the beauty of the sea. Well then, Rio is quite nice indeed, if you've been wondering. This record, one of the last of this era, however, should motivate you to pursue it as well. JT Meireles' most famous work was probably the arrangement for Jorge Ben's "Mas que nada" (which is a big deal), but he has an extensive and solid discography, on which even I couldn't get a decent overview. Besides the aforementioned bands, we had fantastic trios, like Zimbo, Tamba, Sambalanço, Milton Banana, etc. For me and many others, I figure, it was the Golden Age of Brazilian instrumental music as a whole. Sergio Mendes and Jorge Ben were the most proeminent acts to find the perfect balance between funk and samba, while bands like Brazilian Octopus were taking it to another level. The mid-60's in Brazil, pretty much like USA, were deeply into funk. First, I wish I could provide you with a better quality rip, as I own the vinyl (ripping equipment is way too expensive here) second, I don't know why the hell I didn't post this sooner. ![]() What up honorable dudes? I'm in a double embarrassment here.
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