Indigenismo musical em dois tempos / Musical indigenism in two stages
[Português] Apesar da acelerada multiplicação e expansão humana ocorridas a partir do século XX, o componente indígena mesmo oprimido ainda é muito presente em diversas partes de nosso mundo. É um assunto polêmico, que tem passado, política, interesses, natureza, cultura, família e terra. A música sempre foi parte disso, uma manifestação presente no cotidiano das etnias tribais em todos os continentes. Com características diferentes conforme a natureza cultural de cada grupo, alguns mais percussivos, outros vocais, uns mais contemplativos e outros vibrantes. Usam como temáticas principais a evocação a natureza, as relações humanas e o misticismo. A música contemporânea em suas peculiaridades, tem a marcante necessidade de mutar e renovar se nutrindo de diferentes fontes musicais ou sonoras. A música indígena sempre contribuiu muito nesse processo de expressão musical. Alguns artista tem mais poder de traduzir essa abordagem, o blog escolheu dois discos de relevância, uma importante representante da música indigenista e outro do jazz internacional: o CD da brasileira Marlui Miranda em seu mais recente trabalho de 2014 e o LP do norte americano Horace Silver com sua gravação histórica de 1978.
[English] Despite the accelerated multiplication and human growth beginning in the twentieth century, the same oppressed indigenous component is still very present in many parts of our world. It is a controversial subject that has history, politics, interests, nature, culture, family and land. Music has always been part of it, a manifestation present in the daily lives of tribal ethnic groups on every continent. With different characteristics according to the cultural nature of each group, some more percussives, others vocals, more contemplatives and others vibrants. They use as main themes evoking nature, human relationships and mysticism. Contemporary music in its peculiarities, has the remarkable need to mutate and renew, feeding of different music or sound sources. The indigenous music has always contributed a lot in this process of musical expression. Some artist with more ability to translate this approach, the blog chose two relevant records, an important representative of the indigenous music and other international jazz musician: the CD form the Brazilian Marlui Miranda in his latest album from 2014 and the LP from the North American Horace Silver with its historical record from 1978.
Marlui Miranda - 2014 - Fala de Bicho, Fala de Gente
[Português] Marlui Mianda é considerada no Brasil como a mais importante representante da música etno indígena. Compositora, cantora, violonista e pesquisadora, tem dedicado sua carreira iniciada na década de 1970, a difusão de uma música fortemente brasileira indígena, fundindo com elementos diversos da cultura brasileira, música clássica e mais recente com o jazz. Neste belíssimo álbum, o último da artista, interpreta 15 canções baseadas em criações transmitidas de geração a geração da cultura Juruna. O caráter mântrico e folclórico que poderia caracterizar esse álbum, apresenta sofisticação e autenticidade musical que só podem ser atribuídas a convicção de Marlui e a esse excelente grupo que participa das gravações.[English] Marlui Mianda is considered in Brazil as the most important representative of the indigenous ethno music. Composer, singer, guitarist and researcher, has devoted his career started in the 1970s, the spread of a heavily indigenous Brazilian music, merging with various elements of Brazilian culture, classical music and later with jazz. In this beautiful and latest album the artist interprets 15 songs based on creations transmitted from generation to generation from Juruna culture. The mantric and folkloric fill that would characterize this album features musical sophistication and authenticity that can only be attributed to the Marlui conviction and this excellent group that participates in the recordings.
Tracks:01. Chamado/Duku
02. Kaibi Dukaseda
03. Yuparana
04. Yaita Yaita
05. Abina wabaku tade
06. Apï ayâ txuxi txuxi07. Mande uzakazaka
08. Padû, padû, padû
09. Kuadî abïa
10. Alukade wase
11. Apï abaku da
12. Ude lawila maku
13. Anana de wata
14. Makaxi pararaku
15. Wara wara
All composition by Associação Yarikayu do Povo Juruna, Marlui Miranda (adaptação) and Yabaiwa Juruna.
Musicians:
Marlui Miranda - voice (tracks 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15), guitar (tracks 02, 03, 06, 07, 08, 09, 12, 13)
Nelson Ayres - piano (tracks 01, 02, 03, 04, 05, 06, 09, 10, 11, 12, 13)
John Surman - clarone (tracks 01, 04, 05, 06, 07, 09, 10, 11, 13), saxophone (track 02), flute (track 02, 08), soprano sax (track 03, 11, 12)
Rodolfo Stroeter - acustic bass (tracks 01, 02, 03, 04, 05, 06, 09, 10) and electric bass (track 13)
Caíto Marcondes - percussion (tracks 01, 02, 03, 04, 05, 06, 08, 09, 10, 11, 12, 13, 14) and drums (track 03)
Hi (children aldeia Matxiri) - voice (track 15)
Kuxinalu (children aldeia Matxiri) - voice (track 15)
Marlui Miranda (children aldeia Matxiri) - voice (track 15)
Tarinu (children aldeia Matxiri) - voice (track 15)
Tupi (children aldeia Matxiri) - voice (track 15)
Xiutã (children aldeia Matxiri) - voice (track 15)
Arrangements:
John Surman on tracks 01, 02, 04, 05, 06, 09, 10, 11, 12, 13
Marlui Miranda on tracks 01, 02, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14 and 15
Nelson Ayres on track 03
Label: Selo SESC
Horace Silver - 1978 - Silver 'N Percussion
[Português] Para compor este álbum Horace Silver penetrou nos universos tribais e ancestrais africano e americano, se inspirando nas etnias Youruba, Masai e Zulu, Incas, Astecas e Moicanos. A música de Silver moveu-se principalmente por estilos do jazz como hard bop, post bop, mainstream e soul jazz. Seu estilo ao piano sempre foi característico e marcante, e nesse trabalho foi capaz de unir seus elementos com muita competência ao espírito aborígene e ancestral. Para alcançar a atmosfera indígena nesta gravação, a formação fugiu dos padrões do jazz e do próprio Horace, além do quinteto composto por nomes ilustres do jazz, teve a participação fundamental de três percussionistas e oito vozes.
[English] To compose this album Horace Silver penetrated the tribal from Africa and America tribal and ancestral universes, drawing inspiration in ethnicities like Youruba, Masai and Zulu, and Incas, Aztecs and Mohicans. Silver music moved mainly to jazz styles like hard bop, post-bop, mainstream jazz and soul jazz mostly. His style on the piano has always been distinctive and striking, and this work was able to unite these elements with great competence to create Aboriginal and ancestral spirit. To reach the indigenous atmosphere in this recording, the formation get away the jazz and standards own Horace, and in addition to the quintet composed from distinguished jazz names, he had the fundamental participation of three percussionists and eight voices.
Tracks:African Ascension
01. Part 1 - The Gods Of Yoruba 6:02
02. Part 2 - The Sun God Of The Masai 4:00
03. Part 3 - The Spirit Of The Zulu 10:06
The Great American Indian Uprising
04. The Idols Of The Incas 5:02
05. The Aztec Sun God 7:01
06. The Mohican And The Great Spirit 6:11
Musicians:
Horace Silver - main performer and piano
Tom Harrell - flugelhorn, and trumpet
Larry Schneider - tenor saxophone
Ron Carter - bass
Al Foster - drums
Babatunde Olatunji - percussion
Ladji Camara - percussion
Omar Clay - percussion
Rob Barnes - vocals
Rob Barnes - vocals
Peter Oliver - vocals and voices
Bobby Clay - vocals and voices
Fred Gripper - vocals and voices
Lee C. Thomas - vocals and voices
Bob Barnes - vocals and voices
Chapman Roberts - vocals and voices
Fred Hardy - voices and vocals
Recorded November 12 and 17, 1977 at Van Gelder Studios, Englewood Cliffs, New Jersey. Remixed December 1, 1977 at Van Gelder Studios, Englewood Cliffs, New Jersey.
