Ary Barroso com Silvio Caldas – Musica de Ary Barroso, Canta Silvio Caldas (1953)

22 04 2013

Link original: Ary Barroso com Silvio Caldas – Musica de Ary Barroso, Canta Silvio Caldas (1953)
Publicado em: Saturday, June 14, 2008 by zecalouro

Sílvio Caldas & Ary Barroso - Ary Barroso, Canta Silvio Caldas

Hello, good evening! zecalouro is a big fan of singers with potent voices, such like Francisco Alves and Angela Maria. He goes nuts with opera, especially when played loud. I decided to change his “playlist” today with this album, having in mind the potent voice of Silvio Caldas. My parrot did not like it very much, but I had a great entertainment listening to Ary Barroso music with Silvio Caldas interpretation. Silvio Caldas is a great singer; he has a perfect diction, really incredible. I could understand every single word of Ary Barroso lyrics performed by Silvio Caldas. This is a very old album released in 1953 and these songs seem to be composed only a decade ago, they are fresh and beautiful. Ary Barroso music did not decay across time. Let’s see.

This is Ary Barroso com Silvio Caldas – Musica de Ary Barroso, Canta Silvio Caldas (1953), for Radio, featuring eight Ary Barroso songs performed by Silvio Caldas. Little I known about this album, but I have the insight that Ary Barroso participates with his unmistakable piano, delivering groovy Samba in some tracks. I think you should give a try to this album, just to understand that Brazilian music did not started with Bossa Nova and was attractive many years before the movement. Tracks include:

01 – No Rancho Fundo (Ary Barroso / Lamartine Babo)
02 – Morena Boca de Ouro (Ary Barroso)
03 – Três Lágrimas (Ary Barroso)
04 – Faceira (Ary Barroso)
05 – Terra Seca (Ary Barroso)
06 – Maria (Ary Barroso / Luis Peixoto)
07 – Tú (Ary Barroso)
08 – Risque (Ary Barroso)

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Este disco pode ser buscado no Abracadabra.

Anúncios




Silvio Caldas – Cabelos Brancos (1958)

9 09 2011

Link original: Silvio Caldas – Cabelos Brancos (1958)
Publicado: Saturday, October 07, 2006 by zecalouro

Silvio Caldas is another Brazilian singer that a lot of people were crying of to appear at Loronix. This LP was send from our great friend Pablo Sznajdleder from Argentina. Pablo is a great fan of Brazilian music and is starting to share with zecalouro his wonderful collection, by the way, a truly awesome collection that would make Brazilian collectors loose their breath.

Silvio Caldas is from the old school of the Radio golden ages and it is one of the most important artist from the seresta (serenade) genre. AMG bio is provided to a better understanding of Seresta and Silvio Caldas journey as well. This LP, Silvio Caldas – Cabelos Brancos (1958) has the participation of the group Boêmios da Cidade. Tracks include:

01 – Cabelos Brancos (Marino Pinto / Herivelto Martins)
02 – Foi Uma Pedra Que Rolou (Pedro Caetano)
03 – Saudade de Você (Silvio Caldas / Billy Blanco)
04 – Uma Jura Que Fiz (Ismael Silva / Noel Rosa)
05 – Chuvas de Verão (Fernando Lobo)
06 – Serra da Boa Esperança (Lamartine Babo)
07 – Compromisso Com a Saudade (Billy Blanco)
08 – Talento Não Tem Idade (Ataulfo Alves)
09 – Reverso (Marino Pinto / Gilberto Milfont)
10 – Pistom de Gafieira (Billy Blanco)
11 – Pastora dos Olhos Castanhos (Alberto Ribeiro / Horondino Silva “Dino”)
12 – Quando o Samba Acabou (Noel Rosa)

Sílvio Caldas, one of the so-called Four Greats of Brazilian music (along with Francisco Alves, Orlando Silva, and Carlos Galhardo), was the most important artist of the seresta genre. A very romantic musical expression, characterized by simple Harmonies, strong bel canto-inspired voices, and sentimental renditions, the seresta owes its affirmation in the Brazilian musical landscape to Caldas. Primarily a singer, Caldas also had success as a seresta composer chiefly in the ’30s. Amongst his immortal classics, it can be mentioned that a partnership with noted lyricist Orestes Barbosa produced “Chão de Estrelas” and “Arranha-Céu”; other important examples of the duo’s production of are “Serenata,” “Suburbana,” “Santa dos Meus Amores,” “O Nome Dela Eu Não Digo,” “Torturante Ironia,” and “Quase Que Eu Disse.” Caldas also worked with Cartola, Wilson Batista, Ary Barroso, and Billy Blanco. Caldas’ militancy in the seresta genre brought him the epithet of “O Seresteiro do Brasil” (the Seresteiro/Serenader of Brazil), which followed him throughout his long and prolific career. He worked professionally as an artist for 65 years (more than any other Brazilian singer), most of it filled with intense activity in radio, the studio, and live performances. Having the seresta, a particular preference for valses, it’s not surprising that Caldas was an excellent interpreter in this genre. But he became individualized in a romantic yet contained style, the opposite of the overly sentimental style practiced by other famous artists like Vicente Celestino. Caldas also didn’t have a potent a voice like Francisco Alves; instead, the originality of his interpretations, which used to make frequent use of rhythmic devices, ended up opening the way for a new style that would be fully explored by Mário Reis, who, together with Orlando Silva, decisively influenced João Gilberto and all bossa nova. Caldas also dedicated himself to the samba genre, having been one of the main interpreters of Ary Barroso’s songs, launching classics like “Morena Boca de Ouro” (recorded later by João Gilberto), “Linda Lourinha” (by João de Barro), “Pastorinhas” (Noel Rosa/de Barro), “Lenço no Pescoço” (by Wilson Batista — this samba initiated the musical polemic between Batista and Rosa), “Minha Palhoça” (J. Cascata), “Da Cor do Pecado” (Bororó), and “Mulher” (Custódio Mesquita/Sadi Cabral).

Caldas was raised in a musical environment: his father was composer A.N. Caldas. Since he was a child, Caldas used to perform at parties and serestas, having debuted in a public performance at six at the Teatro Fênix. In 1927, he opened Rádio Mayrink Veiga, followed by other radio stations. Caldas recorded his first album in 1930, through Victor. Immediately noticed by Ary Barroso, he launched his “Faceira,” which became Caldas’ first recorded hit. In 1932, he recorded the all-time classic samba-canção “Maria” (Barroso/Luís Peixoto). After 1944, he became involved in movies, such as Tristezas Não Pagam Dívidas and Não Adianta Chorar. Having known fame and success, and having been decorated by the Brazilian Academy of Literature, Caldas retired to his ranch in upstate São Paulo, where he lived his last 40 years, still participating in the musical scene until 1970.

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Este disco pode ser buscado no Abracadabra.