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Their record features vocal and percussion samples from Alfredo’s archive as well as modern production from Mad Professor and Adrian Sherwood. They are one of a number of new Brazilian groups exploring Afro-Brazilian rhythms in a new context, alongside the likes of Kiko Dinucci, Rodri- go Brandão and the terrific Alessandra Leão, who plays a style of music increas- ingly known as mangue-folk.
Following band practice we have
lunch (beans and rice, a standard in Brazil) while listening to embalada (two sparring female singers, a definite precedent to hip-hop) and Cuban salsa (Alfredo believes this is what most people think Brazilian music sounds like – he may be right). We talk a lot more about tradition- al Brazilian music and I eventually get to see Alfredo’s actual vinyl collection. Before my brain explodes with new infor- mation I decide to leave.
The strength and diversity on many of the records take me by surprise, as do the vocal arrangements which clearly show years of practice. The most surpris- ing thing though is the connection I feel I am making to this music. Normally, reading an essay on a traditional rhythm and then listening to a field recording leaves me cold. Here, and I’m not sure if this is because Alfredo’s sheer enthusi- asm is still pulsing through me, I under- stand the joy and passion that the musi- cians, singers and dancers involved in these traditions feel, and I understand why O Mundo Melhor needs to exist. F
W
hen I get home I put on the CDs he gave me, watch the videos on Mundo Melhor, and soak up these new cultures.
THE INFO The O Mundo Melhor website –
www.selomundomelhor.org – is packed full of information, videos and photos. Much of the site is in Portuguese but clicking on any release in the Discos sec- tion will reveal an English translation of its contents. In addition, it is possible to listen to every song of each release. This is for educational purposes remember? Among O Mundo Melhor’s contempo- rary releases are records by Projeto Cru, Batucajé and his own DJ Tudo project.
DJ Tudo E Gente De Todo Lugar will be playing a number of shows in Europe this summer including a tour of Portu- gal in July. Full details can be found at
www.myspace.com/djtudo.
Here’s a glossary of terms used in the piece, along with recommended releases by O Mundo Melhor that depict the music. All of the albums ref- erenced can be listened to in full on the label’s website.
Afoxé
Derivation of of the Afro-Brazilian religion candomblé performed by groups in Salvador (Bahia) that often play other Afro-Brazilian music. It’s especially common during Carnival in Salvador, and is sometimes referred to as “Candomblé on the street”.
Listen: Afoxé Oyá Alaxé De Recife
(Pernambuco) Baiana
A variation of maracatu from south Pernambuco and its border with
Alagoas. The style evolved partly due to the repression of Afro-Brazilian reli- gions in the early 20th century which led practitioners to perform the style as if it were a parody or joke.
(Alagoas)
Listen: Baianas De Coqueiro Seco Congado
Musical and cultural tradition mix- ing African and Catholic ideologies, stemming from the African slaves call- ing to their deities through song and dance. Still present in many regions of Brazil, each group having their own dis- tinct characteristics. Documented exten- sively by O Mundo Melhor.
De Goiâna (Goiás)
Listen: Terno de Congo 13 De Maio Maracatu de Baque Virado
Maracatu is a slow Afro-Brazilian processional music, with accompanying dance, from the north-east of Brazil. Maracatu de baque virado (maracatu with turned-around beat) features a large ensemble of drums and is a strong feature of Carnival in Recife.
Listen: Encanto da Alegria – Peque- na Longa História (Pernambuco)
Maracatu Rural
An alternative strain of maracatu practised mainly in the small towns north of Recife. Slower than maracatu de baque virado, it features improvised verses and frenetic percussion on snare drums and metal bell as well as trumpet or trombone.
Listen: Cruzeiro do Forte – Clube Carnavalesco Misto (Pernambuco)
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