13 Vai Desabar

A todos os Povos Indígenas 

tanto faz, como tanto fez 

tanto faz, como tanto fez 
se na primeira vez 
a corja suja e o português 
puxaram do chão um pano branco que cobria e descobriram que ali havia 
terra que homem branco não sabia 
e o homem branco inteligente como é 
disse logo que não queria saber da qual é 
nem em parcelas 
nem no cartão 
trago tudo aqui na minha mão 
o extermínio 
vamos dividir em sete vezes no pré-datado
mas terra, escute bem
à vista

tanto faz, como tanto fez 
se no livro de história 
a história é contada em português
e as palavras são bem branquinhas 
que nem aquele português 
seja na escola branca ou preta
tanto faz, como tanto fez

quinhentos e tantos anos depois 
o português é fazendeiro 
a embarcação é o estado brasileiro 
e com o trator do progresso 
mata índio aqui e ali
ninguém vê mais índio no brasil 
a não ser os filhos branquinhos da classe média 
na escola 
no dia 19 de abril 
lembra? 

você com o rostinho melado de tinta guache 
peninhas na cabeça 
preparando o disfarce 
mas essa carinha branquinha 
sem marcas na face 
não engana ninguém
viu, seu burguês? 
tanto faz, como tanto fez 

desce na bica 
na pica, se liga 
quadradinho de oito 
de doze, de quatro 
com a bunda pra fora rebolando 
ninguém se importa 
mas quando viu o índio pelado na porta 
pulou da cama como se sonha e disse: 
tape logo suas vergonhas

tanto faz tupã 
como tanto fez nhanderu 
kaiowá tupinambá xucuru 
xocó truká tukano 
olha só que engano 
esse livro de história 

olha lá! 

brasília virando aldeia 
takape burduna semeia 
uma flechinha certeira da mão do guerreiro 
e num instante de repente 
a flechinha faz um buraco no peito do presidente

e aí
tanto faz, como tanto fez 
se na primeira vez foi o português 
porque agora não adianta mais nada 
você viu, a esplanada? 
foi toda retomada
os ministros nem quiseram crer 
mas acreditem 
era o caboco no poder. 


Tanto faz como tanto fez

Amaro Jose - Obatala

Faixa título do primeiro álbum da cantora e compositora paraibana, Cátia de França. Produzido por Zé Ramalho, 1979.
 
Nesta faixa a guitarra fica a cargo de Lulu Santos.

Catia de França - Vinte Palavras Girando ao Redor do Sol

MetaL MetaL

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KFD008 – Maga Bo Apresenta Samba de Coco Raízes de Arcoverde

Release Date: January 30, 2018
Format: Digital
Label: Kafundó Records
Artist: Samba de Coco Raízes de Arcoverde
Catalog #: KFD008
Produced: Maga Bo
Mastering: Krishnin at Blissonance
Cover Art: Depoté
Cover Photo: Alfredo Portugal
Press Contact:  us@kafundorecords.com
Website:  www.kafundorecords.com

The latest Kafundó Records release is from one of the oldest running coco groups in Brazil, Samba de Coco Raízes de Arcoverde.  Building on decades of tradition, for this release they have taken a new path working with producer Maga Bo.  The results respect and preserve the original afro-brazilian rhythmic structure, while simultaneously introducing a new electronic pallette to their work.  Think folkloric, afro-brazilian vibes produced and mixed for big sound systems!

Based in Arcoverde in the semi-arid desert interior of Pernambuco, Samba de Coco Raízes de Arcoverde is a poetic portrait of regional northeastern Brazilian culture.  Formed in 1992 by Lula Calixto and the Lopes sisters, it was in 1996 when they managed to break out of the small town boundaries of Arcoverde and perform in other parts of Brasil as well as in Belgium, France and Italy.

A very special ingredient of Samba de Coco Raízes de Arcoverde comes from what they call the coco trupé, which consists of a rapid and strong dance step performed with wooden shoes on a wooden platform (fitted with piezo microphones) which adds a very loud and distinctive percussive element to their sound.  Xaxado and samba de roda are 2 other regional manifestations present in the music and dance of the group.  In addition to the percussive dance steps and strident vocal harmonies, the traditional instruments present in the group are triangle, surdo and pandeiro.  The simple and positive messages of the lyrics complement the frenetic coco rhythms.

Maga Bo became aware of Samba de Coco Raízes de Arcoverde after receiving a a track entitled “Afro-Brazilian awesomeness track 7” in an MP3 swap with fellow djs.  It was, indeed, afro-brazilian awesomeness and he began including the track in his sets, mixing and fusing it with dembow riddims which eventually evolved into a full blown remix.  The added low end support and international dancehall signifiers made it an immediate hit with global bass and Brazilian djs.  When asked to make a mixtape for Nike/Fader for the 2010 World Cup in South Africa, he sought out the group for permission to release the track.  The group ended up loving the remix – it was one of the only remixes that they had ever heard that brough a new sonic palette to the mix while still respecting and retaining the original rhythmic structure.  Finally, in 2012, a booking at Rec-Beat in Recife brought Maga Bo to Pernambuco where he was finally able to meet the group in person.  They agreed to try things out and record a few songs as an experiment.  This eventually turned into many trips to Arcoverde and a full album.

On this album, Maga Bo pushed them outside of their comfort zone to bring in new instruments, arrangements and sounds.  After noticing that some of the group members also played with a local maracatu group, he suggested that they bring some elements of maracatu to the album.  Initially met with skepticism and hesitation, eventually, the group warmed up to the idea and as the production of the album progressed, became more and more open to experimentation and innovation – the first time alfaias, caixas, timbaus, electronic dub fx and heavy sub bass have been included in their sound!

Recorded on a non-existent budget with a backpack worth of gear in an improvised studio over the course of several sessions in several years, this is an independent, guerilla project fueled and financed by air miles, the hospitality of others and the shear desire to see this project to fruition.

Buy at Bandcamp

Samba de Coco Raízes de Arcoverde - Andrelina

Cátia de França - "Quem vai, quem vem"

Quilombo do Futuro dives deep into afro-brazilian rhythms and sound system culture.  It's the roots of the terreiro growing and overtaking the asfalto.  Crumbling it bit by bit.  Life that springs from urban decay.  Coco, maculelê, samba, jongo and capoeira meet ragga and dub, hip hop and kuduro, grime and dubstep. Organic elements combined with electronic production to bring the punch and power for big sound systems, this is serious batucada and bass, mids, treble. TUDO.

Maga Bo has performed and worked in over 40 different countries - from Delhi to Sydney, Berlin to Addis Ababa, New York City to Brasília, all the while keeping his feet (and ears) firmly planted in the sonic axis RJ/SP/BA - Rio de Janeiro, São Paulo, Salvador.  Inspired as much by his experiences touring internationally in the global beats and bass world as his time spent in the traditional Afro-Brazilian roots scene in Rio de Janeiro, Quilombo do Futuro offers a careful juxtaposition of raw, heavy bass with organic, instrumental and vocal subtlety.  Far from relying on pre-made loops of "Brazilian" drums or other shallow cultural signifiers, this album was recorded with some of the most original and brightest musicians in Brazil today. 

Working with celebrated Brazilian musicians, BNegão, Gaspar, Lucas Santtana and Marcelo Yuka, the record also brings in new talents, Funkero, Biguli and one of the most innovative groups in Brazilian music today, BaianaSystem.  Bo's mestre of capoeira angola, Mestre Camaleão, brings the berimbau while Rosângela Macedo's vocals hold down tradition.  Guyanese Brooklynite, Jahdan Blakkamoore, and Panamanian Chicagoite, MC Zulu, bring the dancehall vibe to riddims that most don't even try to touch.  All percussion was tracked and produced by Maga Bo and his long time partner in riddim, percussionist and fellow carioca, João Hermeto. 

A quilombo was an autonomous, fugitive settlement founded by ex-slaves and others in colonial brazil.  The Quilombo do Futuro is more than a possible physical space.  It is a potential world-wide agglomeration of cultural resistance.  After centuries of wealth generated by an economy built on slavery (and the subsequent post-abolition adaptations), the Quilombo do Futuro is a break from this legacy.  Fortified by an international community based on plurality, inclusive democracy and direct communication, cultural resistance is paramount in creating a sustainable, healthy existence in the face of world-wide corporate domination.  

Born in the United States and based in Rio de Janeiro since 1999, Maga Bo has collaborated with Mulatu Astatke, Issa Bagayogo, Bollywood star Shilpa Rao, BaianaSystem as well as releasing critically acclaimed remixes for Poirier, Luisa Maita, Filastine, Blick Bassy and Bomba Estéreo.  His music and remixes have also been released on Tru-Thoughts, Ninja Tune, Cumbancha, Dutty Artz, World Connection and many others.  Among his many international tours, he has performed at the Sydney Festival, WOMEX, Club Transmediale and Mundial.

11  Xororô feat. Russo Passapusso and Robertinho Barreto

CD "Dois Cordões" (2009)

música: Alessandra Leão e Caçapa
letra: Alessandra Leão
arranjo de cordas e percussão: Caçapa
produção musical: Caçapa
co-produção: Alessandra Leão

voz e caxixis: Alessandra Leão
voz: Jorge Du Peixe
guitarra de 12 cordas: Caçapa
guitarra de 6 cordas e slide: Juliano Holanda
guitarra de 7 cordas: Rodrigo Samico
ilú melê: Homero Basílio
ilú melê-ankó: Carlos Amarelo
ilú yan: Guga Santos

ATIREI - Alessandra Leão e Jorge Du Peixe

Cláudio Rabeca
Album: Luz do Baião (2009)
Participação Especial: Zé de Teté

Vagabundo - Zé de Teté

Versões da cantora brasileira Céu que você não encontra em qualquer lugar!

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