Name: Marcha fúnebre by Tomas Gonzalez
Duration: 6 min 29 s
Description: La vida obscena. Egreso Escuela de Teatro UC.

Pois, Zé
(Bruno Batista)

Agora que você foi embora
Quitei o flat com a penhora
Do teu amor que só me deu azar
Com garantia a toda prova
Comprei uma luva nova
Pra me iluminar

Cortei o choro, o sal e o analista
Menos metal e mais sambista
Sigo outra pista e levo fé
Pois Zé, 
Vivo alegria a toda hora
Agora que você foi embora
Pra nunca mais
Se Deus quiser!

Diga o que disser
Nada muda a maré de direção
Venha ao que vier
Pois, Zé...
Só não vem pedir perdão!

Produzido por Guilherme Kastrup e Rovilson Pascoal
Voz: Bruno Batista e Dandara Modesto
Guitarras: Rovilson Pascoal e Rodrigo Campos
Rhodes: Ricardo Prado
Cavaquinho: Rodrigo Campos
Percussões: Rodrigo Campos e Chico Valle
Coro: Dandara Modesto, Thiago Augusto, Paula Mirhan, Ritinha Carvalho, Paulo Monarco, Sandro Dornelles

Pois, Zé

Ela vai chegar
        (Bruno Batista)

Que venha bonita de corpo
Sempre à queima-roupa
Trazendo nenhum presente
Perdida na dispersão

Que venha apressadamente
Como a rainha louca
Cravando todos os dentes
Dentro do meu coração

Quem vai ver, ela vai chegar
Quem vai ver, ela vai chegar
Quem vai ver, ela vai chegar
No ar!

Que venha de outra arquitetura
Em estrutura de aço
Do espaço, de outro ministério
Sem mistério, sem nada 

Que venho logo, criatura
Do território do abraço
E explique: como eu faço
Pra ser sempre chegada? 

Produzido por Guilherme Kastrup e Rovilson Pascoal
Voz: Bruno Batista
Guitarras: Rovilson Pascoal e Rodrigo Campos
Baixo: Ricardo Prado
Bateria: Guilherme Kastrup
Percussão: Felipe Roseno e Mauricio Bade
Coro: Thiago Augusto, Dandara Modesto, Sandro Dornelles, Paula Mirhan, Ritinha Carvalho, Paulo Monarco, Demetrius Lulo

Ela Vai Chegar

La vida obscena. Egreso Escuela de Teatro UC.

Marcha fúnebre

Pre-order our new release on bandcamp Now and get it 2 weeks before release date: analogafrica.bandcamp.com/album/the-im…estern-movie

“In 1960 we received an invitation to play in Recife, a wonderful, exciting and dangerous place, often described as a “social jungle”. The Forró party took place on the first floor of Caxangá´s neighbourhood theatre; With its high ceilings, wooden floors and balconies, the place was perfect for these kinds of events. When all the windows were wide open, there would be a wonderful breeze during the hot tropical evenings.

Since everyone was looking for amusement, the place was packed on weekends. People from all corners of society would arrive nicely dressed, animated and chatting loudly over the sound of clinking glasses.

Pernambuco´s Cachaça, considered by many, especially by the locals, to be the best in the country, had started flowing generously and the popular sugar cane based alcohol lives up to its reputation. We always had a few shots to warm up before performing and by the time the place was packed we were already in a very good mood. 

Our local cachaça had loosened the bodies and minds of everyone in the room, people started to pair off and twirl around to the sound of forró music, smiling and sliding their feet off the floor - a reflex picked up from dancing in rural villages to avoid kicking up the dust”.

Camarão - Living Patrimony of the state of Pernambuco
November 2012

The Imaginary Soundstrack to a Brazilian Western Movie

The Imaginary Soundtrack to a Brazilian Western Movie 1964 - 1974

Get the Record

Sereia Do Mar - Camarão (Analog Africa No.25)

"A Misturada” by Os Muiraquitãns 
Taken from the Various Artists compilation ‘Jambú e Os Míticos Sons Da Amazônia’ (out 21 June 2019 on Analog Africa)

The city of Belém, in the Northern state of Pará in Brazil, has long been a hotbed of culture and musical innovation. Enveloped by the mystical wonder of the Amazonian forest and overlooking the vastness of the Atlantic Ocean, Belém consists of a diverse culture as vibrant and broad as the Amazon itself. Amerindians, Europeans, Africans - and the myriad combinations between these people - would mingle, and ingeniously pioneer musical genres such as Carimbó, Samba-De-Cacete, Siriá, Bois-Bumbás and bambiá. Although left in the margins of history, these exotic and mysteriously different sounds would thrive in a parallel universe of their own.

Perched on a peninsula between the Bay of Guajará and the Guamá river, sculpted by water into ports, small deltas and peripheral areas, Belém had connected city dwellers with those deeper within the forest providing fertile ground for the development of a popular culture mirroring the mighty waters surrounding it. Through the continuous flow of culture, language and tradition, various rhythms were gathered here and transformed into new musical forms that were simultaneously traditional and modern.

Historically marginalized African religions like Umbanda, Candomblé and the Tambor de Mina, which had reached this side of the Atlantic through slaves from West Africa – especially from the Kingdom of Dahomey, currently the Republic of Benin – left an indelible stamp on the identity of Pará´s music. They would give birth to Lundun, Banguê and Carimbó, styles later modernised by Verequete, Orlando Pereira, Mestre Cupijó and Pinduca to great effect. The success of these pioneers would create a solid foundation for a myriad of modern bands in urban areas.

Known as the “Caribbean Port,” Belem had been receiving signal from radio stations from Colombia, Surinam, Guyana and the Caribbean islands - notably Cuba and the Dominican republic - since the 1940s. By the early 1960s, Disc jockeys breathlessly exchanged Caribbean records to add these frenetic, island sounds to liven up revelers. The competition was fierce as to who would be the first to bring unheard hits from these countries. The craze eventually reached local bands’ repertoires, and Belém’s suburbs got overtaken by merengue, leading to the creation of modern sounds such as Lambada and Guitarrada.

Another important aspect in understanding how the musical tradition spread in Belém, are the aparelhagem sonora: the sound system culture of Pará. Beginning as simple gramophones connected to loudspeakers tied to light posts or trees, these sound systems livened up neighbourhood parties and family gatherings. The equipment evolved from amateur models into sophisticated versions, perfected over time through the wisdom of handymen. Today’s aparelhagens draw immense crowds, packing clubs with thousands of revelers in Belém’s peripheral neighbourhoods or inland towns in Pará.

With bustling night clubs providing the best sound systems and erotic live shows, gossip about the whereabouts of legendary bands, singers turned into movie stars, supreme craftiness, and the creativity of a class of musicians that didn’t hesitate to take a gamble, Jambú is an exhilarating, cinematic ride into the beauty and heart of what makes Pará’s little corner of the Amazon tick. The hip swaying, frantic percussion and big band brass of the mixture of carimbó with siriá, the mystical melodies of Amazonian drums, the hypnotizing cadence of the choirs, and the deep, musical reverence to Afro-Brazilian religions, provided the soundtrack for sweltering nights in the city’s club district.

The music and tales found in Jambú are stories of resilience, triumph against all odds, and, most importantly, of a city in the borders of the Amazon who has always known how to throw a damn good party.

Jambu Master

A Misturada - Os Muiraquitãns

Duvido
(Bruno Batista/Celso Viáfora)
Produzido por Swami Jr
Voz: Bruno Batista, Fabiana Cozza e Celso Viáfora
Violão 7 cordas, baixo e arranjo: Swami Jr
Cavaquinho: Rodrigo Campos
Percussões: Felipe Roseno e Douglas Costa
Mixagem e Masterização: Ricardo Prado
Gravado no estúdio Space Blues, SP, por Alexandre Fontanetti
ISRC: BR-BUD-18-00002

06. Duvido - feat. Fabiana Cozza e Celso Viáfora

Outro é Tu
Letra: Bruno Batista
Música: Thiago K

Produzido por Felipe Cordeiro
Voz: Bruno Batista e Felipe Cordeiro
Guitarras: Felipe Cordeiro e Manoel Cordeiro
Programações: Felipe Cordeiro
Arranjo de Metais: Manoel Cordeiro
Trompete: Marco Stopa
Trombone: Allan Abadia
Sax: Walter Perrillo

Gravado por Fábio Barros no Trampolim Estúdio, São Paulo.
Mixagem e Masterização: Leo D
ISRC: BR-BUD-19-00002

04. Outro É Tu - feat. Felipe Cordeiro

يا راوي حكي حكاية
مادابك تكون رواية
حكي لي على ناس الزمان
حكي لي على ألف ليلة وليلة
وعلى لنجة بنت الغولة
وعلى ولد السلطان

حاجيتك ماجيتك
دنا بعيد من هادي دنيا
حاجيتك ماجيتك
كل واحد منا في قلبه حكاية

حكي وانسى بلي احنا كبار
في بالك رانا صغار
حكي لنا على الجنة حكي لنا على النار
على طير عمره ما طار
فهمنا معانى الدنيا

يا راوي حكي كما حكوا لك
ما تزيد ما نقص من عندك
كاين نشفوا على بالك
حكي لنسينا في هاد زمان
خلينا في كان يا ما كان

Souad Massi - Raoui    سعاد ماسي - راوي

"Orangután" (2014) es mi segundo disco. Por él fui nominado a "Mejor cantautor" en los premios Pulsar de la música chilena. Grabado en mi pieza, mezclado en Estudios Clio y Estudios del Sur por Francisco Holzmann, y masterizado por Felipe Tichauer en Redtraxxmusic, Miami.

Descargable en www.cdbaby.com y en itunes.

El videoclip de "El ogro", primer Single de "Orangután", y realizado por Niles Atallah, lo pueden ver acá:
https://www.youtube.com/watch?v=MLLv3cLYntY

Escuchen también en: www.facebook.com/TomasGonzalez.net 

Descarga de "Lengua muerta", mi primer disco (2010) en: http://www.portaldisc.com/disco.php?id=6042

Abrazos,
Tomás.



Marcha fúnebre

Tomas Gonzalez

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