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ORQUESTRA AFRO-BRASILEIRA - 80 ANOS
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80 Anos
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CATNO:
DD02
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Vinyl record
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LAtin, Funk Samba & JAzz on tHis HEavyweight REpress- Legendary Brazilian group Orquestra Afro-Brasileira are reborn for first new album in over fifty years, produced by Beastie Boys collaborator Mario Caldato Jr.
Led by maverick composer Abigail Moura, Orquestra Afro-Brasileira were one of the most influential yet overlooked groups in Brazilian music history. Operating for almost thirty years until 1970, they released just two albums - the first of which, Obaluayê, has recently been reissued by Day Dreamer Records - and left behind a legacy of Afro-Brazilian consciousness that continues to resonate today.
Combining Yoruba spirituality, folk tales, Candomblé chants and West African percussion with the instrumentation of the big band jazz tradition in the United States, the Orquestra placed Afro-Brazilian heritage in a new and vital context. Weaving emancipatory narratives into complex poly-rhythms and powerful, syncopated horn lines, the group educated and enlightened all those who saw them perform.
For Abigail’s protégé and percussionist on the group’s 1968 album Carlos Negreiros, the message of the group’s music had a profound impact: “I became aware of what it is to be black,” he says, “discovering the extraordinary potential of the Afro-Brazilian culture in the making of the national ethos.”
Now the last remaining member of the original Orquestra, Carlos was tracked down by producer Mario Caldato Jr. - whose credits include Beastie Boys, Marcelo D2 and Seu Jorge among others - to oversee the first new album of Orquestra Afro-Brasileira material since 1968
Led by maverick composer Abigail Moura, Orquestra Afro-Brasileira were one of the most influential yet overlooked groups in Brazilian music history. Operating for almost thirty years until 1970, they released just two albums - the first of which, Obaluayê, has recently been reissued by Day Dreamer Records - and left behind a legacy of Afro-Brazilian consciousness that continues to resonate today.
Combining Yoruba spirituality, folk tales, Candomblé chants and West African percussion with the instrumentation of the big band jazz tradition in the United States, the Orquestra placed Afro-Brazilian heritage in a new and vital context. Weaving emancipatory narratives into complex poly-rhythms and powerful, syncopated horn lines, the group educated and enlightened all those who saw them perform.
For Abigail’s protégé and percussionist on the group’s 1968 album Carlos Negreiros, the message of the group’s music had a profound impact: “I became aware of what it is to be black,” he says, “discovering the extraordinary potential of the Afro-Brazilian culture in the making of the national ethos.”
Now the last remaining member of the original Orquestra, Carlos was tracked down by producer Mario Caldato Jr. - whose credits include Beastie Boys, Marcelo D2 and Seu Jorge among others - to oversee the first new album of Orquestra Afro-Brasileira material since 1968
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Last FM Information on Orquestra Afro-Brasileira
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Há 75 anos, um copista da Rádio MEC, responsável por transcrever partituras aos músicos da emissora ligada ao governo, decidiu que havia chegado a hora de fundar o seu próprio grupo musical. Chamado Abigail Moura, o mineiro de 37 anos foi para o Rio de Janeiro com a intenção de viver daquilo que mais gostava: música.
Com noções de percussão e trombone, além do conhecimento de orquestração adquirido durante seu trabalho na rádio, Moura uniu o erudito dos grandes maestros que por ali passaram com seu repertório religioso e musical negro. Nascia assim naquele ano a Orquestra Afro-Brasileira, pioneira, desafiadora e cuja influência é sentida em músicos de hoje.
“Alguns eruditos, como Villa-Lobos, tentavam colocar a percussão da música negra em suas orquestras, mas ela ficava atrás, deslocada. O Abigail mudou isso. Era tudo junto”, lembra aoNexo o instrumentista Carlos Negreiros, único membro vivo da Orquestra Afro-Brasileira original. “Ele sempre dizia: ‘O tambor é soberano’. A música era centrada no tambor e os cantos nas religiões afro-brasileiras. Isso não existia antes.”
Para seu agrupamento, Abigail Moura chamou músicos profissionais e amadores que assumiram instrumentos raramente colocados lado a lado. As percussões incluíam versões tradicionais de instrumentos ligados à religião, como um trio de atabaques chamados pelo candomblé de nação Jeje de rum, rumpi e lê; um urucungo (similar a um berimbau), angona-puíta (uma espécie de cuíca mais grave), afoxé, ganzá, e os metálicos agogô, gonguê e adjá. Complementando a formação de concerto, entram instrumentos associados ao jazz americano, como saxofones, clarinetes, trombones e trompetes.
Link para matéria: https://www.nexojornal.com.br/expresso/2017/11/18/quem-foi-abigail-moura-o-maestro-da-pioneira-orquestra-afro-brasileira
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