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Miguel Angel

Samba Na Onda

  • 01 DEIXA ISSO PRA LÁ 2:09
  • 02 DÁ BOLA 2:00
  • 03 TELEFONE 1:32
  • 04 NA BASE DO BALANÇO 1:58
  • 05 BALANÇO DO MAR 1:54
  • 06 LÁGRIMA FLOR 2:10
  • 07 ISTO É SAMBA 2:06
  • 08 BATE A PALMA 1:41
  • 09 BALANÇO ZONA SUL 1:54
  • 10 VOU ANDAR POR AÍ 2:35
  • 11 NA RODA DE SAMBA 1:50
  • Miguel Angel - guitar
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34.00 PLN


Nr kat.: wmcd0076
Label  : WhatMusic
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Nr kat.: WMLP0076
Label  : WhatMusic

"Samba Na Onda", the 1964 album from 4 members of the cult group Os Ipanemas which continues the heavily percussive and vocal-led sound with way out harmonies and afro-bossa grooves! --------------------- new wave samba! One of the most obscure of the 60s bossa-inspired groups was Os Ipanemas. The group recorded their one and only album on the CBS label, which in early 60s Brazil, as in the USA, was a label almost entirely dedicated to easy listening of the Ray Conniff variety. As a result, the few hip albums that were released on CBS Brasil during the 60s were poorly distributed, sold very little, and are consequently very expensive cult items today. In the early-to-mid 90s Os Ipanemas generated a big worldwide following as their album was rediscovered and reissued and one of the main reasons for this was their unique sound. Despite their name, the Ipanemas were not at all related to ‘easy’ bossa nova, and their main exponents all had a healthy interest in afro-cuban sounds and forms. So much so, in fact, that some of the tracks on ‘Os Ipanemas’ are like brazilian equivalents to authentic cuban rumba. Of the group members, Rubens Bassini had already released his own LPs in the early 60s (‘Ritmo Fantastico’ is also available on whatmusic.com) which were heavily afro-cuban inspired, and drummer extraordinaire Wilson das Neves had also brought a heavy sound to the recordings he played on. Percussionists Jorge Arena (later part of Elis Regina’s touring band) and Humberto Garin (Ed Lincoln’s percussionist along with Orlann Divo) were also involved in the more afro-cuban jazz inspired recordings of the day, as was Ipanemas guitarist Neco – much in demand for his insistent acoustic guitar groove (again far removed from the laid-back bossa style). So it made sense that uruguayan-born Miguel Angel (aka Miguel Cidrás) should hire these heavy musicians for this rare Equipe album. Added to the Ipanemas rhythm section (the ‘kitchen’) are bassist Cacho and singer Joab, augmented by a mixed vocal chorus. Replacing the trombone of Astor Silva is Miguel Angel Cidrás’ own percussive piano to create a sound that’s almost a 60s penthouse version of the Ipanemas afro-brazilian sound. Cidrás (who once advised a young artist wanting to know how to get a record deal that ‘if you’re a guy you need a lot of dough and if you’re a girl – be prepared to put out’) later became an important arranger at the International Song Festivals in the late 60s/early 70s as well as working with many different artists such as Leno & Lilian, Ney Matogrosso, Kleiton & Kleidir and Alceu Valença amongst others. His most important contributions outside of this LP, however, were his highly imaginative arrangements for Brazil’s great 70s rock hero, Raul Seixas. The tracks on this album are mostly groovy, afro-bossa based with occasional way-out vocals. The Menescal/Boscoli song ‘Telefone’ (previously recorded ‘straight’ by Astrud Gilberto and Stan Getz on ‘Getz Au Go Go’) here receives amazing dissonant vocals which takes it to another plane. Groovers like ‘Bate A Palma’ and ‘Vou Andar Por Aí’ go a long way towards creating the party atmosphere and the fantastic take on Baden Powell’s ‘Consolaçăo’ is true Os Ipanemas territory. All in all ‘Samba Na Onda’ is an album that deserves to be rediscovered as part of the legacy of the Ipanemas sound.