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Canta O Samba De São Paulo

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Reseña de álbum

The friendly animosity between São Paulo and Rio is well known in Brazil. In the musical expression, one of the most visible aspects of that was a declaration, several decades ago, by Vinícius de Moraes, that São Paulo would be the "samba's grave". Therefore, this album can be understood as a bridge over the gap, along with a historic document. Beth Carvalho, one of the best Carioca sambistas, dedicated entirely a show (where this album was recorded) to the best composers of the samba paulistano tradition: Adoniran Barbosa, Eduardo Gudin, Geraldo Filme, Paulo Vanzolini, and several others. The differences between the sambas executed in both states are flagrant, and she obviously sticks to the Carioca tradition, which can be perceived soon in the opening track, "Iracema," surprisingly enough performed by her at the violão as bossa nova (bossa and samba proponents also have their own private dissonance within Rio). The rest of the album follows the morro regional style, with cavaquinho, pandeiro and seven string violão. She also is joined by special guests Eduardo Gudin, Geraldo Filme, Sílvio Modesto, Waldir da Fonseca, Maurinho da Mazzei and Osvaldinho da Cuíca. The album received the Sharp prize as the best samba album of 1994.


Género: Samba

Años de actividad: '60s, '70s, '80s, '90s, '00s

Beth Carvalho was born in the working class suburb of Gamboa but was raised in the middle class South Side. At the age of seven, she was performing in novice shows in several Carioca radios, like the Nacional. At the same time, she studied musical theory at the Escola Nacional de Música. With the bossa nova movement gaining informal venues like universities and schools, she gave her initial musical steps into that style. Her first recording, for example, was the single "Por Quem Morrer De Amor" (Roberto...
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Canta O Samba De São Paulo, Beth Carvalho
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