PSW-361 Brazilian Musical StylesAssignment 2b Alternative Choro

Composition: Receita de Samba, by Jacob do BandolimAlbum and Artist(s):-Vibracoes, Jacob do Bandolim & Epoca de Ouro-Receita de Samba, No em Pingo DAgua

Jacob do Bandolim is one of the quintessential Brazilian composers that fostered the development of choro music in Brazil. He was first trained as a violinist but changed to the mandolin at the early age of 12. He did not pursue a full time musicians career for a long period of time, and took on various jobs like clerk, salesman, typist, etc. Nevertheless, he did not cease to leave his mark on Brazilian choro music history and his passion in the genre had kept driving him. He became a prolific recording artist after writing several popular choros like Treme Treme, Gloria, etc. In his music, one can observe mandolin as the central solo instrument. His virtuosity at the instrument differentiates himself from others in choro performance. A number of his compositions like Assanhado, Vibracoes, etc. remain as an integral part of the choro repertoire nowadays. Jacob do Bandolim and the choro group Epoca de Ouro (which he is a founding member) performs Receita de Samba by himself on the album Vibraes.1

On the other hand, No em Pingo DAgua is a renowned five-piece instrumental band rooted in Brazil playing the genre Choro Novo. It is a new genre reinventing traditional instrumental choro music. Formed by Celsinho Silva, Mario Seve, Papito, Rodrigo Lessa, Rogerio Souza, the group embraces culture and influences from Brazilian rhythms, instrumentations, and jazz improvisations, etc. As a result, the sound that they produce is unique and refreshing to the ears. No em Pingo DAgua performs Receita de Samba on the album Receita de Samba.2 (Original Release Date: January 6, 1996)

The original recording of Receita de Samba by Jacob do Bandolim and Epoca de Ouro features mandolin as the main melodic instrument, with an acoustic guitar playing the bass line, a cavaquinho playing chordal accompaniment, and a pendeiro as percussion instrument. In terms of the instrumentation, this is typical of traditional Brazilian choro performances. On the other hand, the modern recording of the same piece by No em Pingo DAgua features a different set of instrumentations, with an electric guitar and saxophone playing the lead melody alternately; electric/acoustic guitar plays the accompaniment and fills under, while we also have percussionist Celsinho Silva playing different percussion instruments like the tambourine, bongos, as well as an electric bass in support. The resulting sound is a much more contemporary sound, at times echoing with modern jazz-fusion; personally, it reminds me of the music of Pat Metheny Unity Group.

In terms of arrangement, the recording by Jacob do Bandolim and Epoca de Ouro is precise and follows a more straightforward manner, with a clear intro, melody and improvisation. The accompaniment is quite consistent throughout with all the instruments accompanying and interacting with the mandolin while Jacob do Bandolim solos on it. On the flip side, the same track performed by No em Pingo DAgua carries a more varied arrangement; for instance, instruments of mid and higher range without the bass play the opening melody, and the bass entered at certain hits later. The electric guitar and saxophone also alternately plays the melody in the form to give variety of tone color and sound. They also took turn to solo. There is another pleasantly surprising dropout of the bass after the guitar solo, when the saxophone starts soloing. It gives dynamic and an overall shape to the track sonically.

Musically, the Jacob do Bandolim recording is reflects the traditional choro style a lot; for instance, the acoustic guitar behind the melody would take up the role of the bass player and plays/improvises various rhythmic figures alternately in support of the music. The comping cavaquinho also follows a syncopated rhythm, surrounding the central short-long-short rhythmic pattern. Nevertheless, the latter recording presents something different musically; in this track, we have the guitar being a chordal accompanist mainly, since we have an electric bassist in the action. The bass line played has more samba influences to it. Regarding improvisation, I personally think that the lines played by the electric guitar and saxophone here have more influences from jazz, e.g. bebop lines. It also features some interesting harmonic treatments, such as the tonic sus chord at the end instead of just ending it with the tonic major chord as in the Jacob recording.

(Written by Chris Wing Nok Cheung)

Bibliography

1Mair, Marilynn. "A History of Choro in Context." A History of Choro in Context. Mandolin Quarterly, 2000. Web. 22 Sept. 2015. .

2"N Em Pingo Dgua." Cantaloupe Productions RSS. N.p., n.d. Web. 22 Sept. 2015.