'QUINTAL (AFRO CONGO BEAT)'

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Brazil | Worldbeat | 2015

'Quintal (Afro Congo Beat' | The Dialogue Between Traditional and Modern

Fabio Carvalho search the oldest heritage of regional rhythms of the state of Espirito Santo - those with African roots music and puts the beat of congo and ticumbi to talk to the beats of electronic music. The result is a precious and dance dialogue of traditional folk art with contemporary, very current fruit of cultural anthropophagy that marked the birth of Brazilian modernism.

Fabio Carvalho is known for his participation in Manimal band, already in the 1990s joined the congo to other genres, especially rock This deep connection with popular culture transpires in "backyard" since its opening track, "Preto Velho, (old black Man)" in which the musician reveres Candomblé and rhythms like Samba, Caxambu, Ciranda and the aforementioned Congo and Ticumbi.
 

This deep connection with popular culture transpires in 'Quintal' - "Backyard" since its opening track, "Preto Velho, (old black Man)" in which the musician reveres Candomblé and rhythms like samba, the caxambu, the ciranda and the aforementioned congo and ticumbi . The link appears under different facets, as delicate in "Rainha", almost a lullaby, and the Bois de Reis "Kalimbada" to pour in "Boi Carrero". In this, the concertina - so present in forró dancer vocation of the state of Espírito Santo - is mixed to the jongo and Arabic and Celtic music, represented by derbukas and electronic violins.

In his his excellent solo debut, in toasting the listener not only inspired compositions, but also with its full-bodied and soft timbre (which can be a discovery for many, since he did not used to take the microphones), Fabio did not skimp on partnerships. The first track have also opens the list of distinguished participation, with mining drum tradition of Raquel Coutinho and hypnotic groove of the celebrated percussionist Marcos Suzano, which alternates between the tambourine, the tablas, the karkabul and other instruments.

 

Unavoidable samba name in Espirito Santo, Edson Papo Furado comes in "Barracão" not only as a performer but as a composer, the first recording of a song of his own. Master of drumsticks and percussion, Edu Szajnbrum, who has recorded with major artists on the national scene, including Marisa Monte and Gilberto Gil, is almost ubiq- uitous on the record, responsible for making pulsar different percussive instruments.
 

Latest of classic Capixaba songs, the song "Jardim Camburi" by the Zemaria band, reappears in "Quintal" in the lounge version with the luxurious aid of Rafael Rocha, one of the most celebrated trombonists in the country.

"Janaina" composed in partnership with actor and musician Jonathan Silva, based in São Paulo, brings bird whistles and repinique touched by Cid Travaglia, already accustomed to mergers between afro music and electronic with NAPALMA band. Cid Travaglia also collaborates in "Solte os Cabelos", this time with a djembe.
 

The guest list is crowned with artists representing the Congo, one of the bases of the tripod that supports the Afro Congo Beat. The pace marks its presence in both the ambiance and the samples along the tracks - recorded in place on the Feast of St. Sebastian and St. Benedict in Itaúnas village in Conceicao da Barra (ES) - as the participation of Mestre Vitalino, Dona Juraci and Beatriz Rego, Band of Congo Master Honorio, Barra do Jucu Bar in Vila Velha, fertile scenary of this popular event. In addition, all drums and coats were written by young people of Congo in School project and Manguerê Group, linked to Caieiras Cultural Centre, chaired by Fabio Carvalho.
 

It is interesting to note here the harmonization work of the musician, who gave stuff to the melody and the characteristic of the congo rhythm. This process is evident, among other tracks in "Tem Areia" and "Solte os cabelos" which won body with electronic beats.
 

The perfect alchemy of the record "Quintal" could be achieved is, of course, thanks to the talent of Fabio Carvalho to aggregate and amalgamate art and concepts, but also the musical architecture of the conductor and arranger Leo Caetano, in partnership with music producer Marcel Dadalto ( Zemaria - She Knows), the name behind the beats and the record samples.