Carlinhos Santos e Grupo Céu - Nagô
from Jazzanova presents Paz E Futebol 3 – compiled by Junior Santos by Various Artists
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Record/Vinyl + Digital AlbumLimited 12inch vinyl. Comes with printed 4 page booklet.
DIFFERENT TRACKLISTING:
A1 - Carlinhos Santos e Grupo Céu - Nagô
A2 - San Rodrigues - Fofa
A3 - Sonia Burnier - Por Isso Eu Canto
A4 - Gerude - Pungar
B1 - Elza Soares - Som, Amor, Trabalho E Progresso
B2 - Emílio Santiago - Mais Que Um Momento
B3 - Brunno - Depois Da Praia
B4 - Beto Luiz - Chuva De Beijos
Includes unlimited streaming of Jazzanova presents Paz E Futebol 3 – compiled by Junior Santos via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.ships out within 7 daysPurchasable with gift card€18.99 EUR or more
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Streaming + DownloadIncludes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.Purchasable with gift card
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about
From tiny Ibirataia in the south of Bahia state comes Carlinhos Santos, eminent singer and songwriter at regional Bahian music festivals of the 80s. “Grupo Céu” is the pseudonym given here to the legendary band Acordes Verdes, who backed famed singer Luiz Caldas and featured future superstar Carlinhos Brown on percussion.
The fourth edition of the FEMPI (Student Festival of Popular Music of Ipiaú), an annual festival organized by João Araújo (not to be confused with the Rio music executive of the same name), was where it all went down for Carlinhos and the band. “Nagô” and “Negritude” were two of the four finalists in that year’s song contest. The other two were “Três Quartos” by José Américo and “O Cais” by Kalú Calheira & Molina, neither of which could be recorded because the artists were unable to travel to Salvador’s WR Studio on the day of the session.
The single was produced in its entirety by José Antônio Calheira Silva aka Kalú, who was a producer, songwriter and artist manager from the same small town and who decided to take it upon himself to take the festival’s four finalists to a studio in Salvador. Kalú Productions was a totally independent enterprise and proof of this is the pioneering way in which it supported unknown artists discovered at festivals in Bahia’s interior.
It’s also notable that this project received support from the musicians who played on the recordings for free. João Araújo’s talent shows continue to take place to this day during the Festa De São Roque. But the 1984 edition was the only one where the top-ranked artists performed new originals, as heard on this single.
The fourth edition of the FEMPI (Student Festival of Popular Music of Ipiaú), an annual festival organized by João Araújo (not to be confused with the Rio music executive of the same name), was where it all went down for Carlinhos and the band. “Nagô” and “Negritude” were two of the four finalists in that year’s song contest. The other two were “Três Quartos” by José Américo and “O Cais” by Kalú Calheira & Molina, neither of which could be recorded because the artists were unable to travel to Salvador’s WR Studio on the day of the session.
The single was produced in its entirety by José Antônio Calheira Silva aka Kalú, who was a producer, songwriter and artist manager from the same small town and who decided to take it upon himself to take the festival’s four finalists to a studio in Salvador. Kalú Productions was a totally independent enterprise and proof of this is the pioneering way in which it supported unknown artists discovered at festivals in Bahia’s interior.
It’s also notable that this project received support from the musicians who played on the recordings for free. João Araújo’s talent shows continue to take place to this day during the Festa De São Roque. But the 1984 edition was the only one where the top-ranked artists performed new originals, as heard on this single.
credits
from Jazzanova presents Paz E Futebol 3 – compiled by Junior Santos,
released November 6, 2020
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all rights reserved
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about
Sonar Kollektiv Berlin, Germany
Sonar Kollektiv was founded in 1997 by Jazzanova. Designed as a platform for own releases it soon attracted numerous new discoveries and like-minded musicians to lead their trumps right here. Still it was never the intention of SK to pursue one specific sound or provide an already existing scene. Each and every release on the label was meant to illustrate the musical taste of the collective. ... more
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