• style(s):
    • World
  • label:Piranha Records

It’s always good to look beyond the clichés of things. There’s usually more than meets the eye to everything in life – and that’s no less true for Brazilian music! Take Marcio Carneiro, Peter Dauelsberg and Matias de Oliveira Pinto’s Cello Trio and their Tango Brasileiro: velvety melancholia, cautiously striding through a set of tangos and such by Ernesto Nazareth (1863 – 1934), Heitor Villa-Lobos (1887 – 1959), Edino Krieger (b. 1928), Julio Medaglia (b. 1938), Ronaldo Miranda (b- 1948) and Jaime M. Zenamon (b. 1953) – certainly not what you’d normally expect of Brazilian music, but another characteristic facet of the Brazilian soul nevertheless.

Then you go back to some of the more ‘regular’ Brazilian stuff, such as the combined forces of HeimatKlänge’s “Brasil 500” at Tempodrom am Ostbahnhof in the summer of 2000 – a line-up quite representative as a cross-section of Brazilian music: from carimbo to afrobloco, samba cancao to mangue-forro, MP nordestina to sambafunk and reggae brasil. The tracks recorded live by Cabruera, Cidade Negra, Funk’n Lata, Ilê Aiyê, Pinduca, Elba Ramalho and Velha Guarda da Mangueira de Convidados will make aficionados of Brazilian music dance till the end of time, just as they did on location in Berlin during the original “Brasil 500” festivities.

It is most of all the African rhythms that form strong roots of Brazilian music that guarantee the trademark irresistibility of Brazilian music around the globe – a quality further emphasised even by the Mangue bit movement rising in Recife in the early nineties, a trend championed by Piranha from its ignition. As early as 1995, Chico Science were already playing a wild, exciting week at Piranha’s HeimatKlänge festival edition “LusoMania” at the Tempodrom in Berlin’s Tiergarten delivering his funky, raw and reckless rock, funk and hip-hop crossover with maracatu and other traditional rhythms of Brazil’s Northeast. A couple of years later with Cabruera’s Proibido Cochilar the second generation of Mangue Bit made Piranha their label of choice.

And ever-new sounds have continued to mushroom everywhere around the world – as the Piranha catalogue aptly reflects. The roots and the branches, from Brazil and its diaspora around the world alike – from Cascabulho’s forro update through Anastacia Azevdo’s MPB variants to Degas/Weiser’s re-interpretation of German folk songs in Brazilian musical idioms!

As the latter aptly shows: the possibilities of Brazilian music are virtually boundless.

Click here for the Spotify playlist.

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