Classic samba by the master of classic samba, Paulinho da Viola. Having recorded and album called 'Samba de Madrugada' with his friend and partner Elden Medeiros a few years previous, this is actually Paulinho's first disc released under his own name. The liner notes contain a big chunk of autobiographical writing from Paulinho, talking about the first Carnaval blocos he formed in his neighborhood of Botafogo and his trajectory through which he eventually came into contact with the Portela samba school and began working around people like Candeia, Casquinha, Monarco and others, and eventually hanging around the bar 'Zicartola' with the likes of Cartola, Elton Medeiros, Nelson Sargento, Nelson Cavaquino, Elizete Cardoso….
This record from 1970 is a gem. It's Samba, sure, but it combines the beauty of simplicity and authenticity with lush orchestrations on several of the songs. It alters between dance songs and more laid-back songs. Those delight with their sweet saudade. Paulinho da Viola has a warm baritone voice that reveals his inspirations are the singers from the fifties and before. And he plays a lovely guitar. Foi Um Rio que Passou em Minha Vida is yet another Brazilian beauty that is out of print.
“O samba carioca como ele é todo lindo, cheio de graça e simplicidade”. Assim termina o texto de Herminio Bello de Carvalho sobre o disco “Samba na Madrugada” (1968), impresso no encarte do LP. O álbum, que foi lançado em 1966 com o nome “Na Madrugada”, une dois mestres do samba, Paulinho da Viola e Elton Medeiros. Esse importante registro da música nacional volta às lojas esse ano pela coleção “Clássicos em Vinil”, da Polysom, em vinil de 180 gramas. O disco traz 11 faixas, assinadas uma parte por Paulinho da Viola e outra por Elton Medeiros. Ambos contaram com grandes nomes nas composições, entre eles Candeia, Casquinha, Zé Keti e Cartola. Entre os sucessos, ora interpretado por um, ora por outro, estão “Minhas Madrugadas”, “O Sol Nascerá”, “Mascarada” e “Arvoredo”.
Born in Rio de Janeiro to a family deeply rooted in the samba tradition, Paulinho met and befriended much of Rio's samba elite as a child. His father César Faria was a guitar player, and musicians such as Pixinguinha and Jacob do Bandolim would often come to his house for rehearsals, which Paulinho watched for hours on end. After the rehearsals, Paulinho would pick up his father's guitar and strum the few chords he knew. Later, as a teenager, he was frequently seen at jams at mandolin master Jacob do Bandolim's house, quietly and attentively observing the older, more experienced musicians. He began writing his own songs as a teenager, but never considered a career as a professional musician until he met poet Hermínio Bello de Carvalho in 1964. By then, Paulinho was working as a teller at a bank in Rio de Janeiro, and recognized Hermínio from the jam sessions at Jacob do Bandolim's house.
After an eight-year break and 31 years into his career, Paulinho da Viola got the first gold record of his career, selling more than 100,000 copies. He also received the Grande Prêmio da Crítica from APCA. The album is direct and pure, like a roda de samba, without keyboards or other diversions, besides subtle strings and saxes. He goes straight to the heart of samba, surrounded by bearers of the tradition of the Carioca hills – his friends, his "brothers," his father César Faria (a former member of the historic regional choro group Epóca de Ouro), here playing the seven-string violão. Da Viola's elegance meets a distinctive melancholy and a genuine simplicity, forging a peculiar and sophisticated sound in which the influences of the great masters of the hills – Cartola and Nelson Cavaquinho – are evident. "Quando o Samba Chama" evokes a strong symbolic image very dear to da Viola.
Compiled from recordings dating from 1965 to 1974, this EMI/Gemini double-disc of Bartók's string concertos and other works features Yehudi Menuhin at the peak of his powers, with support from two important Bartók specialists and their sympathetic orchestras. Menuhin is admirably backed in all the concertos by Antal Dorati and the New Philharmonia Orchestra, and Pierre Boulez and the BBC Symphony Orchestra provide meticulous accompaniment in the two Rhapsodies. The resilient Viola Concerto and the splendid Violin Concerto No. 2 are essential listening, both for their masterful writing and for the vigorous performances Menuhin and Dorati deliver.