The samba1 is a musical genre with African roots emerged in Brazil , which derives a type of dance . It is one of the main manifestations of Brazilian popular culture and a symbol of identity nacional.2 While most of Latin America used the female voice ( samba ) , in Brazil and in countries such as Argentina , Cuba and Uruguay , the male voice is used ( samba ) .1 Not to be confused with the samba , genre completely different Hispanic origin . Some of its features figure a way where the dance is accompanied by small melodic phrases and choruses anonymous building , typical of samba de roda, rhythm and dance originated in the Bahian Reconcavo , geographic region around the Bay of All Saints , in Bahía.3 state samba de roda, one of the foundations of samba carioca in 2005 and designated a World Heritage Site by Unesco , 4 was born in Rio de Janeiro in the second half of the nineteenth century by blacks brought as slaves Africa who settled in the then capital of the empire of Brazil . Despite its presence in several regions of Brazil in the form of various popular rhythms and regional dances of African origin, especially in the states of Bahia , Pernambuco , Maranhão , Minas Gerais and São Paulo , as a musical genre is considered an urban musical expression the city of Rio de Janeiro , where this form of samba was born and developed between the late nineteenth and early twentieth century . It was in the former capital of Brazil that the dance practiced by former slaves came into contact with other genres and incorporated , acquiring a character: polka, maxixe , Lundu , xote , among others. Thus, although there are other regional forms in Brazil , was the samba carioca it reached the status symbol of Brazilian national identity during the years 1930.5 June 7 In 1917 was recorded in Rio de Janeiro Pelo Telefone , with the voice of the musician Baiano , the first recording of a samba as recorded by the National Library of Brazil . Launched on January 20, 1917 in 78 RPM format . Ernesto dos Santos , best known as Donga , and the chronicler of carnival Mauro de Almeida , recorded the work as their own at the National Library . However, it considered that it was actually a collective of musicians who participated in the meetings of Candomble temple ialorixá Ciata Aunt . He became the first composition to achieve success under the banner of samba and contributed to the popularization of the genre. Thereafter , the urban samba carioca began to be disseminated throughout Brazil , associated with the carnival and later with its own place in the music market . Emerged several composers as Heitor dos Prazeres , João da Bahian , Pixinguinha and Sinhô , although his sambas were considered amaxixados and they were called samba - maxixe . The modern features of this urban samba carioca down towards the end of the 1920s , innovations from two fronts : with a group of composers of carnival blocks in the neighborhoods Estacio de Sá and Osvaldo Cruz and snouts composers the city such as Mangueira , Salgueiro and São Carlos.6 This format is called samba genuine or root . As the samba carioca was consolidated as an urban and modern musical expression , became widely distributed on the radio , reaching other hills and the southern districts of Rio de Janeiro. Although at the beginning it was criminalized by their black origins , the samba won middle-class audiences . In the 1930s , a group of musicians led by Ismael Silva founded the first Samba School , Deixa Falar , in the neighborhood of Estacio de Sa. They transformed the musical genre to fit better in the Carnival parade . In this decade, the radio spread the genres popularity throughout the country , and with the support of President Getúlio Vargas , became the official music of Brazil . In the following years , samba took many directions. From the elegant samba- song ( samba- canção ) to drum orchestras that accompanied the Carnival parade . One of these new styles was the bossa nova , made at first by people of European middle class . The bossa nova gained worldwide popularity through the work of João Gilberto and Antonio Carlos Jobim , among others, and came to America with Gilberto albums by the American jazz saxophonist Stan Getz , and Jobim soundtrack of the movie Black Orpheus ( Orfeo black ) in 1959. In the 1960s , Brazil was politically divided with the arrival of a military dictatorship , and the leftist musicians of bossa nova started to pay attention to the music made in the favelas. Many popular artists were discovered at this time . Names like Cartola , Nelson Cavaquinho , Velha Guarda da Portela , Zé Keti , and Clementina de Jesus recorded their first albums . In the 1970s , samba returned to the airwaves with composers and singers like Martinho da Vila , Clara Nunes and Beth Carvalho. At the beginning of the decade of the 1980s , having eclipsed his popularity with the advent of disco and Brazilian rock , Samba reappeared in the media with a musical movement created in the suburbs of Rio de Janeiro. It was the pagode a renewed samba , with new instruments - like the banjo and tantan - and a new language that reflected the way many people talk about then. Most popular artists were Zeca Pagodinho , Almir Guineto , Grupo Fundo de Quintal , Jorge Aragão and Jovelina Perola Negra. The samba is extremely popular in Japan , especially in its more traditional forms , while some samba as Nelson Sargento , Monarco , and Wilson Moreira have recorded specifically for the Japanese market and spent a long time in this country tours . Contents [ hide ] 1 History 1.1 Background 1.1.1 Origins of the word samba Favela and Aunts 1.1.2 Baianas 1.2 scenes Bahia and São Paulo Samba 1.2.1 antigo old Bay Samba 1.2.2 Paulista Antigo 1.3 The first decades of the twentieth century 1.3.1 Pelo Telefone 1.3.2 Turma do Estacio 1.3.3 Popularization 1.3.4 The art of samba : improvise 1.3.5 samba and Carnival 1.3.6 Time of the radio 1.3.7 Other aspects and variations 1950 Decade 1.4 1.5 Decade 1960 1.5.1 Fusion with the Funk 1970 Decade 1.6 1.6.1 Overcrowding High Party style Samba 1.6.2 - Joia 1980 Decade 1.7 1.7.1 The pagode 1.8 1990s Samba 1.9 in XXI century 2 Subgenera 2.1 common Samba 2.2 High Party 2.3 Pagode 2.3.1 Neopagode Samba 2.4 breque 2.5 Samba - canção 2.6 Samba -enredo 2.6.1 Sambalanço 3 References 4 Bibliography 5 External links History [ edit · edit code ] The following text is a translation faulty or incomplete. If you want to contribute to Wikipedia , find the original article and enhances or ends this translation. You may give notice to the author of the paper pasting the following code in your talk page : { { subst: mistranslated Notice | Samba (music ) } } ~ ~ ~ ~ Background [edit · edit code ] Origins of the word samba [edit · edit code ] There are several versions about the birth of the term samba . One of them claims to be from the end Zambra or samba , come from Arabic , having been born more precisely when invasion of the Moors to Iberian Peninsula in the eighth century . Another says it is from one of the many African languages , possibly the Quimbundo , where Sam és give and ba is receiving or the thing that falls . The drumbeats practiced during the nineteenth century Brazil , in painting by Johann Moritz Rugendas . In Brazil , it is believed that the word samba is a corruption of Semba ( navel) - word of African origin and possibly derived from Angola or Congo , whence came the majority of slaves to Brazil . One of the oldest records of the word appeared in the magazine The Carapuceiro , Pernambuco , dated February 1838 , when Father Miguel Lopes Gama of Sacramento wrote against what he called samba d Almocreve - ie does not refer to future musical genre , but a kind of merriment ( dance drama ) popular for black people of that time. According to Hiram Araújo da Costa, over the centuries , the festival of dances of slaves in Bahia were called Samba . In the middle of the nineteenth century , the word samba are defined different types of music made by African slaves when performed by different types of batuques , but assumed its own characteristics in each Brazilian state, not only by the diversity of tribes of slaves , and the peculiarity of each region in which they were settlers. Some of these popular dances were known : bate- baú , samba - corrido, samba- de- roda , samba -de- Chave and samba- de- Barravento , Bahia , coconut, in Ceará , drum -de- crioula ( or put ) , in Maranhão , bartered , coco- de- parelha , coconut samba - Travado soco in Pernambuco Bambelô in Rio Grande do Norte , partido alto , miudinho , jongo and caxambu , in Rio de Janeiro , samba- Lenço , samba -rural , tiririca , miudinho and jongo in São Paulo . Favela and Aunts Baianas [edit · edit code ] Since the second half of the nineteenth century as black and mestizo people in Rio de Janeiro - from various parts of Brazil, especially in Bahia, and the ex soldiers Canudos in turn of the century - has grown these people the vicinity of Morro da Conceição , Pedra do Sal , Praça Maua , Praça Onze , Cidade Nova, Saúde e port area . These poor communities are calling themselves these people the slums (later the term became synonymous with irregular buildings of the poor) . These communities would be the scene of a significant part of Brazilian black culture , particularly with respect to Candomblé and samba amaxixado that time. The former musician and dancer stands Hilario Jovino Ferreira - responsible for the founding of several blocks and ranches afoxé Carnival - and the Aunts Baianas - within many slaves were known as the descendants of Bahia in the late nineteenth century . The main Aunts Baianas , highlights Aunt Amelia (mother of Donga ) Bebiana Aunt , Aunt Monica (mother of Pendengo and Carmen Xibuca ) , Aunt Prisciliana ( mother João da Bahia) , Aunt Rose Olé , Sadat aunt , aunt Veridiana (mother of Chico s Bahian ) . Perhaps the best known of these was Hilaria Batista de Almeida - Tia Ciata . Thus, the samba and musical genre itself would have been born in the early twentieth century in the homes of these Bahian aunts as a style derived from Lundu , festivities of terreiros between umbigadas ( Semba ) and capoeira movements , pace marked by the tambourine , prato -e- fACA and palm . There are some controversies about the word samba- raiado , one of the first appointments of samba . It is known that the samba- raiado is characterized by the sound and accent Bahian backlands and rural Bahian aunts led by Rio de Janeiro. According to João Bahian , samba - raiado was the same as chula raiada or party samba -high . For sambista Caninha , this was the first name would have heard at Aunt Dada. At the same time came the samba- corrido , a line that had a more elaborate harmony , but rural Bahian accent , and the samba- chulado , more rhythmic, with a melody that characterized the urban samba carioca . Scenes from the Bahia and São Paulo [edit · edit code ] The urban carioca samba is the anchor century as the Brazilian samba par excellence. However, before this type of samba to consolidate as the national samba in Brazil , there are traditional forms of sambas in Bahia and São Paulo . Samba antigo old Bahia [edit · edit code ] The rural Bahia samba acquired other names as choreographic variations - for example, the samba- de- chave , where the soloist dancer faking looking wheel in the middle of a key, and when found , was replaced. The poetic structure of Bahian samba followed the way back and choir - consisting of a single verse, a solo , followed by another , repeated by the chorus of dancers as the wheel falderal . No chorus , the samba is called samba- corrido, rare variant . The corners taken by one singer , one of the musicians , or soloist dancer . Another peculiarity of the Bay of samba is a form of competition that dances sometimes presented , it is a dispute between participants to see who performed better your data soloists. In addition to the navel , common to all sambas , the Bahia presented three basic steps : cut - to- joca , separate or - visgo and apanha -o- bago . There is also another choreographic element , danced by women : the miudinho ( this also appeared in São Paulo , as dance solo in the center of the wheel). The instruments were the Bay of samba tambourine, guitar, rattle and sometimes the castanets and berimbaus . Samba Paulista Antigo [edit · edit code ] In São Paulo , samba became the domain of blacks and Caboclo . And in rural areas, can provide without the traditional navel. There are also other choreographic variations , the dancers may be available in the front row - the men on one side , women on the other. The instruments of the samba paulista were violas , jealousy and tambourines . There are references to this type of samba in the ranks of Goiás , with the difference that there remained in the navel. It is possible that the importance of the wheel, in Goiás , has been modified by the influence of gang or cateretê . According to historian Luis da Câmara Cascudo , we can see the influence of the city on the fact that samba also danced by pair conexiones.8 The first decades of the twentieth century [edit · edit code ] Pelo Telefone [edit · edit code ] Grandmother of the composer Bucy Moreira , Ciata Tia was one of those responsible for the sedimentation of samba carioca . According to the folklore of time, a samba for success would have to spend the Aunt Ciata and approved on wheels samba party , who reached the last days . Many compositions were created and sung in improvisation , where the samba Pelo Telefone ( By Phone by Donga and Mauro de Almeida ) , song for which there were also many other versions , but to get to the history of music Brazilian and the first to be recorded in 1917. While other recordings have been recorded as samba before Pelo Telefone , this composition was done by double Donga / Mauro de Almeida , who is regarded as founder of the genre framework . However, the song is written and discussed its proximity to the maxixe did eventually designated as samba- maxixe . This section was influenced by maxixe dance and basically played the piano - unlike the Rio samba played the carioca hills - and the composer has exponent Sinhô , self-titled King of Samba , which with other pioneers such as Heitor dos Prazeres and Caninha , lay the foundation of the first musical genre. Turma do Estacio [edit · edit code ] From Favela of Mangueira samba legends have come as Cartola . The spread of real estate speculation in Rio de Janeiro has formed several hills and shantytowns in Rio urban scenes , which would be the breadbasket of new musical talents . Almost simultaneously , the samba carioca was born in the center of the city ascended up the hillsides and spread outside the periphery , to the point that , over time , be identified as samba de morro informally . At the end of the 1920s , was born in the carnival samba of blocks in the districts of Estacio de Sá and Osvaldo Cruz, and the hills of Hose, Salgueiro , and São Carlos , which would make innovations in rhythmic samba that persist until today . This group is to highlight the Turma do Estacio , which still faces Deixa Falar the first samba school in Brazil . Formed by some composers in the neighborhood of Estacio , including Alcebiades Barcellos ( Bide ) Armando Marcal , Ismael Silva , Nilton Bastos and the thugs - sambistas Baiaco , brancura , Mano Edgar , Mano Rubem , the Turma do Estacio brand history of the Brazilian samba by injecting more pace to the genre , which has support from middle-class children , as former law student Ary Barroso and former student of medicine Noel Rosa. Initially a carnival ranch , then a block of Carnival and finally a samba school , the Deixa Falar was the first to march to the sound of an orchestra of percussion Surdo , tamborins and cuícas , who joined tambourines and rattles. This group was called battery and lends itself to the monitoring of a type of samba which is very different from those of Donga , Sinhô and Pixinguinha . The samba fashion quickly signed Estacio de Sa samba carioca as by excelencia.9 The Turma do Estacio has made the appropriate samba rhythm so they could be accompanied by carnival parade , thus distancing the progress of composers like Sinhô amaxixados . Moreover, its wheels of samba were attended by composers from other hills Cariocas , as Cartola , Carlos Cachaça , and then Nelson Cavaquinho , Geraldo Pereira , Paulo da Portela , Alcides Malandro Histórico, Manace , Chico Santana , Molequinho and Aniceto do Império Serrano . Accompanied by a tambourine , a drummer , one cuica and deaf, these sneakers created the spread of samba- of - morro.8 Popularization [edit · edit code ] After the founding of Deixa Falar the phenomenon of the samba schools took over the scene and helped boost Rio samba subgenera of high Party ( singing challenge the terreiros ) to the samba -enredo to track parade of samba schools of Rio de Janeiro. The art of samba : improvise [edit · edit code ] Sung on the terraces of the samba schools or pagodes - called usual festive gatherings , watered music , food and drink - the Partido Alto samba originated in Africa and is the navel shape samba closest to the origin of the batuques of Angola, Congo and other nearby regions . The party high tends to be divided into two parts: the chorus and verses . This song is the art of creating poetry in general , and suddenly consists of pieces of oral tradition and singing in a melodic line or preexisting also improvised practice different maneras.10 11 The schools of samba and Carnival [edit · edit code ] Along with the samba schools , samba -enredo became one of the national symbols of Brazil . Initially, the samba -enredo was not tangle , but that changed when the state - rather the Estado Novo of Getúlio Vargas - took the organization of parades and forced the samba -enredo talk about the official story Brasil.12 The letter samba -enredo tells a story that serves as a frame for the development of the presentation of the samba school . Overall , the song is sung by a man , always accompanied by a small guitar ( Cavaco ) and drums ( Left-Handed , Caxias , Chimes , etc. . ) Samba school , producing a complex sound and dense texture known as batucada . He started out as the Carnival of the ranches , schools - initially with Mangueira , Portela , Império Serrano , Salgueiro and in the following decades, with Beija -Flor , and Mocidade Independente Leopoldinense - to grow and dominate the Rio Carnival , transforming big business with a strong impact on tourist traffic . During the thirties , was unusual in a parade of the samba school in the first half, without making this a samba, and the second part , the best versadores improvisations , usually sambas terreiros leaving school (now quadra ) . These were known as Samba -de- Terreiro . Radio Times [edit · edit code ] Carmen Miranda in the movie The Gang s All Here. The Luso-Brazilian singer helped to spread the samba internationally. Since the thirties , the popularization of radio in Brazil helped to spread the samba across the country . The issue helped popularize canção samba and samba- exaltação , subgenres so interpreted. The first samba- song was Ai , Ioiô ( 1928 ) , with the recording of Aracy Cortés. Also known as half of samba , samba - canção has become in the next decade. It is a slower pace of music and had an emphasis on melody and generally easy acceptance. This aspect was later influenced by foreign beats , first by fox trot and the 1940s, the bolero. If several of the topics in the nose samba speak of cunning , female behavior , slums , samba - canção shifts the focus to the subjective pain and ingratitude , mainly suffering for love, and as a reminder of bolero theme when not assuming a tone of complaint. It was considered a subgenre quintessential middle class . Beyond Ai , Ioiô some other classic samba- canção were Risque , No Rancho Fundo , Copacabana and Ninguém Loves Me . His most famous composers were Noel Rosa , Ary Barroso , Lamartine Babo , Braguinha (also known as João de Barro ) and Ataulfo Alves . Other highlights of this style were Antonio Maria , Custódio Mesquita , Dolores Duran , Fernando Lobo, Henrique Vogeler , Ismael Neto, Lupicínio Rodrigues , Adoniran Batatinha and Barbosa , the latter charged with satirical doses. At the end of the 1950s with the advent of bossa -nova , samba - canção turned more toward the blues and gave voice to softer issues , such as the beach , the sea, the sun , the area cultivated for a new generation of composers such as Carlos Lyra , Mario Telles , Roberto Menescal , Ronaldo Boscoli , led by the poet Vinicius de Moraes . This type of song uses the beat of two quarters , influenced by the cool jazz guitar Barney Kessel and voice of Julie London in the album Julie is my name . But the state ideology of Getúlio Vargas has contaminated the scene of the samba . From cunning converted O Bonde São Januário ( Ataulfo Alves and Wilson Batista ) reached Aquarela do Brasil ( Ary Barroso ), recorded by Francisco Alves in 1939. The song marked the sub -genre samba- exaltation - was the first hit song in Brazil and abroad . The exaltation samba was characterized by extensive composition of melody and patriotic verses . The singer Carmen Miranda was able to design this samba internationally through the cinema . Villa -Lobos was one of the renowned intellectual who recognized the value of samba . With the support of President Getúlio Vargas , the samba won status as the official music of Brazil . However, this condition of national identity was also recognition of intellectuals such as Heitor Villa- Lobos, who arranged a recording with the master North American scholar Leopold Stokowski ship in Uruguay , 1940 , which marked Hat, Donga , João da Bahia , Pixinguinha and Zé da Zilda . Also emerged in the 1940s a new crop of artists such as Francisco Alves , Mario Reis , Orlando Silva , Silvio Caldas and also Aracy de Almeida , Dalva de Oliveira , Elizeth Cardoso , among others. Other aspects and variations [edit · edit code ] Even during the 1930s , but especially from the mid of the 1940s and throughout the fifties , the samba has received new influences of Latin rhythms and North America . Urban concentrations provoke the appearance of the first popular nightclubs , gafieiras calls , setting new styles emerging in the heart of samba, as in the case of samba- choro and samba gafieira . The gafieira samba was a sub - genre emerged under the influence of Latin rhythms and American - usually instrumental and played by North American orchestras (suitable for dances practiced in public rooms , hook and cabarets ) - who came to Brazil in the mid- 1940s and throughout the 1950s . However, the samba- choro samba is a variant of which appeared in 1930 in that mix mourn phrasing instrumentation ( with flute) to samba drumbeats . Among the first songs in the style em excesso Love and Love parceria . In 1933 , Heitor dos Prazeres launched the samba Eu choro and the ending breque ( English break) , then popularized with reference to the snapshot of the new car brake . Thus arose the samba- de- breque . Variant samba- choro , samba -de- breque was characterized by a markedly syncopate rhythm with stops, breque call , during the song of the singer to make a speech . This stops the singer used to fit the phrases I just mentioned , humorous dialogues and comments from the singer - with grace and cunning in the narrative. Luis Barbosa was the first such work of samba, which met in Moreira da Silva its highest expression. Another to be noted in this chapter was Germano Mathias . 1950s [edit · edit code ] In the 1950s , seem sambalada - A kind of samba- song lyrics romantic ballads and slow as launched in the Brazilian market . The High Party reappeared among the composers of the samba schools of Rio hills , but it was not connected to a type of dance , but in the form of improvisation sung in each case , alternating with chorus sung by famous assistance . Some partideiros , Geraldo Pereira highlighted , Herivelto Wilson Martins and Batista . However, a movement born in the south of Rio de Janeiro , strongly influenced by jazz, marking the history of samba and Brazilian popular music that decade. The bossa nova emerged at the end of the fifties , with originally rhythmic accent which divided the writing of the samba and added influences of jazz and academic Impressionism , and a different style of singing, intimate and soft. After precursors such as Johnny Alf, João Donato , and musicians like Luis Bonfa and boy , this sub -genre was inaugurated by João Gilberto , Tom Jobim and Vinicius de Moraes , and would have a generation of disciples, followers and Carlos Lyra , Roberto Menescal , Durval Ferreira and groups like Tamba Trio , Bossa 3 Zimba Trio , and The Cariocas . Also at the end of the 1950s , comes the sambalanço , a branch of the popular bossa nova (which was most appreciated by the middle class ) . Also mixed with samba and jazz rhythms North America. The sambalanço was very touched in the suburbs of the dances in the sixties , seventies and eighties . This style designed as Bebeto artists , Bedeu , Scotland 7 , Djalma Ferreira , the dream , Dhema , Ed Lincoln and together, Elza Soares , Joni Group Mazza, Luis Antonio , Luis Bandeira , Luiz Miltinho Wagner , among others. Already Century, such as groups as you like and Funk Clube do Balanço have continued to dance and keep alive this sub -genre . 1960s [ edit · edit code ] Sergeant Nelson joined the group A Voz do Morro . With bossa nova , samba is further away from its popular roots . The influence of jazz deepened , and techniques have been incorporated classical music . From a festival in Carnegie Hall of New York , in 1962, the bossa nova reached worldwide success . But over the decades of sixties and seventies, many artists who emerged as Chico Buarque de Holanda , Billy Blanco, Martinho da Vila , and Paulinho da Viola advocated the return of the traditional samba pace , with the return of veterans Lamp , Hat, Nelson Cavaquinho and Zé Keti . In the early 1960s was the Movement for Revitalization Root Samba , promoted by Center for Popular Culture , in collaboration with the National Union of Students. It was the time of the appearance of the bar shows the samba Zicartola the Arena Theatre and the Santa Rosa and musical theater as Rosa de Ouro . Produced by Herminio Bello de Carvalho , the Rosa de Ouro revealed Eagle Courts and Clementina de Jesus. Within the bossa nova emerged dissent. One of them generates the Afro - Sambas of Baden Powell and Vinicius de Moraes . Moreover, the movement came Sambistas traditional samba revised the hill , especially Hat, Elton Medeiros , Nelson Cavaquinho , Zé Keti and also lamp , Monarco , Monsueto and Paulinho da Viola . The example of Calfwite Paulo da Portela , mediates the relationship of the hill town where the samba pursued, Paulinho da Viola - Portela also - would be an ambassador of traditional gender art to a wider audience , including tropicalista . Also on the bossa nova appear Jorge Ben his contribution to the merger with the copyright rhythm and blues North America, also the appearance of a subgenre called swing ( or samba -rock) . During the sixties , appeared Sambistas groups formed by previous experiences with the world of samba and songs recorded by great names of Brazilian music . Among them The Five Criollos (composed Anescarzinho do Salgueiro , Elton Medeiros , Nelson Sargento , Jair de cavaquinho and Paulinho da Viola , later replaced by Mauro Duarte ), A Voz do Morro ( Anescarzinho composed of Salgueiro , Elton Medeiros , Jair the Cavaquinho , Nelson Sargento , Oscar Mustache, Paulinho da Viola , Joe Cruz and Zé Keti ) , Messenger do Samba ( Candeia and Piccolino da Portela ) , only Five ( Jair the cavaquinho , Old, Wilson Moreira , Zito and do Salgueiro Zuzuca ) . Outside the main scene called Brazilian popular music festivals , samba is in Bienal do Samba in the late sixties, the space for the big names of the genre and followers. Even in the last decade , came the samba- excitement carnival blocks breath Ounce ( Catumbi ) Cacique de Ramos (Ceramics ) and bohemian Irajá ( Irajá ) . Fusion with the Funk [edit · edit code ] Also in the 1960s came the samba- funk. The samba -funk emerged at the end of the 1960s with pianist Don Salvador Group and its Abolition , incorporated with the samba funk North American newcomers in Brazilian lands . With the last journey of Don Salvador United States, the Group closed the business, but in the early 1970 s some former members affected Luiz Carlos , José Carlos Barroso and joined Christopher Oberdan Magalhaes Bastos , Jamil Joanes , Cláudio Lúcio da Silva Stevenson and to form Black River Band . The new group has deepened the work of Don Salvador in the binary mixture of the bar with the Brazilian samba funk of the American Quaternary , based on the dynamics of implementation , driven by drums and bass.
Posted on: Wed, 20 Nov 2013 14:03:03 +0000
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