Canto das Três Raças
Clara Nunes
1976
Why This Album Matters
The album Canto das Três Raças, released in 1976, is one of the cornerstones of Clara Nunes' discography and a landmark in Brazilian Popular Music. Named after its iconic title track, the work solidified Clara's image as one of the greatest interpreters of samba, MPB and Brazilian cultural identity. Through her luminous voice, the artist wove a musical panorama celebrating Brazil's diverse ethnic roots: indigenous, African and European, adopting the moniker "Cantora das Três Raças". This work goes beyond musical entertainment, positioning itself as a vibrant manifesto of 'brasilidade' (Brazilian-ness). Clara Nunes' interpretation, with her voice described as "silky", "graceful" and "effortless", yet at the same time "powerful and earthy", brought to life compositions that resonate deeply with the country's soul, reaffirming the singer's commitment to Afro-Brazilian culture and samba traditions. Although specialist critics may have varied opinions on whether it is her strongest work compared to other albums, it is undeniable that Canto das Três Raças is a classic in her oeuvre and in MPB.
Context
In 1976, the year Canto das Três Raças was released, Clara Nunes was already a prominent figure in Brazilian music, with a series of successes that established her as a singular voice. She had paved the way for the rebirth of acoustic pagode samba in the early 70s and stood out as the first Brazilian woman to sell over 100,000 records, an achievement previously only attained by male artists, breaking an important taboo in the phonographic industry. Her career, marked by the valorisation of Afro-Brazilian rhythms and African heritage culture, especially the samba de roda baiano and Candomblé rituals, reached a high point with this album. From 1976 onwards, her producer became Paulo César Pinheiro, also her husband, which further strengthened the creative partnership present in many of her songs.
Recording
The recording of the album Canto das Três Raças took place between 12th July and 2nd August 1976, under the EMI-Odeon label and with production by Renato Corrêa and Paulo César Pinheiro. The mastery and rhythmic authenticity that characterised Clara Nunes' works were ensured by a first-rate ensemble of musicians. On the title track, the band included Wilson das Neves on drums, Carlinhos on cavaquinho, and a powerful percussion team with Pedro Sorongo, Nilton Marçal and Elizeu Felix on rhythm, as well as Cabelinho/Walter Chaves on agogô and Luna on atabaque. Eduardo Gudin contributed on acoustic guitar. The vocal arrangements were enriched by renowned choristers such as Evinha, Marizinha, Regina Corrêa, the Golden Boys and As Gatas. Other musicians who participated in the album on various tracks were João Donato on piano, Aldo Vale on double bass, Valtinho on drums, Severo on accordion, Copinha on flute, Valdir Silva on acoustic guitar and Conjunto Nosso Samba, both on choir and rhythm.
Songs
The title track, "Canto das Três Raças", is the heart of the album and one of the most emblematic creations of the partnership between Paulo César Pinheiro and Mauro Duarte. Its conception, detailed by Pinheiro in his book “Histórias das Minhas Canções”, stemmed from an analysis of the structure of Silas de Oliveira's samba-enredo, with the intention of composing a new samba-enredo for Portela. The lyrics were then developed by Pinheiro to explore Brazil's racial formation, evoking the miscegenation of indigenous, European and African peoples, and concepts such as the "canto triste nascido da miscigenação" and the "banzo do africano". The melody of the striking chorus was finalised in the studio, with the collaboration of Clara Nunes and maestro Gaya, who contributed to the arrangement. The album's repertoire, comprising ten tracks, included other gems such as "Lama", "Alvoroço no Sertão", "Tenha Paciência", "Ai, Quem Me Dera", "Risos e Lágrimas", "Basta Um Dia", "Fuzuê", "Meu Sofrer" and "Retrato Falado". The list of composers is equally stellar, featuring names such as Nelson Cavaquinho, Guilherme de Brito, Paulo Marques, Aylce Chaves, Vinícius de Moraes, Raymundo Evangelista, Aldair Soares, Eduardo Gudin and Paulo César Pinheiro himself. The song "Canto das Três Raças" also historically addresses the "luta dos inconfidentes", although the historical interpretation of this struggle is complex, as noted by Luiz Carlos Villalta.
Legacy
Canto das Três Raças became one of the most important albums of Clara Nunes' career and a tremendous commercial success, with sales reaching approximately 500,000 copies, and other sources indicating over 1.2 million units sold. This success further consolidated the singer's nickname as the "Cantora das Três Raças", a title that encapsulates her artistic essence and her role in representing Brazilian identity. The album's relevance transcends its release period, contributing to fuel the enduring cult of Clara Nunes, especially her discography produced between 1971 and 1982. The title track is recognised as one of Clara Nunes' greatest successes and one of the most beautiful songs in MPB history. Clara Nunes' influence, and that of this album in particular, is notable for having paved the way for other great female sambistas, such as Beth Carvalho and Alcione, who also reached a large audience. The album continues to be reissued, with recent vinyl releases by Universal Music, keeping its relevance alive.
Rankings
Tracks
Credits
Milton Miranda
Francis Hime, Lindolfo Gaya, Nelson Martins Dos Santos
Lindolfo Gaya
Renato Corrêa
Paulo César Pinheiro
Osmar Furtado
Films
Analyses
Canto das Três Raças – Wikipedia
Wikipedia, the free encyclopaedia
História da música "Canto das Três Raças" nos 42 anos sem Clara Nunes
novabrasilfm.com.br
Parceria de Paulo César Pinheiro com o sambista Mauro Duarte, Canto das Três Raças é uma das mais belas canções da história da MPB. Foi eternizada na voz de Clara Nunes, em 1976, no disco que levou o nome da canção.
Coluna Blah: Grandes Discos Brasileiros | 'Canto das Três Raças ...
colunablah.blogspot.com
Grandes Discos Brasileiros | 'Canto das Três Raças' - Clara Nunes (1976) Se é uma voz que tenho o prazer de ouvir e até me emocionar é Clara Nunes que tem interpretações magníficas, suaves, fortes, viscerais e esplendorosas.
Analisando o "O Canto das Três Raças", eternizada na voz de Clara Nunes
maisminas.ig.com.br
Uma das canções que mais expressam a identidade do povo brasileiro é "O Canto das Três Raças", eternizada na voz de Clara Nunes. A canção une três tempos da história do país, traçando um paralelo com o atual.
"Canto das Três Raças": Celebrando Clara Nunes e a Eternidade de sua ...
festivalmusicanova.com.br
Com uma voz potente e emotiva, Clara Nunes interpretou clássicos como "Ê Baiana", "Conto de Areia" e, claro, "Canto das Três Raças", que iremos explorar mais adiante. Sua música não apenas entretinha, mas também educava e provocava reflexões profundas sobre a sociedade em que vivia.
Discogs
Canto das Três Raças – Discogs
discogs.com