Samba Minha Verdade, Minha Raiz

Dona Ivone Lara

1978

Cover of Samba Minha Verdade, Minha Raiz
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Why This Album Matters

Released in 1978, Samba Minha Verdade, Minha Raiz marks Dona Ivone Lara's solo phonographic debut, consolidating her as an essential voice and one of the greatest composers of Brazilian samba. At 56, already revered in the samba world, the artist presented a work that is a manifesto of her identity and the depth of her connection with the genre. The album transcends a mere collection of songs, functioning as a letter of noble principles from a sambista who paved the way for women in a predominantly male environment. It demonstrates Dona Ivone Lara's ability to blend the lyricism of samba-canção with the authenticity and strength of partido alto and samba de terreiro, revealing a work of rare beauty and emotion. It is a record that celebrates the purity and strength of samba de raiz, expressing Dona Ivone's devotion to the beauty of this genre that guided her entire career. The delicacy of her interpretation and the depth of her compositions solidify Dona Ivone Lara's place as a unique figure in Brazilian popular music.

Context

Before recording her first solo album, Dona Ivone Lara already had a long and respected career as a composer. In 1965, she made history by becoming the first woman to join the composers' wing of the traditional samba school Império Serrano, co-writing the samba-enredo "Os cinco bailes da história do Rio", which secured the runner-up position in that year's Rio Carnival. Alongside her passion for samba, Yvonne Lara da Costa, her birth name, dedicated 37 years to other professions: nurse and social worker. Only after retiring in 1977 did she fully dedicate herself to her musical vocation. The year 1978 was particularly significant, as it was when she met Délcio Carvalho, who would become her great musical partner, with whom she would compose works that would become immortal in the Brazilian songbook.

Recording

The album Samba Minha Verdade, Minha Raiz was produced by Adelzon Alves and released by EMI-Odeon in May 1978. Renato Correa's production is also credited on some tracks, such as the song "Minha Verdade". The album cover is an element that reinforces the work's proposition: Dona Ivone Lara appears prominently, surrounded by men of simple appearance but great reputation in the samba world, emphasising her position as a "sambista de raiz" and a respected woman among the bambas. This image is perfectly coherent with the musical content presented, a top-class samba, created by a great poet.

Songs

Comprising 12 tracks, the album is a celebration of samba in its diverse forms. It opens with "Minha Verdade", a partnership between Dona Ivone Lara and Délcio Carvalho, which had already been released on record two years prior, sung by Elizeth Cardoso. The partnership with Délcio Carvalho stands out in several lyrical compositions on the album, such as the beautiful and then unreleased "Aprendi a Sofrer", "Espelho da Vida" and "Nas Sombras da Vida". The title track, "Samba, Minha Raiz", also composed with Délcio Carvalho, is one of the album's highlights. Its lyrics describe samba not only as a musical style, but as a vital force capable of transforming sadness into joy and uniting people around a shared identity. The verses "O samba é minha raiz, minha herança e meu viver" reinforce the feeling of belonging and the importance of samba in the artist's journey and identity. The repertoire balances lyrical sambas with partidos altos and sambas de terreiro, highlighting the versatility and depth of Dona Ivone Lara's work. Among the tracks, "Em Cada Canto Uma Esperança" and "Quando a Maré", a portelense-style samba sung in a duet with Alcides, also stand out.

Rankings

Tracks

Credits

Executive-Producer, Liner Notes

Marcelo Fróes

Vocals

Roberto Ribeiro

Vocals

Miltinho

Drums

Wilson das Neves

Project Manager

Sônia Antunes

Promotion

Alexandre Sarthou, Luiz Garcia, Mauricio Dias, Zenir Kunz

Remastered By

Luigi Hoffer

Art Direction

Rafael Ayres, Ricardo Leite

Design

João Marcelo

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Analyses