Onze Sambas e uma Capoeira
Paulo Vanzolini
1967
Why This Album Matters
Released in 1967, Onze Sambas e uma Capoeira marks a singular moment in Brazilian discography, being the first album dedicated to the work of composer Paulo Vanzolini. This work is notable not only for consolidating the output of one of São Paulo's most celebrated and revered samba artists, but also for presenting it in its entirety to the public via an LP. Prior to this, his compositions already circulated in samba circles and through individual recordings by other artists, making this record a kind of official compilation of already recognised hits, in addition to tracks that would become classics. The album highlights the unique figure of Vanzolini, a renowned zoologist and herpetologist with a doctorate from Harvard and director of the USP Museum of Zoology, who dedicated himself to music as a 'hobby'. His ability to navigate between scientific rigour and the poetic depth of samba lends his work a peculiar sophistication and authenticity, making Onze Sambas e uma Capoeira an essential record for understanding the richness of São Paulo samba and the genius of an artist whose duality between science and art is legendary. It is an inaugural document that celebrates the urban poetry and bohemian melancholy of São Paulo.
Context
Paulo Emílio Vanzolini, born in São Paulo in 1924, led a life marked by a simultaneous passion for science and music. A medical student at USP, he quickly integrated into the city's bohemian circles in the 1940s and 1950s, where his compositions began to gain a voice. Despite his distinguished academic career as a zoologist and director of the USP Museum of Zoology, Vanzolini cultivated samba as an expression intrinsic to his São Paulo identity. The musical environment of São Paulo in the 1960s was effervescent, with nightclubs like Jogral becoming important stages for MPB. It was in this context that Luís Carlos Paraná, owner of Jogral, and Marcus Pereira, who would later found the iconic Marcus Pereira record label, joined forces to produce this album. The initiative aimed to formally gather and record Vanzolini's compositions, many of which were already sung in the capital's samba circles and by renowned artists, but had not yet been compiled into an authorial album.
Recording
The production of Onze Sambas e uma Capoeira was handled by Luís Carlos Paraná and Marcus Pereira, central figures in São Paulo's cultural scene at the time. A notable fact is that the album was recorded at Jogral itself, Paraná's famous São Paulo nightclub, which imbues the recording with an atmosphere of authenticity and the energy of the live performances that Vanzolini so often frequented and inspired. For the arrangements, the album featured the talent of Antônio Pecci Filho, known as Toquinho, and Antônio Porto Filho, known as Portinho. Portinho, incidentally, had already been responsible for the arrangements of the first recording of "Volta por Cima", immortalised by Noite Ilustrada's voice. The record brings together a stellar team of performers, including Chico Buarque, Adauto Santos, Mauricy Moura, Cláudia Morena, Cristina and Luís Carlos Paraná himself, who lent their voices to Vanzolini's songs, attesting to the composer's prestige in the musical world.
Songs
The repertoire of Onze Sambas e uma Capoeira is a mosaic of Vanzolini's poetry and social observation, featuring songs that would become pillars of MPB. Among the highlights are "Ronda" and "Volta por Cima", both already classics even before the album's release. "Ronda", composed in 1945 when Vanzolini was serving in the Army, is a poignant portrait of São Paulo nightlife, inspired by the composer's observations of loneliness and the search for love in the city's streets and bars. Originally recorded by Inezita Barroso in 1953, the song, interpreted on the album by Cláudia Morena, would become a true 'anthem of the city of São Paulo', despite Vanzolini considering it 'sentimental' in his youth. Meanwhile, "Volta por Cima", composed between 1959 and 1960, gained notoriety in the voice of Noite Ilustrada in 1962/1963 and is interpreted by Mauricy Moura on this work. Its verses, which speak of resilience and dignity, became a popular expression in Brazil, even being included in the Aurélio Dictionary. Vanzolini, who composed his melodies without the aid of instruments or theoretical knowledge, merely humming them for musician friends to transcribe, also has tracks like "Samba Erudito" and "Praça Clóvis" interpreted by Chico Buarque. "Samba Erudito" is notable for its intellectual references. Another highlight is "Capoeira do Arnaldo", sung by Luís Carlos Paraná, a song Vanzolini considered his favourite and which was created as a humorous response to a friend.
Legacy
Onze Sambas e uma Capoeira played a crucial role in the formalisation and dissemination of Paulo Vanzolini's work. Initially, the LP was distributed as an end-of-year gift by Marcus Pereira's advertising agency, but it quickly became a landmark. It consolidated Vanzolini's reputation as a "samba scientist" or "bohemian scientist", a figure who united academic depth with the poetic insight of São Paulo's streets. The album's songs, especially "Ronda" and "Volta por Cima", transcended the universe of popular music and became indelible parts of Brazilian culture. They were and continue to be re-recorded by a myriad of great artists, such as Maria Bethânia, Elis Regina, Elza Soares and Chico Buarque, ensuring their timelessness. "Ronda" is universally recognised as one of São Paulo's 'symbolic songs', whilst "Volta por Cima" generated an idiomatic expression that permeates everyday life and Brazilian Portuguese dictionaries. The success of this album also contributed to the notability of the Marcus Pereira record label, which would stand out for its work in rescuing and documenting Brazil's regional musical richness. The record was re-released on CD in 1994, maintaining its relevance and accessibility for new generations.
Rankings
Tracks
Credits
Portinho, Toquinho
Luiz Carlos Paraná
Manoel Barenbein
Rogerio Gauss
Luis D'Horta
Chico Buarque De Hollanda, Marcus Pereira, Raul Duarte
Books
Analyses
Onze Sambas e uma Capoeira – Wikipedia
Wikipedia, the free encyclopaedia
De volta, o primeiro disco do mestre Vanzolini - 50 Anos de Textos
50anosdetextos.com.br
Em 1967 - exatamente como hoje, 2011, ano do relançamento de Onze Sambas e Uma Capoeira -, Chico era o mais famoso dos cantores reunidos para o primeiro disco só com canções de Paulo Vanzolini.
Cliquemusic : Disco : ONZE SAMBAS E UMA CAPOEIRA
cliquemusic.com.br
Paulo Vanzolini (1967) 1967 Marcus Pereira MPL 1020 Faixas 1 Samba erudito (Paulo Vanzolini) 2 Amor de trapo e farrapo (Paulo Vanzolini) 3 Chorava no meio da rua (Paulo Vanzolini) 4 Juízo final (Paulo Vanzolini) 5 Ronda (Paulo Vanzolini) 6 Napoleão (Paulo Vanzolini) 7 Capoeira do Arnaldo (Paulo Vanzolini) 8 Praça Clóvis (Paulo Vanzolini)
Paulo Vanzolini - Onze Sambas E Uma Capoeira (1967)
toque-musicall.com
Vamos nessa com um disco gravado e lançado pelo selo Marcus Pereira em 1967. Um álbum que dispensa apresentações, uma seleção de músicas de Paulo Vanzolini na interpretação de diversos artista. Sem dúvidas, este lp é uma jóia que merece um toque musical.
Paulo Vanzolini: Onze sambas e uma capoeira (1967)
jossa-blog.blogspot.com
Onze sambas e uma capoeira, sem dúvida, é um ótimo ponto de partida para conhecer a obra de Paulo Vanzolini. Além de conter os maiores sucessos do compositor, o álbum conta com os arranjos de Toquinho e interpretações de outros grandes artistas como Chico Buarque e Cláudia Morena.
Discogs
Onze Sambas e uma Capoeira – Discogs
discogs.com