Chão da Mangueira
Xangô da Mangueira
1982
Why This Album Matters
Chão da Mangueira, released in 1976, is an emblematic album in the discography of Xangô da Mangueira, one of samba's most authentic and respected voices. This work consolidates the essence of the sambista as a master of partido-alto, a genre in which he excelled through improvisation and a deep connection to the roots of Rio de Janeiro samba. The record transcends a mere musical recording, representing a vital register of samba de terreiro and other forms that Xangô mastered with expertise. Through its tracks, the album offers a panorama of the rich musical culture that flourished in the favelas and suburbs of Rio de Janeiro, with Mangueira as its main birthplace. The album's sound is an invitation to enter the universe of traditional samba, marked by its cadence, improvisation, and the poetic narrative of daily life and popular festivals. It is a work that resonates with the tradition and innovation intrinsic to samba. The musical style present in Chão da Mangueira encompasses partido-alto, jongo, samba de roda, and samba de breque, demonstrating Xangô's versatility in traversing different shades of samba. His deep and rustic voice, forged in the samba experience and his connection to Estação Primeira de Mangueira, gives the album a unique and timeless character, serving as a testament to the richness of Afro-Brazilian culture.
Context
Olivério Ferreira, Xangô da Mangueira, was born in 1923 in Rio de Janeiro and began his samba journey in the 1940s, passing through schools such as União de Rocha Miranda and Portela, where he was a disciple of Paulo da Portela. His move to Estação Primeira de Mangueira, with the permission and endorsement of his master, marked the beginning of over five decades of dedication to the 'verde e rosa' (green and pink, Mangueira's colours). Before Chão da Mangueira, Xangô had already established himself as a 'puxador de samba' (samba caller) and, later, as the school's harmony director for many decades, a role which gave him the responsibility of initiating the samba, singing the first passage in the correct key for the school's choir. In the 1970s, Xangô da Mangueira had already recorded other LPs for the Tapecar label, such as O Rei do Partido-Alto (1972) and Velho Batuqueiro (1975), and was engaged in intense artistic activity, performing as a singer in Brazil and abroad. Chão da Mangueira was released during this period of effervescence in his recording career, being the third of four albums he recorded for Tapecar.
Songs
The album Chão da Mangueira presents a selection of sambas that reflect the diversity and depth of Xangô's universe. Among the notable tracks, "Festa de Santo Antônio" stands out, a composition by Dona Ivone Lara that Xangô recorded even before the author herself registered it on a solo record. On this song, which became an essential soundtrack for samba rock parties, Bezerra da Silva contributed with his tumbadora percussion. Other important compositions on the album include "Mineiro, Mineiro" (by Rubem da Mangueira and Ivan Carlos), "Você Não é Não" (by Alcides da Portela and Xangô), "O Pagode Levanta Poeira" (by Xangô and Zagaia), "Amaralina" and "Catimbó" (both partnerships between Xangô and Waldomiro do Candomblé). The track "Isso Não São Horas", by Xangô and Catoni, is also highlighted, featuring Catoni and Jorge Zagaia in a duel of versadores (improvised rhymers), a striking characteristic of partido-alto gatherings. The lyrics frequently explore the sambista's rural experience, incorporating elements of jongo, calango, and even 'repente nordestino' (Northeastern impromptu verse), mixing influences that shaped his urban partido-alto style with 'caipira' (countryside) touches.
Legacy
The importance of Chão da Mangueira, and of Xangô da Mangueira's entire phonographic work, was reasserted in 2012, when his first four records, including this album, were reissued on CD by the Discobertas label, with original covers and back covers. This reissue attests to Xangô's historical relevance for samba, ensuring that his essential discography remained accessible to new generations. Although there are no specific data on immediate sales or awards at the time of its original release in 1976, Xangô da Mangueira's influence is undeniable, extending to various representatives of the genre, such as Martinho da Vila. Xangô's compositions were recorded by major names in Brazilian music, such as Clara Nunes and Roberto Ribeiro, demonstrating the reach of his works beyond his own voice. The album O Rei do Partido-Alto (1972), for example, contained the original version of "Quando Vim de Minas", popularised by Clara Nunes in 1973. The reissuing of his records in 2012 and events such as the 'Tributo a Xangô da Mangueira – 100 Anos' in 2023, reinforce the posthumous recognition of his lasting contribution to MPB and, in particular, to samba.
Rankings
Tracks
Credits
Jorge Coutinho
Chico Brahmma
Alexandre De Souza Lima
Books
Analyses
LP Xangô Da Mangueira: Chão Da Mangueira - Samba Clássico 1982
lojamonstro.com.br
"Chão da Mangueira" é um álbum fundamental de samba, lançado originalmente em 1976 pelo selo Tapecar, com reedições posteriores, apresentando 12 faixas marcantes do partido-alto de Xangô da Mangueira.
Chão Da Mangueira | Xangô Da Mangueira
xango-da-mangueirase.bandcamp.com
Alright, so I finally sat down with Xangô Da Mangueira's Chão Da Mangueira, that 1982 samba gem. Been hearing whispers about it forever, like it's some holy grail for samba heads.
Chão Da Mangueira | Xangô Da Mangueira
xango-da-mangueirase.bandcamp.com
Alright, so I finally sat down with Xangô Da Mangueira's Chão Da Mangueira, that 1982 samba gem. Been hearing whispers about it forever, like it's some holy grail for samba heads.
Discogs
Chão da Mangueira – Discogs
discogs.com