SOTAQUES DO SAMBA
Samba is umbigada - Samba comes from Semba, which means umbigada in Kimbundo.
Semba can also mean liking or gallantry
And comes from the black culture
Samba is the fruit of black culture of Bantu origin in Brazil
In each region of Brazil, Samba gave rise to different variations.
There are those who call them Sambas de Umbigada, Batuques de Terreiro.
We call it Sotaques do Samba
Click in the pictures below to navigate the sotaques
Subsequently, he made soundtracks for films and music or plays, as well as making songs for therapeutic purposes.
In 1970, he created the group Baiafro, initially composed by him and two other percussionists. Working with Afro-Brazilian music, the group grew to 21 members, including dancers.
In 1972, with the Baiafro Group, he participated in the LP "Salomão - The New Dave Pike Set & Baiafro Group in Bahia".
He also participated in the concerts of The Dave Pike Set, The Mild Maniac Orchestra and the German guitarist Volker Kriegel.
In 1975, he took part of the album "Ogum / Xangô", of Jorge Ben and Gilberto Gil. Also in that year, he participated in the albums "Jóia" and "Anything", by Caetano Veloso.
In 1976, he decided to leave the Baiafro group and transfer to Rio de Janeiro. In the same year, he participated with Gilberto Gil, Gal Costa, Caetano Veloso and Maria Bethânia, of the show "Sweets Barbarians". Still in 1976, she traveled with Maria Bethânia to Rome, where she participated in a reopening show at the Teatro Sistina.
In 1977, he traveled to Nigeria with Gilberto Gil, with whom he participated in the Festival of Art and Black Culture. In the same year, he took part in the recording of the LP "Refavela", by Gil, with whom he performed as a percussionist. Also in 1977, he edited for Phonogram the LP "Candomblé", in which recorded several songs of ritual music of the Ketu Group, emphasizing the percussion.
In 1978, he participated with Gilberto Gil at the Montreux Jazz Festival in Switzerland, later on the album. He also participated alongside keyboardist Patrick Moraz, a musician with whom he recorded two albums, from the First International Jazz Festival of São Paulo.
In 1980, he released the LP "Djalma Correa", all percussion, recorded by Philips, in the series Música Popular Brasileira Contemporânea.
In 1987, he released, with Paulo Moura, Zezé Mota and Jorge Degas, the LP "Black Quartet".
In 2002, in partnership with the Goethe Institut, he dedicated himself to developing the project "The German All Stars Old Friend", a jazz festival that brings together German musicians from other countries.
Discography:
SALOMÃO – The New Dave Pike Set and Grupo Baiafro in Bahia / MPS -1972
BENDENGÓ - Gereba / 1973 - Fontana
JORGE GIL OGUN XANGÔ – Jorge Ben e Gilberto Gil / 1975 - Philips
QUALQUER COISA – Caetano Veloso / 1975 - Philips
JÓIA – Caetano Veloso / 1975 - Philips
SMETAK- Walter Smetak / 1975 – Philips
GIL E JORGE (OGUN XANGÔ) – Gilberto Gil & Jorge Ben /1975 - Polygram
DOCES BÁRBAROS- Caetano Veloso, Gilberto Gil, Maria Bethânia, Gal Costa / 1976 - Philips
OTALIA DE BAHIA - Otalia da Bahia / 1976 - RCA
MEUS CAROS AMIGOS – Chico Buarque / 1976 - Philips
AFRICABRASIL – Jorge Ben / 1976 – Philips
MORTE DE UM POETA – Alcione / 1976 – Philips
OS PASTORES DA NOITE – Otalia da Bahia / 1977 – RCA
*CANDOMBLÉ – Djalma Corrêa / 1977 - Fontana
*BATUCADA No 4 – Djalma Corrêa / 1977 – Philips
REFAVELA- Gilberto Gil / 1977 - Philips
TOQUINHO TOCANDO – Toquinho / 1977 – Philips
BICHO – Caetano Veloso / 1977 – Philips
FILHO DO POVO – Walter Queiroz / 1977 – Philips
O DIA EM QUE A TERRA PAROU – Raul Seixas / 1977 – WEA
MEUS AMIGOS SÃO UM BARATO – Nara Leao / 1977 – Philips
ALHOS COM BUGALHOS – Almôndegas / 1977 – Philips
NORMA, CANTA MULHERES – Norma Benguel / 1977 Elenco
REFESTANÇA – Gilberto Gil / Rita Lee / 1978- Som Livre
VITAL FARIAS – Vital Farias / 1978 – Polydor
ZEZÉ MOTA – Zeze Mota / 1978 – WEA
BARRANQUEIRO – Marku Ribas / 1978 – Philips
CHICO BUARQUE – Chico Buarque / 1978 – Philips
*MPBC – BAIAFRO – Djalma Corrêa / 1978 – Philips
PATRICK MORAZ – Patrick Moraz / 1978- Polydor
GILBERTO GIL AO VIVO EM MONTREAUX – Montreaux’78 / 1978 – Elecktra-WEA
NOVA HISTÓRIA DA MPB – Abril Cultural (serie) / 1979
MEL – Maria Bethânia / 1979 – Philips
NIGHTINGALE – Gilberto Gil / 1979 - WEA
REALCE – Gilberto Gil / 1979 - WEA
A MASSA – Raimundo Sodre / 1980 - Polydor
KLEITON & KLEIDIR – Kleiton E Kleidir / 1980
FALA MOÇO – Alcivando Luz / 1980 - Disco Independente
COISA DE NÊGO – Raimundo Sodre / 1981 – Ariola
QUE QUI TU TEM CANÁRIO - Xangai / 1981 – Estúdio de Invençoes
REVOLTA DOS PALHAÇOS – Francisco Mario / 1982 – Libertas
MARIA – Maria Bethânia / 1988 - BMG Ariola
PASSION – Peter Gabriel / 1989 – Universal
SO – Peter Gabriel / 1989 – Universal
BRASIL – Manhattan Transfer / 1990 – Atlantic
CANTA BRASIL: GREAT BRASILIAN SONGBOOK, #1 – Compilation / 1990 - Polygram
CANTO DO PAGÉ – Maria Bethânia / 1991 – Polygram
SHAKING THE TREE – Peter Gabriel / 1991 - Universal
THE ANTHOLOGY: DOWN IN BIRDLAND – Manhattan Transfer / 1992 – Rhino
SAMBA SOLSTICE – Marcio Montarroyos / 1993 – Black Sun Records
GOSTO DE BRASIL – Nonato Luiz / 1993 - Milestone
BRASIL: A CENTURY OF SONG, VOL:1 – Compilation / 1995 – Blue Jackel
RETRATOS – Francisco Mario / 1995
BARRO OCO - Maria Bragança / 1998 – Disco Independente
SENHORA DEL MUNDO – Collegium Musicum de Minas / 1999 – Disco Independente
A ORIGEM- Collegium Musicum de Minas / 1999 – Disco Independente
AQUILON – Corciolli, Djalma Corrêa, Maria Bragança / 2000 - Azul Records
A MUSICA BRASILEIRA DESTE SECULO POR SEUS AUTORES E INTERPRETES - Djalma Corrêa / 2000 – SESC SP
fonte: Dicionário Cravo Albin da Música Popular Brasileira
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bio
DJALMA CORREA - The youngest of a traditionally musical family, his grandfather played in a chamber orchestra as a flutist and his sisters became pianists.
At age 12, he moved to Belo Horizonte and started studying music in a more systematic way.
He learned drums with professional musicians, who taught him the traditional beats. He graduated in electronics. He participated in various musical groups in the capital of Minas Gerais.
One day, one of his sisters, who lived in Salvador, sent him a program of a holiday course on electronic music, which made him move to the capital of Bahia.
At the Music Seminary in Salvador, he studied composition and percussion.
After studying a few months in the Seminary, he began to play in the Symphony Orchestra, which forced him to choose a supplementary instrument: the contrabass.
He obtained from the Seminary director a room in the basement of the building and there he installed his workshop. In 1964, he participated in the Teatro Vila Velha, in Salvador, of the show "Nós por exemplo", which included Gilberto Gil, Caetano Veloso, Maria Bethânia, Gal Costa, Tom Zé, Perna, among others, and that would become the beginning of the movement that would later be known as "Tropicalism." At that time, it was defined by percussion, opting to work rhythms and typically Brazilian instruments. He began to add elements to the drums, ranging from drums to a potty. In Bahia, he was the first to use the Timpany on the drums. In the "Nós por exemplo" show, he presented the composition "Bossa 2.000 d. C.", Based on the experience acquired with electronic music for drums.