Da Rua Dos Ossos (2006)
AHR009 (2006)
produced by Beston Barnett
Juju Duarte is an old Bahian statesman that’s spent most of his life singing samba professionally. Da Rua Dos Ossos (or “From the Street of Bones” – it’s the name of the street he lives on, just north of the Pelourinho in Salvador da Bahia), recorded partly in his house in Brazil and partly here in San Diego, covers many styles of Brazilian music – samba velho, bossa nova, samba de roda, pagode. To the extent that all North and South American popular music is a mix of African and European, this album leans towards the African with more percussion and melody, less harmony and less frills. There’s also a lot of sounds recorded from the marketplace, the street, and Juju’s bird-filled house mixed in between songs. Taken as a whole, it is a portrait of a master singer’s many-hued life and loves.
1. Foi Agora Que Eu Chegei
2. Felicidade
3. Deixa A Vida Me Levar
4. Le Le Le Baiana
5. Trem Das Onze
6. Juju canta do Santo Antonio
7. Batucada de Gandhi
8. O Barquinho
9. Madelena
10. Piaba
11. Ignacio
12. Não Vou Pra Casa
13. Juju toca caixa de fósforos
14. Estrada Do Sol
15. Juju canta de Joujoux
16. Samba Da Minha Terra
17. Maria Baiana Maria
18. Do Fundo Do Nosso Quintal
19. Juju dá um bate-papo do Rio
Reviews
AFROPOP – by Banning Eyre
Juju Duarte is an unsung treasure of backstreet Rio de Janeiro. He sang for 20 years in samba clubs in Rio, but also at religious gatherings and street parties. His producer and collaborator here, American musical adventurer Beston Barnett, describes him as “an encyclopedia of Brazilian music.” That may be, but what makes this record so enjoyable, is its folksy, straightforward presentation, as if we, like Barnett, were invited into Juju`s funky home for an intimate music party. Most of these 19 tracks are tuneful bossa novas and gently loping sambas, backed minimally by acoustic guitar, bass, and light percussion, and featuring Juju singing fantastically beautiful melodies with joyful, informal ease.
Juju can croon like a bossa nova romantic (“Estrada Do Sol”) or make a samba funky with scratchy romanticism (“Deixa A Vida Me Levar”) or as moody and melodious as a Cape Verdean morna (“Trem Das Onze”). But there`s a street edge to Juju`s performance that separates these recordings from just about any acoustic-oriented Brazilian release you`ll find. The album works in a couple of a capella performances, short stretches of Juju reminiscing in Portuguese, and some great ambient sounds – lots of singing birds, bands marching by, street drums, partying voices. All this makes for a fast-moving, deeply satisfying flow. Barnett plays a variety of instruments here, and invites others to bring in a delightful array of acoustic sounds – cavaquinho, flute, berimbau, and on one track, what sounds like a bassoon. The accompaniment is tasty but never obtrusive letting this be truly Juju`s session.
There are a few familiar tunes here, two Jobim bossas, and a samba party classic, “Maria Baiana Maria.” But all but the best educated listeners will make discoveries in Juju`s “street of bones.” Two numbers, “Madelena” and “Ignacio” tilt towards Afro Cuban music, the latter even incorporating a clave pattern played on an African bell. If you long for the unvarnished, folksy side of roots samba – that magic mix of urban and rural – without a trace of artificiality or packaging, this one is for you.
THE BEAT – Vol. 26, No. 2, 2007 – by Robert Ambrose
From juju music to Juju Duarte is a jump in continents as well as music style, but the simple acoustic recording of this Brazilian senior has the same allure of authentic music played well and with heart. The songs captured on this session span the history of Brazilian popular music from bossa nova to samba. Duarte sings with an expressive, rich voice that seems comfortable with the various styles, and equally confident in the various recording venues that range from living room to studio. During some of the songs, one can hear birds singing along in the background, and the rich ambient sound fills in the space between a few songs.
I am a slave to percussion and appreciate the multiple textures created by producer Beston Barnett to capture the spirit of Bahia. `Le Le Le Baiana` features the iconic berimbau, stringed percussion foundation for capoeira; very nice. Snippets of live street music and sounds, mixed in with and between songs, add to the spirit of this recording, which offers an aural visit to Salvador, capital of Bahian culture. The CD ends with an extended conversation with Juju in Brazilian Portuguese, a beautiful language to listen to, but it is a track I chose not to put on the iPod. The rest of the album is thoroughly enjoyable, full of generous singing by an unheralded master.
WORLD MUSIC CENTRAL – “Roots Samba from Bones Street” – by Angel Romero
Da Rua Dos Ossos pays tribute to a legendary Brazilian singer, Juju Duarte. Producer Beston Barnett traveled to Salvador da Bahia in Brazil to record the vocals of the veteran singer. Additional music was recorded in San Diego (California).
Duarte has dedicated most of his artistic life to singing samba. For Da Rua Dos Ossos, Duarte chose a collection of Afro-Brazilian songs which include several styles: samba velho, bossa nova, samba de roda, baiana, and pagode.
The acoustic sound of the album has a charming unplugged flavor. Most of the musical accompaniment is composed of stringed instruments and a wide assortment of Brazilian and African percussion.
Juju Duarte still lives on a Rua Dos Ossos (“The Street of Bones”), just north of the Pelourinho in Salvador da Bahia. The CD was partially recorded there and one can hear the sounds of songbirds in the backgrounds.
Lyrics, Credits, and Translations
Juju Duarte – lead vocals
Beston Barnett – all instruments except where noted below
Foi Agora Que Eu Chegei
traditional samba de roda
Foi agora que eu chegei, Dona
Dona me disse, que todavia terminado
Galinha de molho pardo, tinha ter siri catado
Xinxim de galo com farofa de dendê
Se você chega, sino santo, eu guardaba
Um pouqinho pra você
I’ve arrived just now, Dona(1)
Dona tells me , there is still some left
Chicken in brown sauce, it’s got to have fresh-caught crab
Xinxim(2) with rooster and manioc flour fried in palm oil
If you come, ring the bell, I’ll save
A little bit for you.
(1) respectful way of saying “lady”, or “lady of the house”
(2) stew made with salt, garlic, onions, oil, dried shrimp, and pumpkin seeds
Felicidade
written by Antonio Carlos Jobim, Vinícius de Moraes – bossa-nova
Tristeza não tem fim
Felicidade sim…
A felicidade é como a pluma
Que o vento vai levando pelo ar
Voa tão leve
Mas tem a vida breve
Precisa que haja vento sem parar.
A felicidade do pobre parece
A grande ilusão do carnaval
A gente trabalha o ano inteiro
Por um momento de sonho
Pra fazer a fantasia
De rei, ou de pirata, ou jardineira
E tudo se acabar na quarta-feira.
Tristeza não tem fim
Felicidade sim…
A felicidade é como a gota
De orvalho numa pétala de flor
Brilha tranquila
Depois de leve oscila
E cai como uma lágrima de amor.
A minha felicidade está sonhando
Nos olhos de minha namorada
É como esta noite
Passando, passando
Em busca da madrugada
Falem baixo por favor…
Pra que ela acorde alegre como o dia
Oferecendo beijos de amor.
Sadness has no end,
But happiness does…
Happiness is like a feather
That the wind carries through the air
It flies so lightly
But has a short life
It must have unending wind.
The happiness of the poor is like
the grand illusion of carnaval.
The people work the entire year
For one dream-like moment
Of pretending to be
King, or pirate, or florist
and it all ends on Tuesday(1).
Sadness has no end,
But happiness does…
Happiness is like a drop
Of dew on a flower petal
It shines tranquilly
After a light vibration
And falls like a tear of love.
My happiness is dreaming
of the eyes of my beloved
And like this night
passing, passing
In search of the dawn
Speak softly please
So that she wakes happy as the day
Offering kisses of love.
(1) a reference to Fat Tuesday, or Mardi Gras, the day before Ash Wednesday and traditionally the last day of Carnaval
Deixa A Vida Me Levar
written by Serginho Meriti, Eri dos Cais – pagode
featuring Jason Stanyek on background vocals
Eu já passei por quase tudo nessa vida
Em matéria de guarida espero ainda a minha vez
Confesso que sou de origem pobre
Mas meu coração é nobre, foi assim que Deus me fez
E deixa a vida me levar (vida leva eu)
Deixa a vida me levar (vida leva eu)
Deixa a vida me levar(vida leva eu)
Sou feliz e agradeço por tudo que Deus me deu
Só posso levantar as mãos pro céu
Agradecer e ser fiel ao destino que Deus me deu
Se não tenho tudo que preciso
Com o que tenho vivo
De mansinho, lá vou eu
Se a coisa não sai do jeito que eu quero
Também não me desespero
O negócio é deixar rolar
E aos trancas e barrancos, lá vou eu
E sou feliz e agradeço por tudo que Deus me deu
I’ve been through just about everything in this life
When it comes to being sheltered, I’m still waiting my turn
I confess that I was raised in poverty
But my heart is noble, that’s how God made me
Let life carry me (life carries me)
I’m happy and thankful for all God gave me
I can only lift my hands to the sky
To give thanks and be faithful to the destiny God gave me
If I don’t have all I need
with what I have, I live
Smoothly, there I go.
If something doesn’t come out the way I want
I don’t despair either
The trick is to let it roll
Through the ups and downs, there I go
I’m happy and thankful for all God gave me
Le Le Le Baiana
traditional samba de roda
featuring Jason Stanyek on berimbau and Gianni Staiano on djembe
A Baiana me pega, me joga na lama
Eu não sou camarão, camarão me chama
Lê lê lê Baiana
A Baiana deu sinal
The Bahian woman hits me, throws me in the dirt
I’m not a shrimp, but shrimp is what she calls me
Le le le Bahian woman
The Bahian woman gave a sign (looked good?)
Moinho da Bahia queimou
Queimou, deixa quemar
The Mill of Bahia was burning
It’s burnt, let it burn
Trem Das Onze
written by Adoniran Barbosa – samba velho
featuring Jeff Polakow on bassoon
Não posso ficar
Nem mais um minuto com você
Sinto muito amor, mas não pode ser
Moro em Jaçanã
Se eu perder esse trem
Que sai agora às onze horas
Só amanhã de manhã
E além disso, mulher
Tem outra coisa:
Minha mãe não dorme enquanto eu não chegar
Sou filho único
Tenho minha casa prá olhar
I can’t stay
Even another minute with you
I’m full of love, but it can’t be
I live in Jaçanã(1)
If I miss the train
That leaves just now at eleven o’clock,
there’s only tomorrow morning.
And also this, woman
There’s another thing:
My mother won’t sleep until I arrive
I’m her only son
I’ve got to watch over my house
(1) Jaçanã is a neighborhood in São Paulo
Batucada De Gandhi
traditional ijexá
Aonde vai papai o jô
Vou depressa por aí
Vou fazer minha folia
Com os Filhos de Gandhi
A nossa turma é alinhada
vem pro meu bloco
Pra fazer a batucada
E mori mori ô babá
Babá kiloxê jocou
ê mori mori ô babá
Babá kiloxê jocou(1)
Wherever Papa O Jô is going
I’m going to hurry there
I’m going to make my revelry
with the Sons of Gandhi(2)
Our crew is well-dressed
Come out with my bloco
To make the drumming
(1) These are Yoruba words or imitations of Yoruba words. There are traces of Yoruba religions scattered around the Americas; in some – like the santeria in Cuba – the original language or a fusion thereof is still spoken by the priesthood, in others – like the condomble of Brazil – the meaning has been forgotten, but the sounds are still repeated in songs and prayers.
(2) The Filhos de Gandhi, or Sons of Gandhi, is the largest afro-bloco in Salvador da Bahia, about ten thousand strong. A bloco is like a team of revelers at Carnaval and other community events: the Filhos are all African-Brazilian men wearing all white, with white turbans and blue jewelry; their songs are older and use rhythms based in Afro-Brazilian religion.
O Barquinho
written by Roberto Menescal, Ronaldo Bôscoli – bossa-nova
Dia de luz, festa de sol
E um barquinho a deslizar
No macio azul do mar
Tudo é verão e o amor se faz
Num barquinho pelo mar
Que desliza sem parar
Sem intenção, nossa canção
Vai saindo desse mar e o sol
Beija o barco e luz
Dias tão azuis..
Volta do mar, desmaia o sol
E o barquinho a deslizar
É a vontade de cantar
Céu tão azul, ilhas do sul
E o barquinho, coração
Deslizando na canção
Tudo isso é paz, tudo isso traz
Uma calma de verão e então
O barquinho vai
A tardinha cai
O barquinho vai.
Day of light, festival of sun
And the little boat is gliding
In the gentle blue of the sea
All is summer and love is made
In a little boat through the sea
That glides on without end
Without meaning to, our song
Goes out from the sea and the sun
Kisses the boat with light
Days so blue…
Back to the sea, the sun faints
And the little boat, gliding,
Is the will to sing
Sky so blue, islands of the south
And the little boat, heart,
Gliding within the song
All this is peace, all this brings
A calm of summer and then
The little boat goes
The late afternoon falls
The little boat goes.
Madalena
written by Ivan Lins, Ronaldo Souza – samba
ô Madalena, o meu peito percebeu
De que o mar é uma gota
Comparado aos prantos meus
Fique certa: quando o nosso amor desperta
Logo o sol se desespera
E se esconde lá na serra
Eh Madalena, o que é meu não se divide
Nem tão pouco se admite
Quem do nosso amor duvide.
Até a lua se arrisca num palpite
De que o nosso amor existe
Forte ou fraco, alegre ou triste.
Oh Ma, oh Mada, oh Madale…
O Madalena, my chest perceived
That the sea is only a drop
Compared to my tears.
Be assured: when our love shines
Then the sun despairs
And hides there in the hills.
Eh Madalena, that you’re mine can’t be divided
Not even a little is allowed.
Who would doubt our love:
Even the moon would risk a guess
That our love will exist
Strong or weak, happy or sad.
Piaba
traditional samba de roda
Sai, sai, sai ô piaba
Saia da lagoa
Bota mão na cabeza
Otra na cintura
Dá remelexo no corpo
Dá umbigada na otra
Piaba, piaba
Piaba dá nada pra sambar
Out, out, out piaba(1)
Get out of the lake
Put one hand on your head
The other on your waist
Give your body a shake
Give your partner a belly-bump
Piaba, piaba
It’s easy for the piaba to samba
(1) A quick little Amazonian fish
Lá vem o homen
quem mata mulher de fome
Tome chapeu, vai embora seu homen
minha ? de aqui, só mulher
Here comes the man
that starves women to death
?
Com duas pimentas e de limão
Eu fiz um moqueca com dois camarão
With two peppers and some lime
I made a moqueca(2) with two shrimp
(2) A heavy stew made with palm oil
Ignacio
traditional samba de roda
featuring Aaron Irwin, Patrick Marion, Eric Abutin, and Gianni Staiano on African percussion
O Ignacio, O Ignacio
Mulher palida não come
Farinha do mesmo dia
Se ela come, ela morre
E os homens não se criam
Que a nega danada
é a nega Maria
trabalha de noite
só dorme de dia
se não foi seu homen, mulher não pararia
O Ignacio, O Ignacio(1)
A sickly woman shouldn’t eat
Manioc flour made that day
If she eats, she dies
And the men don’t believe her
That the suffering black woman
Is the black woman Maria
She works at night
Only sleeps in the day
If it wasn’t for her man, she’d never stop
(1) A prayer to Saint Ignatius Loyola
Se quiser me ver,
Van a Piedade amanhã
If you want to see me,
all come to Piedade(2) in the morning
(2) A neighborhood in Salvador da Bahia
Não Vou Pra Casa
written by Antonio Almeida, Roberto Robert – bossa-nova
featuring Marnie Havert on flute
Só vou pra casa quando o dia clarear
eu sou do samba pois o samba me criou
se por acaso um grande amor eu arranjar
não vou pra casa, nao vou, nao vou
Eu sou do samba rasgado
do samba bem ritmado
que deixa a gente cansado de batucar
mas se na roda de samba
eu encontrar um amor
aí, entao, não vou pra casa não, senhor, nao vou, nao vou.
I only go home when the dawn comes
I come from samba because samba raised me
If it happens I arrange some great love
I won’t go home, I won’t, I won’t
I come from samba that swings
From samba with a good rhythm
That leaves people tired from drumming
But if in the samba circle
I find a lover there
Then I won’t go home, senhor, I won’t, I won’t
Juju toca caixa de fósforos
featuring Juju Duarte on matchbox
Quem não sabe fazer samba nessa terra
Não pode cantar que era, não conhece um violão
Não passa a noite acordado numa rodinha de bamba
Quando ouve um belo samba, não sabe se é belo ou não
Brasileira quvem não faz samba em caixinha
acorda de manhazinha sem ter nada pra contar
Que até em sonho, brasileira é melódia
Não precisa de harmonía pra fazer samba e cantar
Whoever doesn’t know how to do samba in this land
Can’t sing what it is, doesn’t know the guitar,
Doesn’t stay up all night in a little bamba circle
When he hears a beautiful samba, doesn’t know if it’s beautiful or not.
The Brazilian who can’t play samba on a matchbox(1)
Wakes in the morning with nothing to tell
Because even in sleep, a Brazilian is melody
You don’t need harmony, to samba and to sing.
(1) This track begins with Juju playing a samba rhythm on a matchbox
Estrada Do Sol
written by Antonio Carlos Jobim, Dolores Duran – bossa-nova
É de manhã, vem o sol
Mas os pingos da chuva que ontem caiu
Ainda estão a brilhar
Ainda estão a dançar
Ao vento alegre que me traz esta canção
Quero que você me dê a mão
Vamos sair por aí
Sem pensar no que foi que sonhei
Que chorei, que sofri
Pois a nossa manhã
Já me fez esquecer
Me dê a mão, vamos sair pra ver o sol
It’s morning, the sun comes
But the drops of water that fell yesterday
Are still here shining
Are still here dancing
To the happy wind that brings me this song
I want you to give me your hand
Let’s go out, this way
Without thinking about what I dreamed,
What I cried, what I suffered
Because our morning
Has already made me forget
Give me your hand, let’s go out to see the sun
Juju canta de Joujoux
Joujoux, Joujoux?
Que é, meu balangandã?
Aqui estou eu, aqui estás tu
Minha Joujoux, meu balangandã
Depois, nós dois
Naquele sol de manhã
Dos braços dados, dois namorados
Você, Joujoux, meu balangandã
Joujoux, Joujoux(1)?
What is it, my balangandã(2)?
Here I am, here you are
My Joujoux, my balangandã
Afterwards, us two
In this morning sun
Arm in arm, two lovers
You, Joujoux, my balangandã
(1) Joujoux is a play name, but because it sounds like his name, Juju loved to sing this old song.
(2) A large clasp worn by Bahian women with silver or gold amulets attached.
Samba Da Minha Terra
written by Dorival Caymmi – samba velho
Samba da minha terra
Deixa a gente mole
Quando se dança
Todo mundo bole
Quem não gosta de samba
Bom sujeito não é
É ruim da cabeça
Ou doente do pé
Eu nasci com o samba
No samba me criei
E do danado do samba
Nunca me separei
The samba of my land
leaves people lazy
When they dance
Everybody catches on
Whoever doesn’t like samba
There’s something wrong with him
He’s sick in the head
Or sore in the feet
I was born with samba
In the samba, I was raised
And from those damned to samba
I will never be separated
Maria Baiana Maria
written by Benito di Paula – sambão
featuring Rafi Benjamin on background vocals
Vem da alegria
Vem da Bahia
É Maria Maria
É Maria Maria
Seu vestido rendado, florido
Vem correndo sorrindo saudar
Meu Senhor do Bonfim, que alegria
Sua filha é Maria Maria
Seu olhar presa mansa, pureza
Do Brasil, da Bahia, Maria
É baiana enfeitada de flores
Meu batuque de sorte, senhores
If it’s happiness
It comes from Bahia
It’s Maria, Maria
It’s Maria, Maria
Her clothes lace-covered, flowery
She comes running, smiling and calling
My Lord of Bomfim, what happiness
Your daughter is Maria, Maria
In her glance, she captures the mildness, the purity
Of Brazil, of Bahia. Maria
Is a Bahian woman adorned with flowers.
It’s my lucky dance, senhores
Do Fundo Do Nosso Quintal
written by Alberto Souza, Jorge Aragão – pagode
featuring Jason Stanyek on banjo-cavaquinho and background vocals
Mais um pouco e vai clarear
Nos encontraremos outra vez
Com certeza nada apagará
Esse brilho de vocês
O carinho dedicado a nós
Derramamos pela nossa voz
Cantando a alegria de não estarmos sós
Boa noite, boa noite
Pra quem se encontrou no amor
Pra quem não desencantou
Pra quem veio só sambar
Pra quem diz no pé e na palma da mão
Pra quem só sentiu saudade afinal
Obrigado do fundo do nosso quintal
In just a little while, the dawn will come
We find ourselves together again
It’s certain nothing will dampen
This warmth you all have
The good feeling shown us
Spills out through our voices
Singing the happiness of not being alone
Good night, good night
To whoever found love
To whoever wasn’t disappointed
To whoever just came to samba
To whoever spoke with their feet and the palms of their hands
To whoever only feels “saudade”(1) in the end
Thank you from the bottom of our backyard(2)
(1) “Saudade” is a famously difficult word to translate which means something like “longing” or “nostalgia”.
(2) This is a play on the name of the band that originally played this song, Fundo de Quintal, or “Bottom of the Backyard” – sort of like “thank you from the bottom of my heart”
Juju dá um bate-papo do Rio
In this amazing monologue, Juju talks about his time singing professionally in Rio de Janeiro, naming many famous musicians (listen for Ella Fitgerald and Gene Krupa) and reeling off five or six great songs he used to perform.
ART HURTS Records 