Boa Noite para quem é de Boa Noite……maculele

So! Finally, a maculele track for y’all. This provided by my good friend and champion backgammon partner, Wulfie (Valeu!!).

This is from Mestre Suassuna, the founder of Associação de Capoeira Cordão de Ouro, who is known for being an advocate of all types of capoeira, whether regional, angola or street capoeira. He has several recorded CDs which reflect this open mindedness on a musical level. The CD that I have has toques (rhythms) de berimbau from angola and regional. It also has roda de samba as it is sometimes played in the context of capoeira (usually after the roda when everyone is drinking beer in my experience).

This track, maculele, starts off with the sound of sticks being struck together (see the maculele tamborzão post earlier). When the atabaque comes in, it’s really easy to hear the connection between maculele and tamborzão.

Tá Tudo Dominado – 2001 film by roberto Maxwell

this is a documentary on baile funk made a couple few years ago. it has english subtitles. 25 minutes or so. Well worth checking out. Tati Quebra Barraco is in FINE form here…….

[youtube=http://www.youtube.com/watch?v=2W-eRFztVX0]

8 thoughts on “Boa Noite para quem é de Boa Noite……maculele

  1. Já conhecia esse “Tá tudo dominado”! O da Tatiana é que não. Bem interessante mesmo! Com relatos sobre a história do Volt Mix e do Tamborzão.

    Já agora porque não utiliza antes um codec FLAC em vez do MP3?! Era bem mais legal! :)

    Quase todos os Cd’s que compro de baile Funk, dos quais dá para samplear o tamborzão, me parecem ter uma qualidade sonora muito má.

    Abraço e continua o bom blog.

  2. awesome! great to hear the “original” inspiration (aside from miami/cuba, of course) for the tamborzao beat!! it’s quite clear here.

    funny — i had been sending tamborzao drum tracks around to brazil music specialists for a while, hoping to see whether any of them knew where that drum line came from; none of them mentioned maculele. seems pretty obvious to me, tho. just shows you gotta keep your ears open. thanks for that, mr.bo!

  3. eae jorge, beleza? Obrigado por pelos comments.

    o que é FLAC e porque é mais legal?

    A lot of the samples used in carioca funk are samples of samples. there’s a lot of recycling going on, so it’s not surprising that you’ve had that experience with it. Sometimes, the samples will have been seriously downsampled to add to the effect.

    Wayne – I’m not really too sure what you mean about the cuba connection as being part of the original inspiration…..care to elaborate? Maculele is a totally brazilian rhythm – more or less the same swing as samba, maracatu or baião (or a whole bunch of others), but with different accents. The tamborzão is basically the same as maculele, but the swing is a rather crude translation via MIDI or MPC programming. I have yet to hear a good sequenced version of any brazilian swing. It can be really close, but the swing still gets lost. It’s a combination of shuffle (moving certain beats forward or backward – not to be confused with a shuffle swing) and dynamics. It’s just REALLY human…….

  4. FLAC (Free Lossless Audio Codec) é, de uma forma simples e como diz o nome, um codec em que não se perde nada da qualidade sonora mas que comprime o tamanho do ficheiro. Além disso é gratis e opensource.

    Em português:
    http://pt.wikipedia.org/wiki/Flac

    Mais informação em inglês.

    Tem aqui a página principal http://flac.sourceforge.net/

    e o link da wikipedia em inglês http://en.wikipedia.org/wiki/FLAC

    Assim em vez de colocar mp3 (que perde quqlidade), ou AIFF ou WAV (que fica muito grande), pode colocar em FLAC que diminui o tamanho e fica com a mesma qualidade.
    É por isso um bom codec para partilhas na internet.

    ________

    Quanto à qualidade sonora do baile funk, é claro que se nota que os samples do tamborzão, e outros, já foram samplados de samples, que por sua vez já vieram de outros samples que se calhar vieram de um mp3 que veio de um vinyl, que veio não sei de onde. :) É um círculo de sampling engraçado!

    Numa das compilações seminais, pelo menos para a disseminação na europa do baile funk na europa, a “Rio baile funk – favela booty beats vol 1″ há duas canções (se bem me lembro) onde até parece que é o cd a saltar! :)

    Abraço e continua o bom blog!

  5. oops. i see how that was a misleading comment. i’m not challenging the brazilianness of maculele (or even tamborzao), but the tamborzao beat as i’ve heard it differs from maculele precisely in its borrowed patterning/timbre from miami bass. that crunky kick-snare pattern doesn’t seem like the most obvious MIDI translation of maculele.

    as for cuba, again i’m not asserting provenance or anything (for these practices/sensibilities/patterns run deep), but i have been hearing american crunk/electro (and thus rio funk) as just the latest hopped up version of the 3:2 clave, as americanized early by bo diddley, not to mention jelly roll. this gets pretty murky and complicated, of course. and though i don’t think i’ll clear any of it up, i’m about to share a mix that explores a lot of this overlap. i think i might have to include “maculele”!

  6. hey wayne,

    thanks for the comments…I think what I wrote what a little misleading as well. The maculele is just the hand drum (usually atabaque, but in funk it sometimes gets translated to 808 congas and/or bongos) on top of the 808 kick and snare pattern. THAT’S the maculele. A lot of times, you’ll hear only that pattern without the 808 kick and snare. the timing difference comes from the human swing factor.

    The 808 snare/kick pattern that you’re likening to miami bass is not really from miami bass. the kick is samba. The snare is from gringo music. It just so happens that electro and miami bass are doing the same thing. That’s probably part of the reason it was embraced in the bailes in brazil – it it into the overall scheme of brazilian music even though it was north american.

    Hearing this 808 kick snare pattern played in the context of samba (ie Mr. Catra playing “simpatico” in a roda de samba or Viradouro stopping in the middle of the parade and dropping into straight baile funk played by 300 drummers, or the escola de samba version of Rap do Felicidade) it becomes really obvious the connection.

    this would be worthy of a full on post…….maybe soon when I have some time!!!

  7. rich stuff, bo. love to see another post digging in further sometime.

    yeah, i’ve always assumed that the miami bass pattern was embraced in brazil b/c it overlaps so well with local/trad styles. the same pattern can be heard in rumba and pretty much any 3:2 clave music (the ol “habanera” rhythm). in the end, one might surmise that it’s the common roots in african and european styles that have led to such widespread adoption/cultivation of the pattern, though it’s rather difficult to know what role, say, the global/translocal circulation of cuban music (or brazilian music) has played in other localizations of it.

    my other question would be: how many funkeiros hear the tamborzao as related to maculele? would you say that it’s a commonly made connection? or would such a link tend mainly to be made by percussionists, ethno/musicologists, and connoisseurs of brazilian music?

  8. Pingback: FESTA! Maga Bo & Capoeira « DJ Chief Boima: Sherbro Son

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