ALINE CARDOZO
1ª edição
Cardozo, Aline Jorge Ben Jovem. Uma Biografia - Aline Cardozo. Rio de Janeiro: AC Comunicação Visual, 2010 (1ª edição) 70p.: il.; 20 cm x 20 cm ISBN 00-0000000-00-0 1. Jorge Ben Jor. 2. Biografia. 3. Design - Projeto de Conclusão.
“A única coisa que não podem tirar de você é o conhecimento“
Introdução Alegria, swing, dança… A princípio, adjetivar Jorge é fácil. Difícil é representar Ben Jor. Carioca, negro e suburbano. O que esse sujeito queria com a bossa de dedilhares minuciosamente corretos? Com essa pergunta é que iniciamos nosso projeto… De uma maneira despretenciosa, assim como sua carreira, esse livro vai retratando a vida deste gênio em formas e cores. O livro evolui a cada capítulo em suas páginas coloridas, numa integração alegre entre texto e imagens e tem como objetivo levar ao leitor não apenas a conhecer uma história de vida, mas também a história de nosso País. Jorge é história viva.
Origem Africana
N
ascido em 22 de Março de 1942, o artista que tem sua origem na Zona Norte, mais especificadamente no bairro de Madureira. Influenciado pela Bossa Nova que dominou o cenário Mundial na década de 60, sua referência artística (e para a
maioria dos adolescentes da época) era João Gilberto, apesar de na sua infância ter ouvido Ataulfo Alves e Luiz Gonzaga. Mas Jorge Ben Jor talvez pudesse ter sido o “Fio Maravilha”. Perto da época de subir para o profissional pelo Flamengo, teve uma contusão no tornozelo que encerrou sua vida esportiva, mas iniciou uma nova paixão - o violão que havia ganho da mãe. A sua pouca intimidade com as cordas, o tornou um mestre. Inclassificável compositor, intérprete, bandleader e arranjador, misturou o samba, a bossa, o funk, o soul e criou um ritmo swigado único com
12
letras contadas, tão inovador que a maioria dos músicos não conseguiam acompanhá-lo. Em seu primeiro disco “Mas Que Nada” de 1963 só foi possível com a parceria do grupo de jazz Meirelles e os Copa 5, que também se apresentavam na Boite Little Club no Beco das Garrafas, reduto da Bossa Nova, onde Jorge foi descoberto por Armando Pitigliani, produtor de seus quatro primeiros discos. Grande artista, respeitado e admirado em todo Mundo, sua música “Mas Que Nada”, atingiu as paradas de sucesso americanas e foi a única com este feito. Jorge transitou pela Bossa Nova, Jovem Guarda e Tropicália de uma maneira ímpar. Sempre convidado para cantar em programas da TV Tupi e TV Record, participou de Festivais de Música com “Charles 45” e foi sua música “Fio Maravilha” na voz da cantora Maria Alcina, que levou o prêmio em 1972 no Festival de Música da TV Globo. Suas canções ascenderam muitos artistas como Wilson Simonal com “País Tropical”, Os Mutantes com “Minha Menina” e até Gal Costa com “Que Pena”, atingiu o primeiro time das cantoras brasileiras junto com Maria Bethânia. Suas letras também foram interpretadas por não me-
nos que Ney Matogrosso, Ivan Lins, Elza Soares, Elis Regina, Jair Rodrigues, Paulinho Nogueira, Maria Creuza, Tânia Maria e outros tantos até que Rod Stuart plagiou Taj Mahal em sua música “Da Ya Think I´m Sexy?”, processo que rola até hoje. Com a Black Music e o rei o Soul Brasileiro, Tim Maia fez ginásios e bailes lotarem com seus sucessos. Ele é unanimidade brasileira, sendo acolhido com respeito por todos os artistas, em todos os movimentos musicais, desde o pós-bossa nova até nossos dias. Cronologicamente, um pouco depois, veio a black music. Com os Diagonais, Cassiano, Fábio, Banda Black Rio e o rei da soul music, Tim Maia, os shows e bailes, que faziam a alegria da periferia do Rio de Janeiro, tornaram-se populares em quase todo o país. Jorge nunca pensou em fazer sucesso tão rápido. Em apenas 2 dias de lançamento do seu LP “Mas que nada”, ele recebeu várias propostas para cantar em vários lugares, inclusive no exterior e foi com as indas e vindas pela Europa, Ásia e América do Norte em festivais de Jazz e de Word Music. Com o passar dos anos, em 1989 por questões de direitos autorais, acrescentou o “Jor” no final de seu nome, passando a se chamar Jorge Ben Jor por causa do guitarrista internacional George Benson. Em 1963 em uma entrevista a Revista do Rádio, Jorge comenta sobre a adoção de seu nome artístico: “ - Meu avô, que era etíope, chamava-se Ben Jorge. Em homenagem a ele, inverti o nome e passei a chamar-me, artisticamente, Jorge Ben.” Com canções que falam desde uma vida cotidiana, de um subúrbio romântico e com letras inocentes como “Bebete Vambora” e “Cadê Tereza”, homena-
ReferĂŞncias musicais
T
he poems presented here are those which have been set to music by the German composer Carl Orff (1895-1982). They form only a small part of the whole Carmina Burana, the name applied to a large collection of medieval poems which survive in a
late medieval manuscript found in the early nineteenth century in southern Germany. These poems, which come to more than two hundred in number but are never of any great length, can be roughly classiďŹ ed as follows: Moralistic and satirical poems, the former being concerned with the human condition and the world at large, the latter with abuses in the church. Love songs and songs celebrating the return of spring. Songs connected with drinking and gambling.Most of the poems seem to have been intended to be sung. The main language is Latin; a few are in German or are macaronic, i.e. mixtures of Latin and a vernacular (here
14
either German or French). The manuscript has a type of musical notation, which is not followed by Orff but which has been used by others to reconstruct the original presentation. No poem is assigned to an author. A remarkable feature of the intellectual life of the late Middle Ages was the ease and readiness with which scholars and students (and no doubt a good many hangers-on) moved about Europe from one university town to another. There seems to have always been a large number of such people in temporary residence in university towns both in their native countries and in foreign parts. As might be expected, they were not always on good terms with locals who had no connection with, or interest in, intellectual pursuits (such rustici are a frequent butt in the Carmina Burana) and, as their common interests naturally brought them together, they tended to form a class apart, a society to which the terms Wandering Scholars and Ordo Vagorum have been applied. These it was who in the twelfth and thirteenth centuries composed and sung most of the poems of Carmina Burana. Because they were generally without bonds or ties
and were not involved in acquiring or maintaining social status, they were not concerned overmuch with the conventions of society, nor were they greatly troubled by the fulminations of religion against worldly pleasures. The Carmina Burana show attitudes not usually associated with the Middle Ages; we see a quite amoral attitude to sex, a fresh appreciation of nature, and a disrespect of the established church which even today’s society would ďŹ nd hard to tolerate. The Wandering Scholars were very much concerned with enjoying themselves, they were frank and uninhibited, and were not afraid of attacking or ridiculing people and institutions they did not like. Their poetry was written for the immediate present, to express an emotion or experience, to complain of some current abuse, but chiey, one may conjecture, to entertain their fellows as they caroused. At its best it has spontaneity and freshness which compensate for its limited range and technique. The poems presented here are those which have been set to music by the German composer Carl Orff (1895-1982). They form only a small part of the whole Carmina Burana, the name applied to a large collection of medieval poems which survive in a late medieval manuscript found in the early nineteenth century in southern Germany. These poems, which come to more than two hundred in number but are never of any great
Infância suburbana
T
he poems presented here are those which have been set to music by the German composer Carl Orff (1895-1982). They form only a small part of the whole Carmina Burana, the name applied to a large collection of medieval poems which survive in a
late medieval manuscript found in the early nineteenth century in southern Germany. These poems, which come to more than two hundred in number but are never of any great length, can be roughly classiďŹ ed as follows: Moralistic and satirical poems, the former being concerned with the human condition and the world at large, the latter with abuses in the church. Love songs and songs celebrating the return of spring. Songs connected with drinking and gambling.Most of the poems seem to have been intended to be sung. The main language is Latin; a few are in German or are macaronic, i.e. mixtures of Latin and a vernacular (here
16
either German or French). The manuscript has a type of musical notation, which is not followed by Orff but which has been used by others to reconstruct the original presentation. No poem is assigned to an author. A remarkable feature of the intellectual life of the late Middle Ages was the ease and readiness with which scholars and students (and no doubt a good many hangers-on) moved about Europe from one university town to another. There seems to have always been a large number of such people in temporary residence in university towns both in their native countries and in foreign parts. As might be expected, they were not always on good terms with locals who had no connection with, or interest in, intellectual pursuits (such rustici are a frequent butt in the Carmina Burana) and, as their common interests naturally brought them together, they tended to form a class apart, a society to which the terms Wandering Scholars and Ordo Vagorum have been applied. These it was who in the twelfth and thirteenth centuries composed and sung most of the poems of Carmina Burana. Because they were generally without bonds or ties and were not involved in acquiring or maintaining social status, they were not con-
cerned overmuch with the conventions of society, nor were they greatly troubled by the fulminations of religion against worldly pleasures. The Carmina Burana show attitudes not usually associated with the Middle Ages; we see a quite amoral attitude to sex, a fresh appreciation of nature, and a disrespect of the established church which even today’s society would find hard to tolerate. The Wandering Scholars were very much concerned with enjoying themselves, they were frank and uninhibited, and were not afraid of attacking or ridiculing people and institutions they did not like. Their poetry was written for the immediate present, to express an emotion or experience, to complain of some current abuse, but chiefly, one may conjecture, to entertain their fellows as they caroused. At its best it has spontaneity and freshness which compensate for its limited range and technique. The poems presented here are those which have been set to music by the German composer Carl Orff (1895-1982). They form only a small part of the whole Carmina Burana, the name applied to a large collection of medieval poems which survive in a late medieval manuscript found in the early nineteenth century in southern Germany. These poems, which come to more than two hundred in number but are never of any great length, can be roughly classified as follows: Moralistic and satirical poems, the former being concerned with the human condition and the world at large, the latter with abuses in the
Referências musicais
J
orge Duílio Lima Menezes vulgo Jorge Ben (Nome adotado em homenagem ao avô etíope, chamado Ben Jorge), entrou na cena musical na década de 60 onde tocava pandeiro ao lado do Copa Trio (Manuel, Toninho e Dom Um Romão, que acresci-
dos de Pedro Paulo-trompete e J.T. Meirelles-sax, formariam o Copa 5, que tocaria nas primeiras gravações de Ben). Outro que requisitava seus serviços era o organista Zé Maria (inclusive, há um disco dele datado de 1962, Tudo Azul, que lança Jorge Ben em LP) e se apresentavam no Little Club situado no Beco das Garrafas no Rio de Janeiro. Não demorou muito, foi descoberto pelo produtor Armando Pittigliani que logo em 1963 lançou o LP “Samba Esquema Novo”. Jorge Ben queria um grupo de samba para o disco, mas os sambistas da época não conseguiam acompanhá-lo, de forma que foi mais fácil juntar os
20
velhos amigos do Bottle’s, dando uma cara mais bossa-nova para o disco e que se repetiria nos seguintes, Sacundim Ben Samba (1964), Ben é Samba Bom (1964), Big Ben (1965) e O Bidu- Silêncio no Brooklin (1967). Destes discos, apenas Bicho do Mato - lançado em 64 - seria composta pra brincar com o jeito de Rosinha de Valença, violonista virtuosa. No final de 1963, o Itamaraty convidou Sérgio Mendes a organizar um grupo para uma “turnê cultural”. Sérgio Mendes (piano), Jorge Ben (violão e vocal), Wanda Sá (vocal), Rosinha de Valença (violão), Sebastião Neto (contrabaixo) e Chico Batera (bateria) partiram para os Estados Unidos onde “Mas que Nada” conseguiu ficar em primeiro lugar nas paradas americanas em versão original com o seu “teleco-teco” inconfundível do sambalanço (movimento paralelo a Bossa) tocados principalmente em universidades por vários meses. Em plena Ditadura Militar com a Jovem Guarda tomando espaço, participou de programas comandados por Elis Regina & Jair Rodrigues em o “Fino da Bossa” e o de Roberto Carlos & Erasmo no Programa “Jovem Guarda”, ambos altamente antagônicos e um artista que se apresentasse neles, era proibido de cantar nos outros devido as discordân-
cias de estilos e instrumentos. Firmando parcerias, compôs e gravou com Erasmo Carlos (um ícone, assim como Roberto Carlos), a música “Menina Gata Augusta”. Tempo depois, a Tropicália com os recém lançados Caetano Veloso e Gilberto Gil, através de Guilherme Araújo (que em 1967 o reintegrou à Philips depois de dois compactos lançados pela Artistas Unidos sem sucesso e o aproximou de Caetano e Gil) chamaram o veterano Jorge e com Caetano, compôs anos depois “Ive Brussel”, recebendo-o assim de braços abertos à Tropicália das guitarras elétricas, pois devido a “richa” entre a Bossa e a Jovem Guarda, Jorge acabou ficando numa situação delicada uma vez que não poderia ser considerado um integrante da Jovem-Guarda muito menos um bossa-novista.
Los gringos
T
he poems presented here are those which have been set to music by the German composer Carl Orff (1895-1982). They form only a small part of the whole Carmina Burana, the name applied to a large collection of medieval poems which survive in a
late medieval manuscript found in the early nineteenth century in southern Germany. These poems, which come to more than two hundred in number but are never of any great length, can be roughly classiďŹ ed as follows: Moralistic and satirical poems, the former being concerned with the human condition and the world at large, the latter with abuses in the church. Love songs and songs celebrating the return of spring. Songs connected with drinking and gambling.Most of the poems seem to have been intended to be sung. The main language is Latin; a few are in German or are macaronic, i.e. mixtures of Latin and a vernacular (here
22
either German or French). The manuscript has a type of musical notation, which is not followed by Orff but which has been used by others to reconstruct the original presentation. No poem is assigned to an author. A remarkable feature of the intellectual life of the late Middle Ages was the ease and readiness with which scholars and students (and no doubt a good many hangers-on) moved about Europe from one university town to another. There seems to have always been a large number of such people in temporary residence in university towns both in their native countries and in foreign parts. As might be expected, they were not always on good terms with locals who had no connection with, or interest in, intellectual pursuits (such rustici are a frequent butt in the Carmina Burana) and, as their common interests naturally brought them together, they tended to form a class apart, a society to which the terms Wandering Scholars and Ordo Vagorum have been applied. These it was who in the twelfth and thirteenth centuries
attitudes not usually associated with the Middle Ages; we see a quite amoral attitude to sex, a fresh appreciation of nature, and a disrespect of the established church which even today’s society would find hard to tolerate. The Wandering Scholars were very much concerned with enjoying themselves, they were frank and uninhibited, and were not afraid of attacking or ridiculing people and institutions they did not like. Their poetry was written for the immediate present, to express an emotion or experience, to complain of some current abuse, but chiefly, one may conjecture, to entertain their fellows as they caroused. At its best it has spontaneity and freshness which compensate for its limited range and technique. The poems presented here are those which have been set to music by the German composer Carl Orff (1895-1982). They form only a small part of the whole Carmina Burana, the name applied to a large collection of medieval poems which survive in a late medieval manuscript found in the early nineteenth century in southern Germany. These poems, which come to more than two hundred in number but are never of any great length, can be roughly classified as follows: Moralistic and satirical poems, the former being concerned with the human condition and the world at large, the latter with abuses in the church. Love songs and songs celebrating the return of spring. Songs
Vou de samba
T
he poems presented here are those which have been set to music by the German composer Carl Orff (1895-1982). They form only a small part of the whole Carmina Burana, the name applied to a large collection of medieval poems which survive in a
late medieval manuscript found in the early nineteenth century in southern Germany. These poems, which come to more than two hundred in number but are never of any great length, can be roughly classiďŹ ed as follows: Moralistic and satirical poems, the former being concerned with the human condition and the world at large, the latter with abuses in the church. Love songs and songs celebrating the return of spring. Songs connected with drinking and gambling.Most of the poems seem to have been intended to be sung. The main language is Latin; a few are in German or are macaronic, i.e. mixtures of Latin and a vernacular (here
26
either German or French). The manuscript has a type of musical notation, which is not followed by Orff but which has been used by others to reconstruct the original presentation. No poem is assigned to an author. A remarkable feature of the intellectual life of the late Middle Ages was the ease and readiness with which scholars and students (and no doubt a good many hangers-on) moved about Europe from one university town to another. There seems to have always been a large number of such people in temporary residence in university towns both in their native countries and in foreign parts. As might be expected, they were not always on good terms with locals who had no connection with, or interest in, intellectual pursuits (such rustici are a frequent butt in the Carmina Burana) and, as their common interests naturally brought them together, they tended to form a class apart, a society to which the terms Wandering Scholars and Ordo Vagorum have been applied. These it was who in the twelfth and thirteenth centuries
about Europe from one university town to another. There seems to have always been a large number of such people in temporary residence in university towns both in their native countries and in foreign parts. As might be expected, they were not always on good terms with locals who had no connection with, or interest in, intellectual pursuits (such rustici are a frequent butt in the Carmina Burana) and, as their common interests naturally brought them together, they tended to form a class apart, a society to which the terms Wandering Scholars and Ordo Vagorum have been applied. These it was who in the twelfth and thirteenth centuries composed and sung most of the poems of Carmina Burana. Because they were generally without bonds or ties and were not involved in acquiring or maintaining social status, they were not concerned overmuch with the conventions of society, nor were they greatly troubled by the fulminations of religion against worldly pleasures. The Carmina Burana show attitudes not usually associated with the Middle Ages; we see a quite amoral attitude to sex, a fresh appreciation of nature, and a disrespect of the established church which even today’s society would ďŹ nd hard to tolerate. The Wandering Scholars were very much concerned with enjoying themselves, they were frank and uninhibited, and were not afraid of attacking or ridiculing people and institutions
Namoro elĂŠtrico
T
he poems presented here are those which have been set to music by the German composer Carl Orff (1895-1982). They form only a small part of the whole Carmina Burana, the name applied to a large collection of medieval poems which survive in a
late medieval manuscript found in the early nineteenth century in southern Germany. These poems, which come to more than two hundred in number but are never of any great length, can be roughly classiďŹ ed as follows: Moralistic and satirical poems, the former being concerned with the human condition and the world at large, the latter with abuses in the church. Love songs and songs celebrating the return of spring. Songs connected with drinking and gambling.Most of the poems seem to have been intended to be sung. The main language is Latin; a few are in German or are macaronic, i.e. mixtures of Latin and a vernacular (here
30
either German or French). The manuscript has a type of musical notation, which is not followed by Orff but which has been used by others to reconstruct the original presentation. No poem is assigned to an author. A remarkable feature of the intellectual life of the late Middle Ages was the ease and readiness with which scholars and students (and no doubt a good many hangers-on) moved about Europe from one university town to another. There seems to have always been a
about Europe from one university town to another. There seems to have always been a large number of such people in temporary residence in university towns both in their native countries and in foreign parts. As might be expected, they were not always on good terms with locals who had no connection with, or interest in, intellectual pursuits (such rustici are a frequent butt in the Carmina Burana) and, as their common interests naturally brought them together, they tended to form a class apart, a society to which the terms Wandering Scholars and Ordo Vagorum have been applied. These it was who in the twelfth and thirteenth centuries composed and sung most of the poems of Carmina Burana. Because they were generally without bonds or ties and were not involved in acquiring or maintaining social status, they were not concerned overmuch with the conventions of society, nor were they greatly troubled by the fulminations of religion against worldly pleasures. The Carmina Burana show attitudes not usually associated with the Middle Ages; we see a quite amoral attitude to sex, a fresh appreciation of nature, and a disrespect of the established church which even today’s society would ďŹ nd hard to tolerate. The Wandering Scholars were very much concerned with enjoying themselves, they were frank and uninhibited, and were not afraid of attacking or ridiculing people and institutions they did not like. Their poetry was written for
Black power
T
he poems presented here are those which have been set to music by the German composer Carl Orff (1895-1982). They form only a small part of the whole Carmina Burana, the name
applied to a large collection of medieval poems which survive in a late medieval manuscript found in the early nineteenth century in southern Germany. These poems, which come to more than two hundred in num-
34
ber but are never of any great length, can be roughly classiďŹ ed as follows: Moralistic and satirical poems, the former being concerned with the human condition and the world at large, the latter with abuses in the church. Love songs and songs celebrating the return of spring. Songs connected with drinking and gambling.Most of the poems seem to have been intended to be sung. The main language is Latin; a few are in German or are macaronic, i.e. mixtures of Latin and a vernacular (here either German or French). The manuscript has a type of musical notation, which is not followed by Orff but which has been used by others to reconstruct the original
about Europe from one university town to another. There seems to have always been a large number of such people in temporary residence in university towns both in their native countries and in foreign parts. As might be expected, they were not always on good terms with locals who had no connection with, or interest in, intellectual pursuits (such rustici are a frequent butt in the Carmina Burana) and, as their common interests naturally brought them together, they tended to form a class apart, a society to which the terms Wandering Scholars and Ordo Vagorum have been applied. These it was who in the twelfth and thirteenth centuries composed and sung most of the poems of Carmina Burana. Because they were volved in acquiring or generally without bonds or ties and were not involved maintaining social status, they were not concerned overmuch with the conventions of society, nor were they greatly troubled by the fulminations of religion against worldly pleasures. The Carmina Burana show attitudes not usually associated with the Middle Ages; we see a quite amoral attitude to sex, a fresh appreciation of nature, and a disrespect of the established church which even today’s society would ďŹ nd hard to tolerate. The Wandering Scholars were very much concerned with enjoying themselves, they were frank and uninhibited, and were not afraid of attacking
Ben de Ben Jor T
38
he poems presented here are those which have been set to music by the German composer Carl Orff (1895-1982). They form only a small part of the whole Carmina Burana, the name applied to a large collection of medieval poems which survive in a late medieval manuscript found in the early nineteenth century in southern Germany. These poems, which come to more than two hundred in number but are never of any great length, can be roughly classiďŹ ed as follows: Moralistic and satirical poems, the former being concerned with the human condition and the world at large, the latter with abuses in the church. Love songs and songs celebrating the return of spring. Songs connected with drinking and gambling.Most of the poems seem to have been intended to be sung. The main language is Latin; a few are in German or are macaronic, i.e. mixtures of Latin and a vernacular (here either German or French). The manuscript has a type of musical notation, which is not followed by Orff but which has been used by others to reconstruct the original presentation. No poem is assigned to an author. A remarkable feature of the intellectual life of the late Middle Ages was the ease and readiness with which scholars and students (and no doubt a good many hangers-on) moved about Europe from one university town to another. There seems to have always been a large number of such people in temporary residence in university towns both in their native countries and in foreign parts. As might be expected, they were not always on good terms with locals who had no connection with, or interest in, intellectual pursuits (such rustici are a frequent butt in the Carmina Burana) and, as their common interests naturally brought them together, they tended to form a class apart, a society to which the terms Wandering Scholars and Ordo Vagorum have been applied. These it was who in the twelfth and thirteenth centuries
about Europe from one university town to another. There seems to have always been a large number of such people in temporary residence in university towns both in their native countries and in foreign parts. As might be expected, they were not always on good terms with locals who had no connection with, or interest in, intellectual pursuits (such rustici are a frequent butt in the Carmina Burana) and, as their common interests naturally brought them together, they tended to form a class apart, a society to which the terms Wandering Scholars and Ordo Vagorum have been applied. These it was who in the twelfth and thirteenth centuries composed and sung most of the poems of Carmina Burana. Because they were generally without bonds or ties and were not involved in acquiring or maintaining social status, they were not concerned overmuch with the conventions of society, nor were they greatly troubled by the fulminations of religion against worldly pleasures. The Carmina Burana show attitudes not
Devoção e fé T
42
he poems presented here are those which have been set to music by the German composer Carl Orff (1895-1982). They form only a small part of the whole Carmina Burana, the name applied to a large collection of medieval poems which survive in a late medieval manuscript found in the early nineteenth century in southern Germany. These poems, which come to more than two hundred in number but are never of any great length, can be roughly classified as follows: Moralistic and satirical poems, the former being concerned with the human condition and the world at large, the latter with abuses in the church. Love songs and songs celebrating the return of spring. Songs connected with drinking and gambling.Most of the poems seem to have been intended to be sung. The main language is Latin; a few are in German or are macaronic, i.e. mixtures of Latin and a vernacular (here either German or French). The manuscript has a type of musical notation, which is not followed by Orff but which has been used by others to reconstruct the original presentation. No poem is assigned to an author. A remarkable feature of the intellectual life of the late Middle Ages was the ease and readiness with which scholars and students (and no doubt a good many hangers-on) moved about Europe from one university town to another. There seems to have always been a large number of such people in temporary residence in university towns both in their native countries and in foreign parts. As might be expected, they were not always on good terms with locals who had no connection with, or interest in, intellectual pursuits (such rustici are a frequent butt in the Carmina Burana) and, as their common interests naturally brought them together, they tended to form a class apart, a society to which the terms Wandering Scholars and Ordo Vagorum have been applied. These it was who in the twelfth and thirteenth centuries
about Europe from one university town to another. There seems to have always been a large number of such people in temporary residence in university towns both in their native countries and in foreign parts. As might be expected, they were not always on good terms with locals who had no connection with, or interest in, intellectual pursuits (such rustici are a frequent butt in the Carmina Burana) and, as their common interests naturally brought them together, they tended to form a class apart, a society to which the terms Wandering Scholars and Ordo Vagorum have been applied. These it was who in the twelfth and thirteenth centuries composed and sung most of the poems of Carmina Burana. Because they were generally without bonds or ties and were not involved in acquiring or maintaining social status, they were not concerned overmuch with the conventions of society, nor were they greatly troubled by the fulminations of religion against worldly pleasures. The Carmina Burana show attitudes not
Mensagens e o cavaleiro
T
he poems presented here are those which have been set to music by the German composer Carl Orff (1895-1982). They form only a small part of the whole Carmina Burana, the name applied to a large collection of medieval poems which survive in a
late medieval manuscript found in the early nineteenth century in southern Germany. These poems, which come to more than two hundred in number but are never of any great length, can be roughly classiďŹ ed as follows: Moralistic and satirical poems, the former being concerned with the human condition and the world at large, the latter with abuses in the church. Love songs and songs celebrating the return of spring. Songs connected with drinking and gambling.Most of the poems seem to have been intended to be sung. The main language is Latin; a few are in German or are macaronic, i.e. mixtures of Latin and a vernacular (here
44
either German or French). The manuscript has a type of musical notation, which is not followed by Orff but which has been used by others to reconstruct the original presentation. No poem is assigned to an author. A remarkable feature of the intellectual life of the late Middle Ages was the ease and readiness with which scholars and students (and no doubt a good many hangers-on) moved about Europe from one university town to another. There seems to have always been a large number of such people in temporary residence in university towns both in their native countries and in foreign parts. As might be expected, they were not always on good terms with locals who had no connection with, or interest in, intellectual pursuits (such rustici are a frequent butt in the Carmina Burana) and, as their common interests naturally brought them together, they tended to form a class apart, a society to which the terms Wandering Scholars and Ordo Vagorum have been applied. These it was who in the twelfth and thirteenth centuries
about Europe from one university town to another. There seems to have always been a large number of such people in temporary residence in university towns both in their native countries and in foreign parts. As might be expected, they were not always on good terms with locals who had no connection with, or interest in, intellectual pursuits (such rustici are a frequent butt in the Carmina Burana) and, as their common interests naturally brought them together, they tended to form a class apart, a society to which the terms Wandering Scholars and Ordo Vagorum have been applied. These it was who in the twelfth and thirteenth centuries composed and sung most of the poems of Carmina Burana. Because they were generally without bonds or ties and were not involved in acquiring or maintaining social status, they were not concerned overmuch with the conventions of society, nor were they greatly troubled by the fulminations of religion against worldly pleasures. The Carmina Burana show attitudes not usually associated with the Middle Ages; we see a quite amoral attitude to sex, a fresh appreciation of nature, and a disrespect of the established church which even today’s society would ďŹ nd hard to tolerate. The Wandering Scholars were very much concerned with enjoying themselves, they were frank and uninhibited, and were not afraid of attacking or ridiculing people and institutions they did not like. Their poetry was written for the immediate pres-
Homem Gol
T
he poems presented here are those which have been set to music by the German composer Carl Orff (1895-1982). They form only a small part of the whole Carmina Burana, the name applied to a large collec-
tion of medieval poems which survive in a late medieval manuscript found in the early nineteenth century in southern Germany. These poems, which come to more than two hundred in number but are never of any great length, can be roughly classiďŹ ed as follows: Moralistic and satirical poems, the former being concerned with the human condition and the world at large, the latter with abuses in the church. Love songs and songs celebrating the return of spring. Songs connected with
48
drinking and gambling.Most of the poems seem to have been intended to be sung. The main language is Latin; a few are in German or are macaronic, i.e. mixtures of Latin and a vernacular (here either German or French). The manuscript has a type of musical notation, which is not followed by Orff but which has been used by others to reconstruct the original presentation. No poem is assigned to an author. A remarkable feature of the intellectual life of the late Middle Ages was the ease and readiness with which scholars and students (and no doubt a good many hangers-on) moved about Europe from one university town to another. There seems to have always been a large number of such people in temporary residence in university towns both in their native countries and in foreign parts.
As might be expected, they were not always on good terms with locals who had no connection with, or interest in, intellectual pursuits (such rustici are a frequent butt in the Carmina Burana) and, as their common interests naturally brought them together, they tended to form a class apart, a society to which the terms Wandering Scholars and Ordo Vagorum have been applied. These it was who in the twelfth and thirteenth centuries composed and sung most of the poems of Carmina Burana. Because they were generally without bonds or ties and were not involved in acquiring or maintaining social status, they were not concerned overmuch with the conventions of society, nor were they greatly troubled by the fulminations of religion against worldly pleasures. The Carmina Burana show attitudes not usually associated with the Middle Ages; we see a quite amoral attitude to sex, a fresh appreciation of nature, and a disrespect of the established church which even today’s society would ďŹ nd hard to tolerate. The Wandering Scholars were very much concerned with enjoying themselves, they were frank and uninhibited, and were not afraid of attacking or ridiculing people and institutions they did not like. Their poetry was written for the immediate present, to express an emotion or experience, to complain of some current abuse, but chiey, one may conjecture, to entertain their fellows as they caroused. At its best it has spontaneity and freshness which compensate for its limited range and technique. The poems presented here are those which have been set to music by the German composer Carl Orff (1895-1982). They form only a small part of the
Oba! LĂĄ vem ela!
T
he poems presented here are those which have been set to music by the German composer Carl Orff (1895-1982). They form only a small part of the whole Carmina Burana, the name applied to a large collection of medieval poems which survive in a
late medieval manuscript found in the early nineteenth century in southern Germany. These poems, which come to more than two hundred in number but are never of any great length, can be roughly classiďŹ ed as follows: Moralistic and satirical poems, the former being concerned with the human condition and the world at large, the latter with abuses in the church. Love songs and songs celebrating the return of spring. Songs connected with drinking and gambling.Most of the poems seem to have been intended to be sung. The main language is Latin; a few are in German or are macaronic, i.e. mixtures of Latin and a vernacular (here
50
either German or French). The manuscript has a type of musical notation, which is not followed by Orff but which has been used by others to reconstruct the original presentation. No poem is assigned to an author. A remarkable feature of the intellectual life of the late Middle Ages was the ease and readiness with which scholars and students (and no doubt a good many hangers-on) moved about Europe from one university town to another. There seems to have always been a large number of such people in temporary residence in university towns both in their native countries and in foreign parts. As might be expected, they were not always on good terms with locals who had no connection with, or interest in, intellectual pursuits (such rustici are a frequent butt in the Carmina Burana) and, as their common interests naturally brought them together, they tended to form a class apart, a society to which the terms Wandering Scholars and Ordo Vagorum have been applied. These it was who in the twelfth and thirteenth centuries
about Europe from one university town to another. There seems to have always been a large number of such people in temporary residence in university towns both in their native countries and in foreign parts. As might be expected, they were not always on good terms with locals who had no connection with, or interest in, intellectual pursuits (such rustici are a frequent butt in the Carmina Burana) and, as their common interests naturally brought them together, they tended to form a class apart, a society to which the terms Wandering Scholars and Ordo Vagorum have been applied. These it was who in the twelfth and thirteenth centuries composed and sung most of the poems of Carmina Burana. Because they were generally without bonds or ties and were not involved in acquiring or maintaining social status, they were not concerned overmuch with the conventions of society, nor were they greatly troubled by the fulminations of religion against worldly pleasures. The Carmina Burana show attitudes not usually associated with the Middle Ages; we see a quite amoral attitude to sex, a fresh appreciation of nature, and a disrespect of the established church which even today’s society would ďŹ nd hard to tolerate. The Wandering Scholars were very much concerned with enjoying themselves, they were frank and uninhibited, and were not afraid of attacking or ridiculing people and institutions they did not like. Their poetry was written for the immediate pres-
Parcerias pop
T
52
he poems presented here are those which have
another. There seems to have always been
been set to music by the German composer Carl
a large number of such people in tempo-
Orff (1895-1982). They form only a small part of
rary residence in university towns both in
the whole Carmina Burana, the name applied to a large
their native countries and in foreign parts.
collection of medieval poems which survive in a late
As might be expected, they were not al-
medieval manuscript found in the early nineteenth cen-
ways on good terms with locals who had
tury in southern Germany. These poems, which come to
no connection with, or interest in, intellec-
more than two hundred in number but are never of any
tual pursuits (such rustici are a frequent
great length, can be roughly classiďŹ ed as follows: Mor-
butt in the Carmina Burana) and, as their
alistic and satirical poems, the former being concerned
common interests naturally brought them
with the human condition and the world at large, the lat-
together, they tended to form a class apart,
ter with abuses in the church.
a society to which the terms Wandering
Love songs and songs celebrating the return of spring.
Scholars and Ordo Vagorum have been
Songs connected with drinking and gambling.Most of
applied. These it was who in the twelfth
the poems seem to have been intended to be sung.
and thirteenth centuries
The main language is Latin; a few are in German or are macaronic, i.e. mixtures of Latin and a vernacular (here either German or French). The manuscript has a type of musical notation, which is not followed by Orff but which has been used by others to reconstruct the original presentation. No poem is assigned to an author. A remarkable feature of the intellectual life of the late Middle Ages was the ease and readiness with which scholars and students (and no doubt a good many hangers-on) moved about Europe from one university town to
Discografia de Jorge Samba esquema novo 1963
O bidú silêncio no Brooklin 1967
Jorge Ben 1969
56
Sacundin Ben samba 1964
Ben é samba bom 1964
Big Ben 1965
Força bruta 1970
Negro é lindo 1964
Ben 1972
Solta o pavão 1975
A tábua de esmeralda 1972
10 anos depois 1974
Gil Jorge 1975
Jorge Ben à L’Olympia 1975
África Brasil 1976
Tropical 1977
A banda do Zé Pretinho 1978
Discografia de Jorge Salve simpatia 1979
Sonsual 1985
Ben Brasil 1986
58
Al么, al么, como vai 1980
Bem-vinda amizade 1981
D谩diva 1984
Ben Jor 1989
Live in Rio 1992
23 1993
Músicas para tocar em elevador 1997
Ben Jor world dance 1995
cústico MTV - Banda do Zé Pretinho 2002
Homo Sapiens 1995
Acústico MTV - Admiral Jorge V 2002
Reactivus amor est (Turba Philosophorum) 2004
Recuerdos de Asunción 443 2007
Para você cantar A Cegonha Me Deixou Em Madureira Composição: Augusto de Agosto / Jorge Ben Jor A cegonha me deixou em Madureira De presente para minha mãe Silvia Lenheira Madureira, ô, ô Madureira, ô, ô Me deixou numa santa casa barulhenta Que tremia toda quando o trem passava Olha o trem Disseram que eu cheguei com dois quilos e meio Com dois quilos e meio O que é que é isso? Um bebê ou um palito
62
Disseram também que eu cheguei sorrindo E cantando Em vez de chegar chorando Acharam estranho A cegonha me deixou em Madureira De presente para minha mãe Silvia Lenheira Madureira, ô, ô Madureira, ô, ô Madureira, terra de bamba e de tradição De casas coloridas e meninas bonitas Do jogo do bicho, do comércio e do mistério Terra de samba da Portela e do Império Mas de madureira me levaram Para o Rio Comprido / Tijuca Do Rio Comprido / Tijuca Me levaram Para Copacabana / Zona Sul
E de lá eu caí no mundo E de lá eu caí no mundo Abençoado por Deus Cantando “mas que nada” Já não me chamam de vagabundo.
Mas Que Nada
Composição: Jorge Ben Jor Remexendo Remexendo Remexendo Remexendo Menina Sarará remexe aí Que eu quero ver Menina Sarará remexe aí Que eu quero ver Remexe de cima em baixo Que eu canto pra você Remexe de cima em baixo Que eu toco pra você Remexendo Remexendo Remexendo Remexendo Ô, ô, ô, ô, ô, ariá, raiô Obá, obá, obá Ô, ô, ô, ô, ô, ariá, raiô Obá, obá, obá
Mas que nada sai da minha frente Que eu quero passar Pois o samba está animado E o que eu quero é sambar Esse samba Que é misto de maracatu Samba de preto velho Samba de preto tutú Mas que nada um samba Como este tão legal Você não vai querer Que eu chegue no final Ô, ô, ô, ô, ô, ariá, raiô Obá, obá, obá Ô, ô, ô, ô, ô, ariá, raiô Obá, obá, obá Ô, mas que nada Ô, mas que nada Ô, mas que nada Ô, mas que nada Esse samba é gostoso Essa dança é danada Mas que nada Mas que nada Esse samba Que é misto de maracatu Samba de preto velho Samba de preto tutú Mas que nada um samba Como este tão legal Você não vai querer Que eu chegue no final
Ô, ô, ô, ô, ô, ariá, raiô Obá, obá, obá Ô, ô, ô, ô, ô, ariá, raiô Obá, obá, obá Obá, obá, obá Obá, obá, obá Obá, obá, obá Mas que nada
Samba Legal
Composição: Claudionor Sant’Anna / Henrique de Almeida O samba estava legal Mas eu bobeei e cheguei no final O samba estava legal Mas eu bobeei e cheguei no final
Ive Brussel
Composição: Caetano Veloso / Jorge Ben Jor Você com essa mania sensual De sentir e me olhar Você com esse seu jeito Contagiante Fiel e sutil de lutar... Não sei não Assim você acaba Me conquistando Não sei não Assim eu acabo Me entregando...(2x)
64
Pois está fazendo Uma ano e meio amor Que eu estive por aqui Desconfiado, sem jeito E quase calado Quando fui bem recebido E desejado por você Nunca como eu Poderia esquecer amor... Ai, ai, ai Se naquele dia você Foi tudo foi demais prá mim Ai, ai Se naquele dia você Foi tudo Fez de mim um anjo...(2x) Não sei não Assim você acaba Me conquistando Não sei não
Assim eu acabo Me entregando...(2x) Você com essa mania sensual De sentir e me olhar Você com esse seu jeito Contagiante Fiel e sutil de lutar... Não sei não Assim você acaba Me conquistando Não sei não Assim eu acabo Me entregando...(2x) Pois está fazendo Uma ano e meio amor (Simpática!) Que eu estive por aqui Desconfiado, sem jeito E quase calado Quando fui bem recebido E desejado por você Nunca como eu Poderia esquecer amor... Ai, ai, ai Se naquele dia você Foi tudo foi demais prá mim Ai, ai Se naquele dia você Foi tudo Fez de mim um anjo...(2x)
Não sei não Assim você acaba Me conquistando Não sei não Assim eu acabo Me entregando...(2x) Ive! Ive! Ive! Brussel! Brussel! Brussel! Brussel! Brussel! Ive! Brussel! Ive! Brussel! Ive! Brussel! Ive! Brussel! Ive! Brussel! Ive! Brussel! Brussel! Brussel! Bru Bru Bru Bru Bru Bru Brussel Eu quero Ive Bru Brussel Bru Bru Bru Brussel! Bru Bru Bru Brussel! Eu quero Ive Bru Brussel Bru Bru Bru Brussel! Bru Bru Bru Brussel Eu quero Ive Bru Brussel Bru Bru Bru Brussel!...
W/Brasil (Chama O Síndico) Composição: Jorge Ben Jor Alô, Alô W o Brasil Alô, Alô W o Brasil Jacarezinho! Avião! Jacarezinho! Avião! Cuidado com o disco voador Tira essa escada daí Essa escada é prá ficar Aqui fora Eu vou chamar o síndico Tim Maia! Tim Maia! Tim Maia! Tim Maia! O trem corre no trilho Da Central do Brasil O trem corre no trilho Da Central do Brasil Incluindo paixão antiga E aquele beijo quente Que eu ganhei da sua amiga E o que é que deu? Funk na cabeça E o que é que deu? Funk na cabeça... Alô, Alô W o Brasil Alô, Alô W o Brasil Jacarezinho! Avião! Jacarezinho! Avião! Cuidado com o disco voador Tira essa escada daí Essa escada é prá ficar Aqui fora
Eu vou chamar o síndico Tim Maia! Tim Maia! Tim Maia! Tim Maia! E o que é que deu? Funk na cabeça E o que é que deu? Funk na cabeça Deu no New York Time Fernando, o Belo Não sabe se vai Participar Do próximo campeonato De surf ferroviário... Surfista de trem Surfista de trem Deu no New York Time A Feira de Acari É um sucesso! Tem de tudo É um mistério Deu no New York Times Dizem que Cabral 1 Descobriu a filial Dizem que Cabral 2 Tentou e se deu mal Dizem que Cabral 1 Descobriu a filial Dizem que Cabral 2 Tentou e se deu mal... Amor! Dor! Dor! Lá da rampa mandaram avisar
Que todo dinheiro será devolvido Quando setembro chegar Num envelope azul indigo Num envelope azul indigo Chama o síndico, Tim Maia! Tim Maia! Tim Maia! Tim Maia! Alô, Alô W o Brasil Alô, Alô W o Brasil Da Central passando Pela Mangueira Dando uma volta na Pavuna E chegando em Madureira É lá! Que o samba rola de primeira É lá! Que o samba rola de primeira...
66
Alô, Alô tia Léia Se tiver ventando muito Não venha de helicóptero Alô, Alô tia Léia Se tiver ventando muito Não venha de helicóptero! Alô Alô, W o Brasil Alô Alô, W o Brasil -Alô telefonista Me desperte às 7:15 por favor Rádio táxi 9 e meia Senão o bicho pega Eu também quero graves Médios e agudos! Eu vou chamar:
Jacarezinho! Avião! Jacarezinho! Avião! Cuidado com o disco voador Tira essa escada daí Essa escada é prá ficar Aqui fora Eu vou chamar o síndico Tim Maia! Tim Maia! Tim Maia! Tim Maia! Tim Maia!
Alcohol
Composição: Jorge Ben Jor O mago mandou avisar: Água de beber, água de benzer Água de banhar Alcohol só para desinfetar Eu quero água Água de beber, água de benzer Água de banhar Alcohol só para desinfetar Eu quero água Porque o céu é água marinha Porque o sol é ouro Porque a lua é prata Porque a chuva é cristalina Porque o mar é esmeralda Porque somos seres terrestres Porque São Jorge mora na lua Porque você não vem me dar um beijo Um beijo de amor e de desejo Porque eu gosto tanto de você Eu gosto tanto de você Eu gosto tanto de você Na hora do espanto Não precisa ter olho clínico para saber Para saber Que o melhor é ficar tudo em família Um controle ambiental Pois contra uma lingua atômica Nem mesmo um para-raio digital Cada palavra caçada É um compasso de um passado Que foi enterrado
A caça ao fantasma continua porque O fogo é mais antigo que o fogão Em busca de uma nova identidade Na fila dos aposentados Um radical chic espera a sua vez Jogando xadrez Água de beber, água de benzer Água de banhar Alcohol só para desinfetar Eu quero água Água de beber, água de benzer Água de banhar Alcohol só para desinfetar Em vez de uma nova trombada Uma marcha ré com dignidade É melhor do que ficar com pesadelos Tédio, calça arriada, queda de audiência Filme queimado Aquele homem groover Aquele santo homem Só porque gostava De andar de terno branco, Camisa de seda, cardão de ouro, Tênis, chinelo ou tamancos Era chamado de marginal Subir, descer, entrar, sair Faz parte do talento individual de cada um
Porque você não vem me dar um beijo Um beijo de amor e de desejo Porque eu gosto tanto de você Eu gosto tanto de você Eu gosto tanto de você O mago mandou avisar.
Para você tocar A Banda do Zé Pretinho intro: F#m F#m Bm C#m F#m Bm C#m Para,____ animar a festa. Salve símpatia F#m Bm C#m F#m Para,____ animar a festa
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C#m Samba, rei bonito F#m Crioulo que eu quero ver Bm Anima a festa, crioulo rei
Bm C#m Boa noite, boa noite, bom dia
Pôe alegria C#m F#m Bota a tristeza pra correr
F#m Bm C#m F#m Bm C#m Para,____ animar a festa. Salve símpatia
Bm Peça à banda pra tocar
F#m Bm C#m F#m Para,____ animar a festa
C#m F#m Que todos nós dançamos com você
Bm C#m Boa noite, boa noite, bom dia
Bm C#m Mistura bumbo com violino, pandeiro, cuíca, trambone,
F#m A banda do Zé Pretinho chegou
F#m ganzá, guitarra e violão
F#m Bm C#m F#m Bm C#m Para,____ animar a festa. Ô, ô
Bm E salta de banda pra gente ver
F#m Bm C#m F#m Bm C#m Zambá, zambé, zambi, zambó, zambu. Zambá
C#m F#m Que nós queremos aprender com você, hei
F#m Bm C#m F#m Bm C#m Zambá, zambé, zambi, zambó, zambu. Zambá
Bm Com você, hei
Bm Samba Zé Pretinho
F#m Com você, hei
Bm Com você, hei
C#m De olho no play, de olho no play!
F#m Com você, hei
F#m Bm C#m
Bm C#m Com vocêêêê F#m Bm C#m Crioulo rei, crioulo F#m Bm C#m Crioulo rei, crioulo F#m Esse, esse, esse, esse, esse É Zé Pretinho zé, zé, zé, zé Esse, esse, esse, esse, esse É Zé Pretinho zé, zé, zé, zé F#m Bm C#m F#m Bm C#m Para,____ animar a festa. Salve símpatia F#m Bm C#m F#m Para,____ animar a festa Bm C#m Boa noite, boa noite, bom dia F#m Bm C#m F#m Bm C#m Para,____ animar a festa. Salve símpatia F#m Bm C#m F#m Para,____ animar a festa Bm Boa noite, boa noite, bom dia
F#m Bm C#m Zé Pretinho. Zé, zé F#m Bm C#m Zé Pretinho. Zé, zé F#m Bm C#m Zé Pretinho. Zé, zé F#m Bm C#m F#m Bm C#m Para,____ animar a festa. Salve símpatia F#m Bm C#m F#m Para,____ animar a festa Bm C#m Boa noite, boa noite, bom dia F#m A banda do Zé Pretinho chegou, em cima F#m Bm C#m F#m Paraaa____ animar a festa Oh! Velho, velho, velho!