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June 12, 2009

I went to watch that video of the embolada, and ended up linking to one of the “related” videos over on the right, to this old Brazilian musician named Jackson do Pandeiro. I started watching lots of his videos and it’s been a never-ending link-fest for days now.

He is sometimes also known as Mestre Jackson (Master Jackson). From Wikipedia: “His mother, Flora Mourão, was a musician and singer who played several percussion instruments. As a child he had originally wanted to play the accordion, but his parents could not afford it and bought him a pandeiro, a type of tambourine, in its place. He began playing music with the zabumba [a type of bass drum], however, in order to assist his mother in performances.”

Here is the first video of his I saw, which seems to be one of his most popular songs.

Here is a performance of the song “Sebastiana,” (music starts around 1:50) which to me has always been one of my favorite Gal Costa songs (below).

Gal Costa, “Sebastiana”

ゲット [DL]

Also, unrelated except for that it’s good music and connected to Brazil, I was reading Masala just now and came upon this awesome track by Maga Bo and South African artist Teba (which Alexis mentioned in her 5/25 post!) The story behind it is also worth reading:

The video was shot over 2 days in Guguletu, one of Cape Town’s most notorious townships and Teba’s home turf – with all borrowed equipment – borrowed camera, boom box, the car on loan, people leting us into their houses to film. Back in the day, Teba was a member of the super successful kwaito group Skeem, which put out several albums before he left to do more socially conscious work. He now leads workshops in lyric writing and gumboot dancing (!), is part of the African Dope Sound System, has his own live band and has collaborated with the likes of Stereotyp, Godessa and SiBot.

A slow hybrid funk/macumba/ragga beat sung in Xhosa and English, the lyrics talk about the difficulties faced by youth in townships today and how society tries to force them to drink and take drugs. Nqayi means baldhead and refers to fake rastas posturing themselves, but then bending over to the pressures of society and shaving their locks. An interesting element of the lyrics to this track are in the chorus where he uses the Xhosa ‘q’ sound, a click made with the tongue and the roof of the mouth, as a percussive element. Check the end of the video for a quick lesson…..


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