Jorge Ben Africa Brasil Brazil LP Samba Bossanova latin mpb tim maia joao donato

$

58

Brand new LP. Sealed. Photos are stock images.
Imported from Brazil's POLYSOM DISCOS
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Jorge Ben – África Brasil Jorge Ben - África Brasil album cover More images
Label: Polysom – 33057-1 Series: Clássicos Em Vinil – 33057-1 Format: Vinyl, LP, Album, Limited Edition, Reissue, Repress, 180g Country: Brazil Released: Jul 31, 2020 Genre: Latin, Funk / Soul Style: MPB, Funk A1 Ponta De Lança Africano (Umbabarauma) 3:49 A2 Hermes Trismegisto Escreveu 3:01 A3 O Filósofo 3:20 A4 Meus Filhos, Meu Tesouro 3:51 A5 O Plebeu 3:03 A6 Taj Mahal 3:06 B1 Xica Da Silva 4:04 B2 A História De Jorge 3:45 B3 Camisa 10 Da Gávea 4:01 B4 Cavaleiro Do Cavalo Imaculado 4:42 B5 África Brasil (Zumbi) 3:31 Manufactured By – Poly Som Com. E Ind. De Plásticos Ltda. Arranged By – Jorge Benjor*, José Roberto Bertrami, Mazzola Bass – Dadi Drums – Wilson Das Neves Guitar – Jorge Benjor* Keyboards – José Roberto Bertrami Percussion – Mamão Producer – Mazola* Saxophone – Oberdan Magalhães Saxophone, Flute – José Carlos* Trumpet – Marcio Montarroyos Written-By – Jorge Benjor* 1976 Original Release. 2020 Reissue, Repress. 180 Gr Heavy Weight Hi-Fi Vinyl. Edicao Limitada. Barcode: 7898324304538

Jorge Ben
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Tools From Wikipedia, the free encyclopedia (Redirected from Jorge ben) For Ben's 1969 self-titled album, see Jorge Ben (album). In this Portuguese name, the first or maternal family name is Lima and the second or paternal family name is Menezes. Jorge Ben Jor Jorge Ben in 1972 Jorge Ben in 1972 Background information Birth name Jorge Duílio Lima Menezes Born March 22, 1939 (age 84) Origin Rio de Janeiro, Brazil Genres MPBsamba rocktropicáliabossa nova Occupation(s) Singersongwritermusician Instrument(s) Vocals, guitar Years active 1963–present Website jorgebenjor.com.br Jorge Duílio Lima Menezes (born March 22, 1939) is a Brazilian popular musician, performing under the stage name Jorge Ben Jor since the 1980s, though commonly known by his former stage name Jorge Ben (Portuguese: [ˈʒɔʁʒi ˈbẽŋ̍]). His characteristic style fuses samba, funk, rock and bossa nova with lyrics that blend humor and satire with often esoteric subject matter.[1] His hits include "Chove Chuva", "Mas, que Nada!", "Ive Brussel" and "Balança Pema", and have been interpreted by artists such as Caetano Veloso, Sérgio Mendes, Miriam Makeba, Soulfly and Marisa Monte.
Ben's broad-minded and original approach to samba led him through participation in some of Brazilian popular music's most important musical movements, such as bossa nova, Jovem Guarda, and Tropicália, with the latter period defined by his albums Jorge Ben (1969) and Fôrça Bruta (1970).[1] He has been called "the father of samba rock", by Billboard magazine.[2] According to American music critic Robert Christgau, Ben and his contemporary Gilberto Gil were "always ready to go further out on a beat than the other samba/bossa geniuses".[3]
Biography Early life and career Born Jorge Duílio Lima Menezes in Rio de Janeiro, he first took the stage name Jorge Ben after his mother's name (Sílvia Saint Ben Lima, Brazilian-born of Ethiopian origin)[4][5] but in the 1980s changed it to Jorge Ben Jor (commonly written Benjor).
Jorge Ben obtained his first pandeiro (Brazil's most popular type of tambourine) when he was thirteen, and two years later, was singing in a church choir. He also took part as a pandeiro player in the blocos of Carnaval, and from eighteen years of age, he began performing at parties and nightclubs with the guitar given to him by his mother. He was given the nickname "Babulina" after his enthusiastic pronunciation of rockabilly singer Ronnie Self's song "Bop-A-Lena". Was introduced to Tim Maia by Erasmo Carlos.[6] It was in 1963 at one of those clubs in which he performed that Jorge's musical career took off; he came on stage and sang "Mas, que Nada!" to a small crowd that happened to include an executive from the recording company, Philips. One week later, Jorge Ben's first single was released.
The hybrid rhythms that Jorge employed brought him some problems at the start of his career, when Brazilian music was split between the rockier sounds of the Jovem Guarda and traditional samba with its complex lyrics. However, as that phase in Brazilian pop music history passed and bossa nova became better known throughout the world, Ben rose to prominence.
Holdings both television programs O Fino da Bossa and Jovem Guarda from Rede Record, after being reprimanded by the production of "O Fino da Bossa", chose to participate in the Jovem Guarda, soon after, joined the program Divino, Maravilhoso from TV Tupi, presented by Caetano Veloso and Gilberto Gil.[7]
Jorge Ben's first public appearances were in small festivals organised by his friends, where bossa nova and rock and roll predominated. As with most musicians of the time, Ben was initially influenced by João Gilberto even though he was quite innovative in his own right. The aforementioned song, "Mas, que Nada!", was his first big hit in Brazil, and remains to this day the most played song in the United States sung entirely in Portuguese.[citation needed] Outside of Brazil, the song is better known in cover versions by Sérgio Mendes and the Tamba Trio. The song has also been reinterpreted by prominent jazz artists including Ella Fitzgerald, Oscar Peterson, Dizzy Gillespie and Al Jarreau; as well as other samba artists of the time, such as Elza Soares.
His musical work has been vastly sampled by music producers and DJs, and covered by many bands in a variety of genres such as heavy metal, disco, rock, reggae, jazz, drum and bass, house music and more.[citation needed]
Ben's 1963 debut album Samba Esquema Novo was met with great acclaim from fans, and encouraged Philips to capitalize on the success with immediate follow-up albums. The label pressured Ben to hastily record songs imitative of his debut, along with cover songs, resulting in the three albums within the span of 18 months and a strain on the singer's relationship with Philips. He left the label after his 1965 album Big Ben.[8]
Success In 1969, Jorge Ben released his eponymous album amid the excitement of the cultural and musical Tropicália movement. The album featured Trio Mocotó as his backing band, who would go on to launch a successful career on the back of their association with Ben. The album was noted for "País Tropical", one of his most famous compositions, although it would be Wilson Simonal who would take his recording of the song to the top of the charts in Brazil that same year. Instead, the song "Charles, Anjo 45", also from the self-titled album, would become Ben's biggest self-performed chart hit of the year.
Jorge Ben released his most esoteric and experimental albums in the 1970s, most notably A Tábua de Esmeralda in 1974 and Solta o Pavão in 1975. The following year he released one of his most popular albums, África Brasil, a fusion of funk and samba which relied more on the electric guitar than previous efforts. This album also features a remake of his previously released song "Taj Mahal." With its commercial success and sustained radio play, the melody made its way into the 1979 hit "Da Ya Think I'm Sexy?" by Rod Stewart. Ben sued for plagiarism and Stewart settled the lawsuit and donated the single’s royalties to UNICEF.[9][10]
In 1989, Jorge changed his recording label as well as his artistic name, becoming Jorge Benjor (or Jorge Ben Jor). At the time, it was said that there were numerous reasons for his change in name; other sources say it was in response to an incident where some of his royalties accidentally went to American guitarist George Benson.
Recent career
Jorge Ben at Live Earth in 2007 In 2002, Jorge Ben contributed to the critically acclaimed Red Hot + Riot, a compilation CD created by the Red Hot Organization in tribute to the music and work of Nigerian musician Fela Kuti, which raised money for various charities devoted to raising AIDS awareness and fighting the disease. He collaborated with hip-hop artists Dead Prez, Talib Kweli, and Bilal to remake Fela Kuti's famous song "Shuffering and Shmiling" for the CD.
Ben was presented with the Lifetime Achievement Award by the Latin Recording Academy in 2005.[11] A year later, a remake of Ben's "Mas, que Nada!" became an international chart hit for Sérgio Mendes with The Black Eyed Peas after being used by Nike in a global TV advertisement during the 2006 FIFA World Cup; this remake (the second time Mendes had covered the track) reached the Top 10 in several European countries, including the UK and Germany, in addition to reaching Number 1 in the Netherlands.
Jorge Ben is also a big fan of Flamengo, a Brazilian football club, located in Rio de Janeiro, which counts Zico, Junior and Leandro among their former star players. Ben's interest in football carries over to his music, as many of his songs deal with the subject, such as "Flamengo", "Camisa 10 da Gávea", "Ponta De Lança Africano (Umbabarauma)", "Zagueiro", "Fio Maravilha", and "A Loba Comeu o Canário".
On July 7, 2007, he performed at the Brazilian leg of Live Earth in Rio de Janeiro.
Discography 1963: Samba Esquema Novo 1964: Ben É Samba Bom 1964: Sacundin Ben Samba 1965: Big Ben 1967: O Bidú: Silêncio no Brooklin 1969: Jorge Ben 1970: Fôrça Bruta 1971: Negro É Lindo 1972: Ben 1973: 10 Anos Depois 1974: A Tábua de Esmeralda 1975: Solta o Pavão 1975: Jorge Ben à l'Olympia 1975: Gil e Jorge (with Gilberto Gil) 1976: África Brasil 1976: Samba Nova 1977: Tropical 1978: A Banda Do Zé Pretinho 1979: Salve Simpatia 1980: Alô, Alô, Como Vai? 1981: Bem Vinda Amizade 1983: Dadiva 1984: Sonsual 1986: Ben Brasil 1989: Ben Jor 1992: Live in Rio 1994: 23 1995: Homo sapiens 1997: Musicas Para Tocar Em Elevador 2000: Puro Suingue 2002: Acústico MTV – Double CD release, available jointly or separately, consisting of Admiral Jorge V and Banda do Zé Pretinho 2004: Reactivus Amor Est (Turba Philosophorum) 2006: Sou da Pesada (7 Samurai Afroraduno Remix)/A Joven Samba *(Klasick Remix) 2007: Recuerdos de Assunción 443 2008: Favourites: From Samba Esquema Novo 1963 – África Brasil 1976
Jorge Ben's "África Brasil" (1976) is a landmark album in Brazilian music and one of the most celebrated records in his discography. This album represents a shift in Ben’s sound, blending the rhythms of samba, funk, and Afro-Brazilian influences, while introducing a heavier, more electric sound than his earlier, more acoustic work.
Album Overview Released: 1976 Genre: Samba Rock, Funk, MPB (Música Popular Brasileira) Key Themes: Afro-Brazilian identity, social justice, spirituality, love, and Brazilian culture "África Brasil" is notable for its fusion of traditional Brazilian music with international styles, particularly American funk and soul. The album marks Jorge Ben's first foray into using electric instruments more prominently, including electric guitar and bass, giving the music a rawer, more powerful sound compared to his earlier work. It is a groove-heavy album that incorporates the rhythmic complexity of samba with the infectious basslines and sharp riffs of funk music.
Musical Style and Impact Jorge Ben's ability to seamlessly blend Brazilian rhythms like samba with global influences, such as funk and rock, is what makes "África Brasil" so significant. Tracks like "Ponta de Lança Africano (Umbabarauma)", which opens the album, are driven by infectious grooves and celebrate Afro-Brazilian culture. The song has since become a classic and is recognized as an anthem of African identity in Brazil.
Ponta de Lança Africano (Umbabarauma): The opening track celebrates African footballers, blending samba rhythms with an electric funk groove. Its catchy rhythm and lyrics make it an iconic track in Brazilian music.
Xica da Silva: A standout track dedicated to the legendary Afro-Brazilian figure Xica da Silva, it tells her story with a funky, upbeat rhythm, emphasizing empowerment and history.
Cavaleiro do Cavalo Imaculado and Zumbi: Both songs explore themes of Afro-Brazilian resistance, spirituality, and identity, with references to the legendary Zumbi dos Palmares, a key figure in the fight against slavery in Brazil.
This album also demonstrates Jorge Ben's deep connection with Afro-Brazilian heritage, with many songs highlighting African leaders, deities, and historical figures. The use of electric instruments, tight rhythms, and bold arrangements were a departure from his earlier, more acoustic work, and helped define the sound of 1970s Brazilian music.
Cultural Significance "África Brasil" solidified Jorge Ben’s role as one of the pioneers of samba rock and influenced generations of Brazilian musicians. The album’s Afro-centric themes resonated with the Brazilian Black Power movement of the time, and its sound paved the way for future Brazilian artists looking to blend their cultural roots with global sounds.
It remains one of the most acclaimed Brazilian albums of all time, thanks to its innovative blend of styles, its celebration of Afro-Brazilian identity, and its groundbreaking use of electric instrumentation in Brazilian music.
50 Similar Artists/Albums: Gilberto Gil Caetano Veloso Tim Maia Gal Costa Milton Nascimento Maria Bethânia Djavan Sérgio Mendes João Gilberto Elis Regina Chico Buarque Tom Zé Os Mutantes Erasmo Carlos Rita Lee Cazuza Zé Ramalho Jorge Mautner Paulinho da Viola Gilberto Gil (early 70s work like "Expresso 2222") Dom Salvador & Abolição Roberto Carlos Marcos Valle Hermeto Pascoal Naná Vasconcelos Toninho Horta Cassiano Lô Borges Edu Lobo Tom Jobim Geraldo Vandré Baden Powell Nara Leão Beth Carvalho Leci Brandão Seu Jorge Leny Andrade Ivan Lins Martinho da Vila Funk Como Le Gusta Os Novos Baianos Novos Baianos Raul Seixas Rappin' Hood (for blending Afro-Brazilian identity with hip-hop) Black Rio Banda Black Rio Gerson King Combo Zeca Pagodinho Elza Soares Velha Guarda da Portela "África Brasil" is a testament to Jorge Ben’s genius in blending tradition with innovation, creating a sound that is distinctly Brazilian yet globally influential. This album remains an essential part of the MPB and funk movements, reflecting a period of creative experimentation in Brazil's music history