Canto Negro

Ilê Aiyê

album cover

Thundering Groove Ecstasy from More Than 100 Drummers

Canto negro puts listeners inside the drum corps, or blocos afros, that rule the annual Carnaval celebrations in Brazil's coastal Salvador de Bahia region, one of the most "African" areas of Brazil. These community groups build from the drum up—some of the big ones boast over 100 percussionists working in tight synchronization, united in pursuit of what sounds like mass groove ecstasy.

The thundering sounds of "Caminho" and other tracks here reflect a rare confluence of ancient and modern inspiration. The basic beats and chants are drawn from Candomblé, a centuries-old derivation of African religion in which specific rhythms are used to appeal to particular deities for assistance. The singers (most pieces contain lively exchanges between solo singers and the ensemble) slip comments on current politics and conditions in the neighborhoods into their petitions, connecting ritual mantras to the concerns of the day. Add in the element of competition—during the parades, the groups vie against rival neighborhoods—and suddenly this already energetic music becomes a rallying point and proving ground. Cultural and community pride are on the line.

This samba is markedly different from the samba associated with Brazil's cities: The pace ambles along at a sultry gait that's positively lazy and much less jittery than Rio samba. Teams of cross-sticking snare drummers converge on a strong polyrhythmic heartbeat, then beam their collective wisdom straight at the feet and hips of everyone within earshot, transforming ordinary street corners into dance floors.

Genre: World, Brazil
Released: 1995, Interra
Key Tracks: "Que bloco es esse," "Caminho," "Havemos de voltar"
Next Stop: Portela Passado de Glória: A Velha Guarda da Portelo
After That: Olodum: Pela vida
Book Pages: 380–381

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