The music of Brazilian Orixa religion is known through various (not necessarily interchangeable) phrases such as candomble, macumba, umbanda, quimbanda and several other names. As with Cuban santeria and Haitian vodou, the music and the religion it animates comes from deep wellsprings of West African culture, and venerates numerous spirits and ancestral gods -- Orixas -- whose names are also still invoked on the African continent. I do not pretend to be an expert in any of these styles, or even to possess a working understanding of their history, their practice, or their meaning. But I like the music, and have made some effort to understand its general contours.
This page is devoted to record reviews and artist profiles in the Brazilian candomble genres. I get more blah-blah-blah about the whole thing on my nearby Glossary page, which I do not doubt is riddled with errors and mischaracterizations. I'll apologize in advance and gratefully accept any corrections or comments.
Sylvano Alves "Umbanda" (Beverly Records, 1983) (LP)
Aparecida - see artist discography
Ara Ketu - see artist discography
Wilson Avila "Historico Do Templo Do Sol Urubatan E Oxum" (G.A.Son-Dis, 1955-?) (EP) (7")
One of numerous singles and EPs recorded by singer-poet Wilson Avila, who was a leader of the Templo Do Sol Urubatan E Oxum, an umbanda terreiro that made explicit nods towards evangelical Christianity in addition to reverence of the Yoruban Orixas. The terreiro seems to have been located in Sao Paulo, and operated its own record label, Eriomar, which released a long string of seven-inch records showcasing Wilson Avila and his family, throughout the 1960s and '70s. The group's records are unusually specific about the participants, naming all the musicians in the chorus (mostly Avila's family members) as well as dozens of terreiro congregants, showing the same group pride that inspired this single which gives the history of the temple: individuals named on this single include Wilson Avila, Liria Avila, Isabel Alves, Mancela Azevedo, Alcides Mariano, Vani Rosa, Ondina Silveira and Helena Avila Ribeiro, many of who also appear on later records. Although this disc was issued as seven-inch single in 1986, it appears to have been first released (or recorded?) in 1955 (both dates are on the inner label). Wilson Avila also released at least one full LP, which was apparently a spoken word album of religious poems or orations.
Wilson Avila "Salve A Umbanda" (Gravacao Especial, 1964) (EP) (7")
Another seven-inch EP, with three songs written by vocalist Wilson Avila, as well as a spoken word oration credited to Dr. Walter Sousa, also delivered by Mr. Avila. The musician backing was from a group called Machadinho, along with the vocal chorus of the Terreiro Do Cabloco Urubatan. This disc was released through a custom recording label based in Sao Paulo; presumably the Cabloco Urubatan was from around the same region as well. Avila wrote and recorded at least a dozen similar seven-inch records, though I'm not sure if this material has been gathered anywhere.
Babalorixa Caio Aranha "Ache Ile Oba: Em Keto-Angola-Jexa" (Caritas Records, 1983) (LP)
Deep ritual music, centered largely around a compact, no-nonsense percussion group, though with earthy, compelling vocal guidance from Caio Aranha, who is credited as "Oba de Yoruba," with backing from the Filhos Do Axe Ile Oba. This doesn't quite feature full-toned modern production, but also is not at all poorly recorded. Indeed, it's quite compelling. The group does not cross over into the kind of stylistic modernizations of popular bands such as Olodum, instead sticking closer to an older, more traditional style. This was also released under the title Candomble Ache Ile Oba, also on Caritas.
Babalorixa Lazaro "Canticos De Candomble: Nacao Ijexa E Angola" (Tapecar Records, 1975) (LP)
(Produced by Candeia)
A lovely, well-recorded set, centered on percussion, with lots of acoustic separation between the various instruments and sonic clarity, including the modest lead and group vocals which are skillfully balanced with the drumming. None of the elements overshadow the others, and the sound quality is exquisite. Also worth noting is the sponsorship of roots-samba elder Antonio Candeia (1935-1978) who recorded an album on Tapecar under his own name around the same time, Samba De Roda, which also had a very back-to-basics vibe.
Baianinha "Umbanda" (Som Records, 1977) (LP)
A lovely album with a lighter touch -- bright female vocals and chorus, backed by bandolim, guitar, and modest percussion, all songs of praise and ritual, but constructed in the tradition of acoustic samba de roda or samba raiz, largely without the intense African drumming. Not sure when these albums originally came out, as they have been reissued several times; I'm just noting the earliest dates I've found so far. Baianinha's vocals are pleasing and compelling, perhaps because she's not the most powerful or polished vocalist, but rather has a "regular person" vibe that many may find attractive. Fans of early Clara Nunes may find a kindred spirit here.
Baianinha "Umbanda: Forca Maior" (Beverley Records, 1992-?) (LP)
Barbosa Da Oxum "No Reino De Xango" (1985-?) (LP)
Joao Camelo Barbosa "No Reino De Exu, v.2" (Vibracoes, 19--?) (LP)
Maria Bonita "Sarava Volume Two: Umbanda E Paz E Amor" (Tropicana Records, 1974) (LP)
(Produced by Roberto Stanganelli)
Maria Bonita "Umbanda, Volume One" (Tropicana Records, 1975) (LP)
Edi Brandao "Umbanda Branca 77" (Beverly Records, 1982-?) (LP)
Carlos Buby "Abertura E Encerramento: Umbanda Nas Sete Linhas" (Caritas Records, 1979) (LP)
(Produced by Jayro A. Rodrigues)
Carlos Buby "Sao Jorge Guerreiro" (Fermata/Caritas Records, 1984) (LP)
(Produced by Jayro A. Rodrigues)
A Caminho Da Luz "O Disco Que Traz A Umbanda Ate Voce" (Beverly Records, 1971) (LP)
(Produced by Paulo Newton De Almeida & Haroldo Eiras)
This might actually be a "various artists" compilation album, but I think Caminho Da Luz can actually be considered a band name, encompassing three vocalists: Azuilson Dos Santos, Arlete Moita, and Paulo Newton De Almeida, a songwriter closely associated with the Templo Umbandista A Caminho Da Luz, in Rio de Janeiro. It's not clear from the inner labels whether the credits assigned to specific artists -- De Almeida, Dos Santos or Moita -- indicate solo numbers, or composer credits. All three singers are from different umbanda temples, though this album seems to have been sponsored by A Caminho Da Luz. Paulo Newton De Almeida (1939-2018) was the driving force of both the musical group and the temple -- a lawyer by trade, he went through a period of religious distress in his early teens, rejecting Kardecism and spiritism, he had a conversion event in 1955, when he adopted Cabloco da Lua as his spirit guide. De Almeida founded the Caminho Da Luz temple in 1967 and worked as the group's Babalorixá and temple president until he passed away in 2018. In addition to his pastoral duties and music, De Almeida also hosted a show on Radio Guanabara and published a religious magazine, both named after Caminho Da Luz. As far as I know this was the only album featuring Dos Santos or Moita, though De Almeida appeared on another record, a self-released live umbanda album, date unknown.
Marina C. Carneiro "Pontos De Preto Velho (Povo Do Cativeiro) " (Oxala Records, 19--?) (LP)
Joao Carolino "Umbanda" (Nortson Records, 1977) (LP)
(Produced by Adilson Bittencourt & Claudinho)
Unusually downtempo candomble performances, still resonant though a bit glum... Solid, basic percussion, with a modest female chorus and slow, thick, yet contemplative lead vocals. A strong sense of authenticity and lack of pretension, although it takes a while to settle into his low-key mode. Assuming it's the same person, Joao Carolino also seems to have recorded a few secular "jacaraca" samba-pop singles, dating as far back as the mid-to-late- 1960s, including a couple on the obscure Presidente and Sobereana labels, which seem to have been short-lived private-press imprints, both centered in Sao Paulo. Based on a photograph from around 1967, I would guess Joao Carolino was about forty years old when this late-'Seventies album came out, which may help explain the old-guy vibe to his vocals.
Joao Carreiro & Ze Mulatinho "Contos De Umbanda" (Carmona Records, 1975) (LP)
(Produced by Pedro Carmona)
Gabriel Souza Carvalho "Axexe" (Caritas Records, 1975) (LP)
Conjunto Folclorico Ibyara "Pontos De Terreiro" (Chantacler Records, 1975) (LP)
Corimbeiros De Oxala "Corimbeiros De Oxala" (Premier Records, 1979) (LP)
Coro Da Federacao de Umbanda Nossa Senhora Aparecida "Umbanda Cabocla Jurema" (Beverly/Caritas Records, 1982-?) (LP)
(Produced by Jairo A. Rodrigues)
Fernando Costa "Oferenda: Canticos De Umbanda" (Esquema Records, 19--?) (LP)
(Produced by Fernando Costa & Walter Silva)
Fernando Costa "Candomble: E Do Norte Que Vem" (Tapecar Records, 1974) (LP)
Cubanito "Sarava Umbanda" (Studio Hara, 1974) (LP)
(Produced by Nilo Sergio & Moacyr Silva)
One of the more musically questionable candomble-oriented albums. Recorded in the early 1970s by an artist who previously recorded some rather generic 'Sixties latin-dance material as "El Cubanito," this album features bright, blithe disco arrangements complete with a keening female chorus and bad, tinny rock guitars. The songs are legitimate entries from the umbanda field, including titles such as "Ogum Beira Mar," "Sarava Seu Girassol," "Xango Das Almas," et. al., but the arrangements are so glitzy and trite they seem to to reduce the songs into novelty status. I suppose there's an argument to be made that this shows the mutability of Afro-Brazilian ritual music, but it feels disrespectful and exploitative. Also not very musically compelling. A cultural curio, but you can skip it.
Curimba Da Tenda De Umbanda Luz E Verdade "Pontos De Umbanda: Abertura E Encerramento De Trabalhos" (MusiColor, 1971) (LP)
Isaura Da Bahia "Abertura E Encerramento: Pontos Ineditos De Umbanda" (Beverly Records, 1981) (LP)
(Produced by Wanderley Martins & Zecafi)
Luiz Da Muricoca "Canticos De Terreiro" (Philips Records, 1971) (LP)
A fairly stripped-down, back-to-basics set of drumming, call-and-chorus... Some of the vocal tonality sounds remarkably similar to Nigerian apala music... Definitely worth a spin, on the more traditional end of the spectrum.
Olga De Alaketo/Mestre Bimba "Sambas De Roda E Candombles Da Bahia" (JS Discos, 1969-?) (LP)
A split LP, with candomble ritual singer Olga De Alaketo on Side One, and regional artist Mestre Bimba on Side Two...
Olga De Alaketo "Festa No Terreiro/Cantos De Candomble " (Philips, 1970-?) (LP)
Jose De Aloia "Em Saudacao A Praia Grande" (Geracao 80 Records, 1986) (LP)
(Produced by Osias Macedo & Juvenal Dias)
A solo set by an artist on the short-lived Sao Paulo indie label, Geracao 80, which released a handful of umbanda albums featuring the same core group of musicians: Maestro Mirandinha on guitar, Darcio (bass), Freddy (percussion), and Karan on keyboards... They previously recorded together on a 1985 compilation album called FORCA MAIOR, as well as two subsequent albums, ALDEIA DOS ORIXAS, volumes 1 and 2, which came out in 1987. Not a ton of info about Jose De Aloia... He is credited as the author of most of these songs, with three others credited to Alzeni De Aloia, who also recorded with him when he appeared as Babalorixa Jose De Aloia (below).
Babalorixa Jose De Aloia "Ze Pelintra" (Caritas/Fermata Records, 1987) (LP)
(Produced by Jayro A. Rodrigues)
J. B. de Carvalho - see artist discography
Walter de Figueiredo "Umbanda: Abertura E Encerramento De Trabalhos" (Cartaz Discos, 1963) (LP)
Ismael De Sousa "Umbanda Querida" (Todamerica, 1970) (LP)
(Produced by A. Scheneider)
Maria Do Carmo & Caboclos Tucury E Urutu "Luz Divina" (MusiColor, 1975) (LP)
(Produced by Milton Jose & Carlinhos)
Dorico & Durval P. Soares "Pai Joao D'Angola" (Caritas Records, 1984) (LP)
A rawer, more folkloric set of ritual music, apparently from a group in Belo Horizonte. Two soloists are spotlighted: Durval P. Soares is credited as Ogun, while Dorico is listed as the "Zelador de Santo," with the Tenda Virgem Maria de Belo Horizonte as the backing chorus and percussive group. The drumming is minimal and a bit severe, but in an authentic, compelling way. The earliest edition of this album seems to be from 1984, though it has an older feel.
Heitor Dos Prazeres "Macumba" (Discos America, 1955) (LP)
A pioneering samba-cancao composer who was present at the founding of several major samba schools, Rio's Heitor Dos Prazeres (1898-1966) also delved into the world of candomble, recording two full albums of ritual music in the late 1950s, under the group name Heitor Dos Prazeres & Sua Gente. This eight-song album has familiar elements, notably a keening chorus that plays off his lead vocals, and insistent Afro-Brazilian percussion, although the use of acoustic guitar and bandolim as dominant instruments is unusual for umbanda, as are his vocals which depart from the "leader" role and take on more of a commentary style, seeming to react to the chorus rather than guide it. Many of the tracks also share the lyrical structure of samba-cancao's pop songwriting traditions, with verses that are set apart from the chorus, as opposed to the ongoing call-and-response arrangements of traditional umbanda. I'm not complaining. This is quite nice, and I also welcome variety. Heitor Dos Prazeres's biography is remarkable for its centrality to much of modern Brazilian musicmaking: he was a central figure in the creation of several top samba schools, notably Portela (where he is said to have chosen the school's blue-and-white colors) and Uniao do Estacio, which he co-founded with fellow composer Bidu in 1928. As a songwriter and recording artist, Dos Prazeres is credited as writing over three hundred songs, although as with many of the early, Depression-era samba-cancao artists there were controversies over some of these compositions. According to Wikipedia, Heitor Dos Prazeres had a running feud with singer-pianist Sinho about the authorship of several popular sambas they co-authored in the late 1920s; Dos Prazeres devoted several songs to his complaints about getting ripped off by Sinho, who replied with broadsides of his own, in a song battle that spanned several years. Heitor Dos Prazeres later became famous as a visual artist, developing a distinctive painting style that presented daily life in the modern favelas, using bright colors and blocky, cartoonish figures, showing contemporary scenes in a form that evoked older, traditional African artforms. (The artwork on each of his 1950s albums was drawn from his own paintings.) Dos Prazeres also worked as a theatrical set designer and in the yearly Carnaval preparations, and he opened his house as a cultural salon for younger artists curious to explore their Afro-Brazilian roots.
Heitor Dos Prazeres "Macumbas E Candombles" (Philips Records, 1958) (LP)
(Produced by Armando Pittigliani, Celio Martins & Sylvio Rabello)
Ebame Elza De Oxum "Canto De Oxum" (Fermata/Caritas Records, 1984) (LP)
(Produced by Jayro A. Rodrigues)
Elcio De Oxala "O Caminho" (Self-Released, 2010)
Born in Minas Gerais back in 1937, umbanda songwriter Elcio De Oxala started his performing career way back in 1950(!) and steadily became a mainstay of the modern ritual music scene. Originally coming from a Catholic family background, Elcio immersed himself as a teen in the "work" of the (now-defunct) Templo de Umbanda led by Padre Jose de Alencar. He moved to Sao Paulo and became embedded in the city's candomble scene, with his original compositions gaining adherents among many different terreiros and musical groups, Pai Elcio appears not to have recorded his own music as a "solo" artist until late in life. He self-released about a dozen albums (that I know of) and though the timeline is pretty hard to pin down I think this is one of his earlier albums, apparently released in 1992 or thereabouts. Thanks to umbanda journalist Rubens Saraceni for posting his < href= "https://mortesubita.net/afro-americano/rubens-saraceni-entrevista-pai-elcio-de-oxala/">extensive interview with Elcio De Oxala, which is one of the few biographical resources I could find online. Although Pai Elcio has many other albums, I'm holding off on listing them until I can pin down more information about the release dates etc. (Any additional information is welcome, by the way! Feel free to get in touch.)
Mauro Fernandes "Preto Velho: Hinos E Pontos De Umbanda" (Beverly Records, 1973) (LP)
A live recording featuring lead vocalist Mauro Fernandes, backed by the Coro Centro Espirita Pena Azul
Mestre Ze Filintra "Bate Nago" (Discos Caritas, 19--?) (LP)
A strong, female-led album with rich, clarion vocals from soloist/leader Rosa Silva Martins (listed as "Canto em Nago") who is backed by the elaborately named Coro do Templo de Umbanda Mestre Ze Filintra de Santana, which is comprised of a mixed-age vocal group who follow Silva Martins lead, but sounds more reflective than complaint. They are buoyed by a crisp but curiously framed percussive line, which is dominated by a single conga drum and builds this albums evocative atmosphere. Even in contrast to many other candomble sets, this has a powerfully African, tribal feel. A very strong album.
Lindolfo Gaya "Os Mais Belos Canticos De Umbanda" (Odeon, 1961) (LP)
(Produced by Ismael Correia & Lindolfo Gaya)
Certainly one of the odder, if not outright kitschiest entries into the field of candomble recordings... Arranger-conductor Maestro Lindolfo Gaya was one of the best-known, most mainstream, and most prolific architects of the orchestral pop sound that ran parallel to the growth of bossa nova and rock-era MPB. He was very, very establishment, as was album coproducer Ismael Correia. Here they focus their attention on the world of religious umbanda, and Gaya applies his arranging style -- heavily dependent on lush, brisk string sections and tame brass arrangements melodies, paired with a gentle vocal ensemble that mirrors the role of a candomble chorus, though perhaps with the same perky spirit as a Disney Christmas album. They also coast into the lightly modernist atonality that the Brazilian classical-meets-jazz crowd loved to toy with, which adds another layer of absurdity to this set. The repertoire derives from adaptations of the "prettiest" umbanda songs, and shows the curious relationship shared by the umbanda underground and Brazil's commercial record industry, which would dip into this material sparingly, but recognized it, nonetheless. Perhaps it wasn't always considered fit for polite society, but it's also not like they completely pretended it didn't exist. Certainly worth checking out if you're a fan of Gaya's often sugary orchestral albums: this adds a layer of unexpected depth to his work.
Genimar "Sarava Seu Ze Pilintra" (Vibracoes, 19--?) (LP)
Religious music with bright, cheerful pagode-samba arrangements and female vocals in the style of Clara Nunes or Alcione... No info on the backing musicians, but it's a classic 'Seventies-ish sound, with sprightly bandolim, a good-natured chorus and plenty of uptempo percussion. Genimar also released a secular samba EP, circa 1980, and is credited as a co-composer on five of this album's tracks. Also of interest are a bunch of songs from candomble composer Wanderley Martins, about half the tracks on this album. One of the many Caritas-related albums reissued on the "A Universal" label in the early 1990s.
Gira Da Umbanda "Mediuns Da Tenda Espirita Sao Sebastiao" (CID, 1979) (LP)
(Produced by Harley Moraes & Jorge Silva)
Girassol "Pontos De Umbanda" (RCA/Nilser Records, 1972) (LP)
(Produced by Nilo Sergio)
A live recording made at the Casa De Caridade Cabloco Girassol, in Rio de Janeiro, focussing mainly on a plaintive vocal chorus, with understated percussion and guiding vocals. Sonically, this album is distinguished by how much is feels like a conventional live album, with an ambiance that would be familiar to pop fans of the era. Also unusual (for a candomble album) is the specificity with which the participants are named, along with their roles in the ritual: the Girassol ensemble included Esther Barros (as "Baba"), Reinaldo Chaves (Oga de Atabaque), Miguel Monassa (Oga Colofe) Ruth Monassa (Mae Pequena), Joaquim Pontes (Oga de Atabaque) with the opening invocation featuring "medium" Maria Helena Baeta Neves. Though less aggressively arranged than many of the more modern umbanda albums of the same era, this album amasses power through its understatement and folksy authenticity -- it's not poorly recorded or underwhelming, rather direct and unaffected, with performances aimed at the spirits rather than the record industry. [It's also worth noting that this was an unusual entry into the Nilser Records catalog, which was a personalized imprint of former pop idol-gone-producer Nilo Sergio, who created Nilser as a sublabel of his own Musidisc Records, which he founded in 1962.]
Irmao Francisco "Em Ritmo De Umbanda" (Fonopress Records, 19--?) (EP)
(Produced by Francisco Das Chagas Gomes Porfirio)
A delightful, immensely appealing four-song EP from an obscure and pleasantly rough-edged musician... These samba-styled tracks are heavily based on plinky bandolim riffs with gentle guitar accompaniment and a modest, shrill children's chorus. There's a great, unpretentious, down-home feel and makes one wonder about the rest of the catalog from this short-lived indie label, which was apparently based in Rio. I'd love to see these tracks reissued somewhere, somehow.
Joao Bob & Seu Conga "Umbanda De Todos Nos" (Equipe, 1961) (LP)
Nacao Keto & Luiz Da Muricoca "Candomble Da Bahia" (MusiColor, 1968) (LP)
(Produced by Diogo Mulero)
An authentic though fairly static set of religious Afro-Bahian candomble music, brusque chants backed by assertive but unbending percussion. I don't doubt the rootsiness of these recordings, but with their emphasis on a sonic barrage built on an unyielding wall of high-timbre drumming (with no lower drums like the surdo to widen the dynamic range) the tracks lack the emotionality and fluid feel of later candomble recordings from more samba-friendly artists such as Aparaceida or J. B. Carvalho, and have a field-recording feel, rather than a spooky, otherworldly allure. A couple of tracks switch things up a bit and introduce a little rhythmic variety, but this one is probably of more interest to drumming students than more casual samba fans. Potent, but feels kind of academic.
Ulisses Lucas/Ogan Agi Akaissu "Oxossi... Rei Da Mata" (Caritas Records, 1983) (EP)
Mae Menininha do Gantois "Gravado Ao Vivo No Gantois, Salvador" (Continental Records, 1974) (LP)
(Produced by Deraldo, Ramalho Neto & Norival Reis)
Deep, deep Afro-Brasilian percussion from Gantois, Salvador, showcasing unhurried, mesmerizing, multi-textured drumming grooves that burrow fixedly into the most authentic West African traditions... This deep-roots ritual drumming set was tailormade for listeners eager to hear texture and not simply technical mastery; there are plenty of emotional rises and falls here, a lot of feeling to the performances, and many unusually rich rhythmic layers. The group included organist Willian Luna along with drummers Badaro Do Gantois, Edinho Do Gantois (congas and percussion), Lolo Do Gantois, and Vadinho Do Gantois -- aka Euvaldo Santos Freitas -- at last a coupl of who were actual brothers. Master drumming oga, Eduardo Freitas Filho -- aka "Dudu" -- was the brother of Vadinho Do Gantois and worked outside of the ritual drumming scene, as did Edinho Do Gantois, who notably toured with the bossa nova duo Vinicius & Toquinho. A beautiful, immensely enjoyable and richly rewarding album.
Margarida Conceicao Inacia (Babá) "Tenda De Umbanda Caboclo Guine Preto" (Continental Records, 1976-?) (LP)
(Produced by Diogo Mulero)
Edinho Marundele & Onias Comenda "Eu, Bahia" (Philips/Fontana, 1972) (LP)
An interesting album of berimbau and Orixa-related percussion by two players I've never heard of before. Each artist takes one side of the LP -- Marundele (whose real name was apparently Edson Emerete de Sant'Anna) is the drummer, and his side is dynamic and intense, running through rhythms from Angola and their Brazilian permutations. Similarly, berimbau master Onias Camardelli plays capoeira music from Angola and Bahia, as well as improvisations of his own creation. Some of it is spooky and haunting, some of it seems kind of static and same-y. I don't think the average fan of Brazilian pop would get much out of this, but for cultural scholars and capoeira students, this album would be a goldmine.
Na Forca De Ogum "Na Forca De Ogum" (Vibracoes, 1982-?) (LP)
(Produced by Jairo A. Rodrigues)
Paulo Newton de Almeida "Umbanda Ogum Cavalleiro Supremo" (AMC, 1973) (LP)
Nezinho De Oxala "Nezinho De Oxala" (Phonogram, 1977) (LP)
A great album. Although inspired by the Afro-Brazilian spiritualism of the Umbanda religion, Nezinho's sound is a smooth, sweet, soft mix of folky MPB and gentle '70s samba-rock... His vocals are friendly and soothing, perfectly matched by the catchy but subtle musical backing. A nice gem from the 'Seventies -- I'm not sure if he was affiliated with a particular terreiro, or if he recorded other albums besides this one, but this is a very sweet, listenable record. Recommended!
Ogan Ricardo "Cruzeiro Das Almas" (Caritas Records, 19--?) (LP)
(Produced by Jairo A. Rodrigues
Ogan Ricardo "Gira De Iansa" (Caritas Records, 1995) (LP)
Olodum - See artist discography
Pai Edu "Palacio De Iemanja" (Passarela Records, 1972) (LP)
(Produced by Hercilio Bastos)
Pai Joao "A Deusa Do Mar" (Continental Records, 1985) (LP)
Maria Toledo Palmer "A Nova Lei Espírita Jesus A Chave De Umbanda" (Continental Records, 1968-?) (LP)
Joao Pascoal "Como Discarrenga Na Umbanda" (Guarani Records, 1964) (EP)
Joao Pascoal "Vai, Rei De Minas... Rei Do Rojao Mineiro" (Lugunel Records, 19--?) (LP)
Joao Pascoal "A Umbanda Descansa Assim" (Lugunel Records, 19--?) (EP)
Petergipison "O Rei Da Macumba" (Musicolor, 1975) (LP)
An odd "artist name" on this one, but apparently correct. There are several tracks credited to Petergipison, as well as to collaborators Alcidesio Muniz da Silva and Maria Amerila da Silva. This is a pleasantly raw set, with stark, with plaintive arrangements and a piercing children's chorus. A nice mix of textures and styles, though not a lot of sonic texture to capture the deeper rhythmic tones... Yet this album oozes authenticity and seems packed with original material.
Terreiro Do Oriente "Sarava! Umbanda" (RCA, 1966) (LP)
Joao Bob & Seu Conga "Pontos De Umbanda" (Uniao Espirita Cearense De Umbanda, 196--?) (LP)
J. B. de Carvalho "Umbanda" (A Universal Records, 1994) (LP)
An entire album of songs composed by songwriter Jose Manuel Alves (1907-1993), who was born in Portugal but moved to Brazil in the 1920s and became deeply embedded in Sao Paulo's musical scene, both as a popular music composer (in a variety of styles) and as the author of numerous ritual songs associated with several local terreiros and candomble artists. Alves became immersed in the umbanda demimonde partly because of his wife's ongoing health problems, and found a welcome audience for his musical talents. This set appears to have been a posthumous tribute, and includes several of his better-known songs, notably the anthemic "Hino Da Umbanda" and "Xango Rolou A Pedra." Alves recorded sparingly, with a lone album from 1957 under his belt, as well as a few disparate umbanda tracks recorded afterwards; his own version of "Hino Da Umbanda" is anthologized elesewhere.
Maria D. Miranda "No Reino Da Umbanda (Cantos De Ritual)" (Continental Records, 19--?) (LP)
A nice, understated set of impassioned umbanda music, led by a female singer with a clear, declarative, and quite appealing vocal style which brings to mind larger pop stars such as Clara Nunes and Margareth Menezes, only performed on a much smaller, more humble scale. There's no date on this disc although it looks like it came out in the late 'Sixties or early 'Seventies -- she certainly shares a certain street-level authenticity with samba icon Clara Nunes, particularly with Nunes's back-to-basics, socially conscious samba raiz albums of the early 1970s. This album has none of the lavish, rich melodicism of Clara's major-label masterpieces, but embraces the same deep African spiritual roots. About half the songs are credited as Miranda's own originals (along with a handful of uncredited songs, some of which might have been hers as well.) The set is rounded out with a couple of J. M. Alves classics, the anthemic "Hino De Umbanda" and "Xango Rolou A Pedra," all performed with backing from a simple, small-scale chorus-and-percussion ensemble, the Corimba Da Tenda Ogum Urubatao. A compelling album.
Ibejy Miregum "Abaça De Oxala" (Caritas Records, 19--?) (LP)
Ibejy Miregum "No Reino De Nana Burukue" (Beverley Records, 1981) (LP)
(Produced by Wanderley Martins & Pedro R. Jurazo)
Nilo & Hercilia Do Nascimento "Nilo E A Macumba Autentica" (JPL, 19--?) (LP)
(Produced by Omir Caldeira & Roberto)
Orquestra HB/Grupo Abacai "Ago! Cantos Sagrados De Brasil E Cuba" (Sambata Records, 2011)
A religious program from the eclectic modern MPB/jazz group, Orquestra HB, which was led by guitarist Dino Baroni and vibraphonist Guga Stroeter, brother of MPB bassist/arranger Rodolfo Stroeter. Though they are normally a secular group, this set explores material drawn from both Brazilian umbanda as well as Cuban santeria music. More modern, no doubt, than most fo the records surveyed here. They also recorded an album of material from umbanda composer Elcio de Oxala, which was released under Stroeter's name. (See below.)
Primado De Umbanda Do Est. De Sao Paulo "Umbanda 73" (MusiColor, 1973) (LP)
Rangelito "Rangelito Na Umbanda" (Polydor, 1964) (LP)
Ismael Rangel "Aleluia Umbanda" (AMC Records, 1974) (LP)
Jose Siqueira & The Orquestra Sinfonica De Paris "Xango Cantata Negra" (Corvocado Records, 19--?) (LP)
The centerpiece of this disc is a classical cantata composed by Jose Siqueira (1907-1985) back in 1952... It's an odd admixture of classical music and candomble themes (or "negro-fetichista," per the liner notes) with modest Afro-Brazilian percussion subsumed by shrill, large-scale, European art-song orchestrations, all framing solo soprano Alice Ribeiro, who trills away in a distinctly operatic fashion. It's all very high-falutin' and high-concept, but maybe not that much fun to listen to. Noteworthy as syncretic art, but irritating and overly-cerebral. Kinda goofy, too.
Guga Stroeter & Orquestra HB "...Convidam Pai Elcio De Oxala" (Sambata Records, 2013)
(Produced by Dino Baroni & Guga Stroeter)
Vibraphonist Guga Stroeter is the brother of MPB bandleader and bassist Rodolfo Stroeter, here performing the music of umbanda elder Elcio De Oxala (b. 1937) a religious songwriter from Minas Gerais who recorded a few albums of his own, later in life, during the CD era. Stroeter is joined by guitarist/co-producer Dino Baroni and other members of their jazz-MPB ensemble, Orquestra HB; the group also recorded an earlier album of ritual music from Cuba and Brazil, along with the likeminded Grupo Abacai.
Sussu/Joao Da Baiana "Batuques E Pontos De Macumba" (Odeon Records, 19--?) (LP)
A split album with four songs each from these two umbanda old-timers... Songwriter and pandeiro soloist Joao Da Baiana (1887-1974) was part of the early samba-cancao scene, writing his first hits way back in the 1920s; he was also one of the local artists recruited to take part in Leopold Stokowski's 1940 "good neighbor" tour and recording sessions. Likewise, percussionist Baba Oke Sussu was deeply embedded in the ritual music scene which blossomed in the early decades Twentieth Century... The tracks on this 10-inch LP probably came out earlier as as singles or 78s, though it's possible they are re-recordings. Sussu's selections seem to have originally been singles he cut in the early- and mid-1950s (and were later collected on his Imperial-Odeon album, below). Classic "velha guarda" music, of the kind that was still floating around in the 'Fifties and 'Sixties.
Sussu "Sarava" (Odeon/Imperial Records, 19--?) (LP)
This reissue album appears to have come out in the early 1970s, though the tracks originally came out as 78rpm singles in the mid-1950s -- the inner labels pair the specific tracks up with release dates in 1953, '54 and '56.
Sussu "...Tem Mironga" (Odeon Records, 1967-?) (LP)
Sussu "Preto Velho" (Okeh Records, 1968-?) (LP)
(Produced by Jairo Pires)
Sussu "O Rei Do Congo" (Okeh Records, 1969-?) (LP)
(Produced by Jairo Pires)
Tenda De Federacao De Umbanda N. S. Aparecida "Salve O Povo Da Bahia" (Caritas Records, 1973) (LP)
(Produced by Jairo A. Rodrigues)
Tenda De Maria Conga "Centenario De Edison Carneiro: 1912-2012" (IPHAN, 1962/2012) (LP)
If you want to go back to Brazilian candomble's bare musical roots, this expansive set of archival recordings probably about as rootsy as you can get. These tracks were made in 1962 by pioneering folklorist Edison Carneiro (1912-1972) a politically militant ethnomusicologist who part of an academic wave in the 1930s that paid special attention to Brazil's African-based candomble traditions, and who later became a champion of the older forms of samba, making a polemical case in an influential early 1960s essay that laid the foundation for the traditionalist "samba de morro" and "samba raiz" movements of the 1960s and early 'Seventies. I haven't laid eyes or hand on this actual box set, but the music as heard on YouTube is extraordinary, pure percussion-and-vocal chorus field recordings, apparently with all the performances provided by the Tenda De Maria Conga, an umbanda group based in Rio de Janeiro. It's a very compelling, satisfying set, richly authentic and entirely shorn of any pretensions towards commerciality or pop accommodations: this is the real deal, well-recorded, and the vibes were right. I find it very listenable, and very rewarding. Recommended.
Tia Hilda "Umbanda Na Voz De Tia Hilda" (Madrigal Records, 19--?) (EP)
Tome "Onibeijada: Cosme, Damiao E Doum" (Caritas Records, 1988) (LP)
(Produced by Higino F. G. Filho, Henrique Magalhaes, Acacio S. Monteiro & Jairo A. Rodrigues)
Trio Indaia "Sarava: Umbanda E Paz E Amor" (Tropicana Record, 1973) (LP)
(Produced by Roberto Stranganelli)
A set of music composed by J. M. Alves; these tracks may have been reissued elsewhere under a different artist name. Trio Indaia -- whose individual names are unknown to me -- also released at least one other record, a secular samba single from 1976.
Vozes De Umbanda "Sarava Ogum" (CID Records, 1977) (LP)
Yemanja "Yemanja/Umbanda" (Caritas Records, 1994-?)
(Produced by Jayro A. Rodrigues)
A few questionable points regarding this record -- there appears to be no explicit artist name, although the name of the Yoruban water spirit Yemanja, the mother of all Orixas, appears in a style that would normally denote an artist on an album cover. It's also possible that it's merely the dominant part of the album title, and this is an album recorded anonymously by someone in the Caritas label's orbit. I'm also not sure when this was originally recorded; the only edition I've seen is from 1994, but this was a period when Caritas reissued an immense amount of material from its own back catalog, as well as from other independent labels: I think it's highly likely this was recorded at some earlier date. Jayro A. Rodrigues is listed as the producer, though the '94 edition does not include any composer credits or information about the musicians involved, or about any particular terreiro.
Various Artists "2nd FESTIVAL DE CANTIGAS ENREDO DOS ORIXAS" (Somil Records, 19--?) (LP)
Various Artists "3rd FESTIVAL NACIONAL DE CANTIGAS DE UMBANDA" (Equipe Records, 1973-?) (LP)
A live concert album featuring a number of pretty obscure participants, who mostly seem to have been amateur performers whose only recordings were on this album. The exceptions are a singer named Paulo Cunha, who appears on a couple of other similar umbanda compilations, and a gal named Zaira, who had a long string of secular singles stretching back to the early 'Sixties, and whose career seems to have gotten a big boost after this festival record came out. Zaira had bumped up from smaller regional indie labels to major label status in the early 'Seventies, recordings for Continental and Chantecler among others; she recorded two full albums after this came out, one in 1974 and the last one in '79, both of which were secular sets.
Various Artists "7th FESTIVAL NACIONAL DE CANTIGAS DE UMBANDA" (Polyfar Records, 1979) (LP)
(Produced by Pedro Da Luz)
Various Artists "ABERTURA E ENCERRAMENTO: NA MAGICA BOIADEIRO E BAIANO" (Beverly Records, 1983-?) (LP)
(Produced by Wanderley Martins)
Various Artists "ALDEIA DOS ORIXAS, VOLUME 1: AS FORCAS DO CULTO AFRO-BRASILEIRA" (Geracao 80 Records, 1987) (LP)
(Produced by Osias Macedo, Maquinhos & Rogerio)
A very indie outing here, with various local umbanda groups backed by a small house band... Not sure where all these musicians (and their temples) were from, but the short-lived Geracao 80 label seems to have been based in Sao Paulo. The backing band included arranger Maestro Mirandinha on guitar (and possibly cavacao as well?) along with Darcio (bass), Freddy (percussion), Karan (keyboards) and Miranda (cavaco and violao): not sure if Miranda and Mirandinha were one and the same but they are listed separately in the credits. At any rate, this album seems to have been recorded at the same time as Volume Two (below) with the first disc concentrating on larger choruses from several different templos and terreiros, while the second set seems to have focussed on individual singers and soloists.
Various Artists "ALDEIA DOS ORIXAS, VOLUME 2: AS FORCAS DO CULTO AFRO-BRASILEIRA" (Geracao 80 Records, 1987) (LP)
(Produced by Osias Macedo, Maquinhos & Rogerio)
From the looks of it, both these albums were recorded at the same time, with the same group of studio musicians as the backing band: Maestro Mirandinha on guitar, with Darcio (bass), Freddy (percussion), and Karan on keyboards. This second volume focusses on several vocal soloists, including Baba Carmem De Oxum, Dina de Xango, Leonor de Oxum, Mae Lourdes de Oxosse, Osmar, Salete de Abaluae, and Babalorixa Mizael Vaz. The inner label (on the vinyl) seems to include information about which templos and other groups the singers were attached to; Leonor de Oxum and Mizael Vaz worked together on a 1985 album, Forca Maior which may have also included Mae Lourdes (appearing as Yalorixa Lourdes?) as well as the same backing band.
Various Artists "ARUANDA" (Caritas Records, 19--?) (LP)
(Produced by J. Cicero & Jayro A. Rodrigues)
Various Artists "OS CANTORES DA UMBANDA, v.1" (ART Records, 19--?) (LP)
A very modern, very indie set from a handful of obscure singers -- Carmem de Ogum, Elcio De Oxala, Gerson de Oxala, Mauricio de Oxosse, and Valter de Xango -- most of whom seem to have this album was their only solo recordings. The exception if umbanda elder Elcio De Oxala, a songwriter from Minas Gerais who released a string of albums, mostly in the CD era.
Various Artists "CALENDARIO DA LINHA BRANCA DE UMBANDA" (RGE Records, 1970) (LP)
(Produced by Clovis Mello & Odilon)
Various Artists "FESTIVAL DE CANTOS DE UMBANDA" (Tapecar Records, 19--?) (LP)
(Produced by Wanderley Martins)
Various Artists "FORCA MAIOR" (Fermata Records, 1985) (LP)
(Produced by Osias Macedo, Juvenal Dias & Newton Gennary)
An earlier outing from a number of amateur-level umbanda artists from the Sao Paulo area. This is basically the same group that recorded two albums on Geracao 80 Records, ALDEIA DOS ORIXAS, volumes One and Two. Though the backing band is fairly solid, the vocals are notably unpolished and show a more-than-usually street-level sound, a bit clumsy, but terribly authentic.
Various Artists "LA NA ARUANDA" (Caritas/Sarava Records, 1973) (LP)
(Produced by J. Cicero & Jayro A. Rodrigues)
Various Artists "MACUMBA" (Sinter Records, 1958) (LP)
A full-length, late 1950s release that draws on earlier sources, notably the eight-song MELODIAS DE TERREIRO album below. That album is reprised in full along with about a half-dozen "new" tunes, also probably gathered from earlier releases. What's notable here is the absence of one of the artists listed on the 1955 album, composer/arranger Leo Peracchi (1911-1993) whose career was headed into a more mainstream direction as a go-to studio session arranger, particularly influential in the growth of the orchestral pop sounds of the 1960s and beyond. Singer Lenita Bruno was also a headliner on the 1955 album, but isn't spotlighted on this release, possibly because the whole candomble thing might have been seen as a little controversial for a mainstream artist at the time(?) Still on the marquee are Ataulfo Alves, Heitor Dos Prazeres, and Jorge Fernandes, as well as Joao Da Baiana, whose solo tracks seem to have made up the difference between the 1955 and '58 versions. This set was issued twice the same year on two different imprints: the Fantasia edition featured a classy, understated painted cover, while the Sinter label release had much more lurid photographic artwork, a still photo apparently taken at a private candomble ceremony. Also worth noting: this full, expanded version was reissued yet again in 1972 under the title Em Tempo De Macumba, again with Bruno and Peracchi's names deemphasized from the credits.
Various Artists "MELODIAS DE TERREIRO: PONTOS E RITUALS" (Sinter Records, 1955) (LP)
Originally a ten-inch album, this mid-'Fifties release underscores the connections between ritual music and the roots-samba of the 1920s and '30s, with participation from early samba-cancao stars such as Ataulfo Alves,
Various Artists "MUSIC OF PARA, BRAZIL: CARIMBO, PAIELANCA, BATUQUE & UMBANDA" (Smithsonian-Folkways Records, 1982) (LP)
(Produced by Morton Marks)
Various Artists "NA GIRA DAS CRIANCAS" (Chantecler/Alvorada Records, 19--?) (LP)
(Produced by Coelho Netto & Salatiel Coelho)
A children's album, apparently, though with a definite spiritual perspective, slanted towards the umbanda scene... The back cover credits are a bit iffy -- no indiction of who the performers were, other than a terriero group, the Tenda De Umbanda Pai Jeremias, who are credited as "collaborators" of the producers.
Various Artists "NO REINO DE EXU" (Caritas/Fermata Records, 1985) (LP)
Various Artists "OXOSSI E REI" (Caritas/Fermata Records, 1985) (LP)
(Produced by Jairo A. Rodrigues)
Various Artists "SALVE IMANJA E OGUM" (G.A.Son-Dis, 1979) (LP)
(Produced by Wilson Avila)
Various Artists "SAUDACAO A UMBANDA" (Fermata/Caritas Records, 1985) (LP)
(Produced by J. Cicero & Jayro A. Rodrigues)
A sampler which seems to draw on several years worth of Caritas recordings, including tracks from several communal "tenda" groups, as well as individual artists such as Aparecida and Ibejy Miregum. The liner notes don't make clear when the specific tracks were originally released, although several seems to be from the early 1970s, at least.
Various Artists "SAUDACAO AOS ORIXAS" (Chantecler/Alvorada Records, 1977) (LP)
Really a split LP, featuring two vocal soloists, Araripe Barbosa and Maria Helena, who may have been backed by the same musicians or vocal choruses, though there are no musician credits included on this album. This appears to have been Barbosa's only recording, though Maria Helena recorded a secular samba set a couple of years later, 1980's Entre Na Roda.
Various Artists "SEA BIENVENIDO A SALVADOR" (CID Records, 1980) (LP)
(Produced by Jairo A. Rodrigues)
Various Artists "UMBANDA E SEU RITUAL" (Walbidisc Records, 1970) (LP)
(Produced by Jose Manuel Alves & Walter Bianchi)
