Ha firmato i suoi dischi col nome darte Jorge Ben fino al 1989, modificandolo poi in Jorge Ben Jor (scritto anche BenJor ), per frenare lincidente legale che attribuisce parte dei suoi diritti editoriali al cantante e chitarrista statunitense George Benson.Questi tre album non riscuotono grande successo di pubblico, ma tuttoggi sono considerati dei classici della musica brasiliana.
Em 2008 a revista Rolling Stone Brasil o nomeou como o 5 maior artista da histria da msica brasileira. Mas acabou seguindo o caminho da msica, presente em sua vida desde criana. Embora no tenham obtido sucesso comercial, estes lbuns so, hoje, considerados clssicos da msica brasileira. ![]() Funk carioca: crime ou cultura: o som d medo e prazer. S.l.: s.n. ISBN 9788587556745. Biography Early life and career Born Jorge Duilio Lima Menezes in, he first took the stage name Jorge Ben after his mothers name (of Ethiopian origin) but in the 1980s changed it to Jorge Ben Jor (commonly written Benjor). Jorge Ben obtained his first (Brazils 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 of Carnaval, and from eighteen years of age, he began performing at parties and nightclubs with the guitar that his mother gifted him. He was given the nickname Babulina, after his enthusiastic pronunciation of singer s song Bop-A-Lena. It was at one of those clubs in which he performed that his musical career took off. In 1963, Jorge came on stage and sang to a small crowd that happened to include an executive from the recording company. 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 and traditional samba with its complex lyrics. But 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, 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, presented by and. Jorge Bens first public appearances were in small festivals organised by his friends, where bossa nova and rock and roll predominated. ![]() Outside of Brazil, the song is better known in cover versions by and the. The song has also been reinterpreted by jazz luminaries such as, and; as well as other samba artists of the time, such as. His musical work has been vastly sampled by music producers and DJs, and covered by many bands in a variety of genres such as, and more. Success. Jorge Ben JorWhile many of the performers during the heyday of tropicalia and the rise of MPB (musica popular brasileira) opted for a more radical stance in their challenge Brazils political and cultural authorities, artist like Jorge Ben took a more understated approach. Rather than use overly theatrical performance to shock the audience or write songs loaded with political content, Ben became known as one of the countrys great musical alchemists, a furiously eclectic songwriter who combined elements of indigenous Brazilian music with a groove from the west coast of Africa. Jorge Ben Jor Chove Chuva Never a controversial figure in the manner of the tropicalistas like Caetano Veloso and Gilberto Gil, Jorge Ben became one of the most respected and resilient figures in Brazilian pop. This led to his developing his own approach to the bossa nova that focused on playing the guitar as one would a bass his early recordings are in fact bass-less. The songs subtle bossa nova groove proved so seductive that it was quickly covered by a number of Brazilian artists, most successfully by Sergio Mendes. ![]() Still, he felt the long arm of Brazilian censorship when a 1971 performance was stopped in mid-song because censors felt as though Bens backup singers were dancing too suggestively. It was from the late 60s to mid 70s that Ben established himself as a songwriting force within Brazil. Over the next ten to fifteen years he expanded his reach, with varying success, to Europe and America (hes more popular in Europe than here.) In 1989 he released the album Benjor simultaneously announcing that he was changing his last name to Benjor. During that same time period Ben realized his dream of working with prominent African musicians when he collaborated with Nigerias King Sunny Ade, and also was represented on an anthology of Brazilian music compiled by former Talking Head David Byrne. Although not as politically radical as many of his contemporaries Jorge Ben proved that in certain contexts and under unusually repressive restraint music takes on a readical political dimension.
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