Martinho da Vila (born February 12, 1938) is a Brazilian singer and composer who is considered to be one of the main representatives of samba and MPB. He is a prolific songwriter, with hundreds of recorded songs across over 40 solo albums. He also has many songs that were recorded by singers from different musical genres.
As a singer, he is considered by critics as one of the top exponents of samba to have ever lived. Among his many national collaborations, a few notable names are Zeca Pagodinho, Arlindo Cruz, Chico Buarque, Beth Carvalho, Noel Rosa, Alcione, among others. Furthermore, Martinho composed some of the most important samba enredos (samba school themed songs) and has forged a solid partnership with the Vila Isabel samba school.
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Filho de lavradores, nasce em uma fazenda do interior fluminense e muda-se com os pais para a cidade do Rio de Janeiro aos quatro anos. Criado no subrbio carioca, interessa-se pelo samba e passa a compor para a escola Aprendizes da Boca do Mato, o que faz entre 1958 e 1964. Trabalha como contador e datilgrafo no Exrcito de 1956 a 1969.
A suave, sensual male singer who got his start writing songs for the Carnaval parades in the 1960s, Martinho Da Vila is one of Brazil's premiere songwriters and greatest samba stars. His warmly-orchestrated, upbeat records generally deliver the goods. A few later albums from the late '80s and 1990s may include questionable instrumentation, but overall he's still a class act. Here's a quick look at DaVila's catalog... to tell the truth, they're all so good that I find it hard to say much about these albums individually... They all sound great to me!
Martinho da Vila/Various Artists "Nem Todo Crioulo E Doido" (DiscNews/Codil, 1968)
(Produced by Expedito Alves, Norival Reis & Nilton Valle)
Martinho da Vila sings on four of the tracks of this delightful album which showcases several samba-school singers such as puxador Zuzuca and a gal named Analia, as well as several samba percussionists of the late '60s. Martinho's voice is smooth as silk, but there's lots of other talent thrown in the spotlight as well: in the credits, the songs are identified with various escolas (Mangueira, Portela, Salgueiro, Imperio Serrano, Imperio Tijuca and of course Martinho's own school, Vila Isabel, as well as a couple of other smaller groups) while the backing band is equally far-flung, comprised of bassist Darcy da Mangueira, cavaquinho player J. Araujo and percussion by the Conjunto Brasil Ritmo 67, which was probably just a convenient name for whichever musicians they booked for the sessions. Although most tracks have vocals, there's also a great batucada drumming instrumental ("Ritmo") that starts off Side Two, featuring a magnificent cuica player named Nenen. The arrangements are fairly modest and straightforward, and much like Da Vila's albums that followed, don't yet have the lavish, expansive sound that pagode samba would have by the mid-'70s. All in all, a swell set, richly authentic, even with the fairly conservative production style.
Martinho Da Vila "Meu Laiaraia" (BMG-Brasil, 1970)
(Produced by Romeu Nunes)
An absolutely stunning album, with a gentle acoustic base and deft, subtle use of strings and back-up chorus, and tons of overlapping melody and rhythm. Once again, all the songs are written by Da Vila, which gives you an inkling of his prolific talent... In some ways this is rooted in the older studio sounds of the late bossa nova era, but the production touches are harnessed to the samba with great delicacy and skill -- this reminds me of one of my favorite Jair Rodrigues albums, 1973's Orgulho de um Sambista, which also has a feeling of great ethereal beauty. HIGHLY recommended!
Martinho Da Vila "Memorias De Um Sargento Do Milicias" (BMG-Brasil, 1971)
(Produced by Rildo Hora & Joao Costa Netto)
Joyful, smooth, wonderful sambas... about what you'd expect, though not much more. This time only about half the songs are Da Vila originals; the rest of the record includes classics by Atualfo Alves, Xango and Candeia, and the title track, written by his fellow samba traditionalist, Paulinho Da Viola. Guitarist Rosinha De Valenca plays on several songs; Da Vila also starts his long association with Rildo Hora, who plays on one song and co-produces the album. If you're looking for a great early Martinho da Vila album, this would do fine. But if you're looking for the best Martinho da Vila albums, you could poke around a little more.
Martinho Da Vila "Batuque Na Cozinha" (BMG-Brasil, 1972)
(Produced by Rildo Hora & Severino Filho)
A good album, but ultimately underwhelming in terms of the arrangements and pacing. Pleasant acoustic samba material with the cavaquinhos, chorus and Da Vila's flawlessly suave vocals, but it does seem a bit by-the-book. All but one of the songs are Da Vila compositions; the title track is by Joao Da Baiana... One standout number is a zippy little forro song that rounds off the end of the album. This might not be Da Vila's best album, but it's still pretty groovy.
Martinho Da Vila "Origens (Pelo Telefone)" (RCA-Brasil, 1973)
(Produced by Rildo Hora & Severino Filho)
In part, this is Da Vila's tribute to the founders of samba cancao, including artists such as the legendary Donga, whose "Pelo Telefone" was the first samba ever recorded (way back in 1916). Da Vila's version is appropriately great, as are his new originals and a medley of songs written by Monsueto which kicks off the album. Also featured are sweet sambas by Monarco and Joao Nogueira, and several new ones by Da Vila himself... Another gorgeous album -- classic '70s samba.
Martinho Da Vila "Maravilhas De Cenario" (BMG-Brasil, 1975)
A drop-dead beautiful album with some unusual instruments and arrangements -- Spanish guitars, stop-and-start rhythms, etc. -- that make it a bit different from the standard samba fare. There are a couple of misfires (like the blaring trumpets on Joao Santiago's "Hino Dos Batutas de Sao Jose"), but overall, quite a yummy album. Recommended!
Martinho Da Vila "Presente" (BMG-Brasil, 1977)
(Produced by Rildo Hora)
Delicious and richly layered as always, this album highlights Da Vila at his best, and also at his most diverse. Loungey pop, Cuban-style son, Afro-Brazilian percussion, soft ballads and drifting jazz all intermingle alongside Da Vila's usual lovely, luscious samba. One of his more distinctive albums of the era, encompassing a wide variety of styles, yet not treacly or tainted by the sort of sluggish clumsiness that many world-fusion albums often exhibit. This is a very skillful, very soulful set... very nice stuff!
Martinho Da Vila "Terreiro, Sala E Salao" (BMG-Brasil, 1979)
(Produced by Rildo Hora)
Another stunningly precise, pleasantly warm album, thought this time tilted towards the rawer, more percussive end of the street samba sound. As ever, Da Vila's delivery is calm and relaxed, and the call-and-response interplay between him and the chorus brings that style to an artistic high point, again showing his mastery of the form. Side Two unfortunately features an interminable twelve-tune Carvaval medley, which, as these things go, isn't so bad. But it pales in comparison to the gorgeous Da Vila originals which make up the rest of the album.
Martinho Da Vila "Sentimentos" (BMG-Brasil, 1981)
(Produced by Rildo Hora)
Despite the melow-sounding title, this disc is actually a bit on the edgy side; there's a driving, aggressive feel that I can't quite place my fingers on, but for some reason I found this disc a little grating, and that I was put on edge by it. Not exactly what you expect in a Martinho Da Vila album. To be fair, though, there are songs on it that are classic Martinho-style samba, it's just that the album as a whole is a bit irritating.... Okay, but not great.
Martinho Da Vila "Novas Palavras" (BMG-Brasil, 1983)
(Produced by Rildo Hora)
Another great record, this time with a wide variety of styles, wandering into non-samba pop, yet still sounding quite soulful and delicious. This album was recorded after a trip to Angola, and like many of his Brazilian MPB compatriots who had gone to Africa, Da Vila found himself swept up in the powerful emotions of a return to Mother Africa. On "Negros Odores," he addresses the Afro-Brazilian connection, name checking numerous African countries while putting forth an afrocentric spiritual-political viewpoint (amid a rather lovely melody, I might add). The album adds on a sad note, with the song "Clara Nunes," a tribute to the pagode samba queen who had died earlier the same year.
Martinho Da Vila "Criacoes E Recriacoes" (BMG-Brasil, 1985)
(Produced by Rildo Hora)
Another nice, solid album, with a few mildly distracting, slick pop production flourishes -- a Stevie Wonder-ish harmonica, some light electronic swells. But on the whole, this is the same wonderful formula of catchy cavaquinho riffs, warm choruses, and lulling melodies which makes for some very pleasant listening. Da Vila is playing the role of romantic crooner, rather than samba savior, but if you give it this record a chance, it'll grow on you. Worth checking out.
Martinho Da Vila "Festa Da Raca" (Sony-Brasil, 1988)
What can I say? Yet another nice pop-samba album, so deftly delivered that even the iffy production touches that would make make me cringe anywhere else, simply glide by as part of the landscape on this disc, telephone poles on the way to the beach. This isn't the most magical album ever, but it's pretty darn good.
Martinho Da Vila "O Canto Das Lavadeiras" (Sony-Brasil, 1989)
(Produced by Rildo Hora)
Dedicated to working-class laundresses, this set of socially-conscious samba-pop songs has a few modern production touches that may be off-putting to acoustic purists -- electric keyboards, bass, etc. -- but really, they aren't that intrusive, and the album is quite pleasant. Perhaps not his greatest work, but still nothing to sneeze at. More nice, typical Da Vila fare. 589ccfa754
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