Diabo a Sete is a Portuguese folk-rock fusion group established in Coimbra since 2003. The group has a long career, performing in various stages in Portugal and abroad, participating in important festivals associated with world music.
Diabo a Sete delves into the rhythms, melodies and instruments of traditional Portuguese roots incorporating new contemporary approaches, with a dynamic show where Lusitanian lyricism can be heard as much as feeling the energy of traditional festivals.
With three albums released and to prepare a new album of original songs, his music has received very good reviews both nationally and internationally.
Ther lineup includes Celso Bento on flutes and gaita-de-foles (bagpipe), Eduardo Murta on electric bass; Luísa Correia on guitar; Miguel Cardina on drums; Pedro Damasceno on bandolim, cavaquinho, concertina and low whistle; and Sara Vidal on vocals; Celtic harp, adufe and Galician tambourine.
Maria Emília was born in São Paulo, Brazil, but always had a strong connection to fado. Her Portuguese grandfather introduced fado to Maria Emília and her father.
She moved from Brazil to Portugal at a young age, and began singing fado early at Taberna do Ganso and other well-known venues in the Minho region.
Althoug she returned to Brazil and sang in the Alfama dos Marinheiros, Maria Emília had a longing for Portugal and fado. She returned to Portugal and began her career as fadista. She performed at the most iconic fado houses and toured Brazil, Spain, Switzerland and Belgium.
Throughout her career, she has demonstrated a steadfast devotion not only to the music’s deepest traditions but also to its expressive possibilities. Her album Casa de Fado features bittersweet fados such as “Perfeito Pecado” and “Sou um Fado desta Idade”, as well as emotive classics such as “Um dia cheguei-me a ti” and “Agora.”
Carlos Manuel Moutinho Paiva dos Santos Duarte, better-known
as Camané, was born on December 20, 1966 in Oeiras, Portugal.
He started getting appreciation in Portugal in 1979 after
winning the ‘Grande Noite do Fado’ (Great Fado Night) contest. He became one of
the leading male singers and achieved commercial success with six certified
gold albums: Uma Noite de Fados (1995), Na Linha da Vida (1998), Esta Coisa da Alma (2000), Pelo Dia Dentro
(2001), the live recording Como sempre… Como dantes (2003), and Sempre De Mim
Infinito Presente (2015), the product of an extended collaboration with the writer José Maria Branco, includes lyrics and arrangements that are deceptively simple. The songs express the mysterious emotion that the Portuguese claim as uniquely and exclusively theirs: saudade, which is at once the happiness that brings sadness, and the sadness that brings happiness.
On Camané’s 2017 album, Canta Marceneiro , he revisits the repertory of Alfredo Marceneiro, an early 20th century fado singer who, though only moderately competent as a technician, completely changed fado’s possibilities for artistic expression through unrestrained inventiveness and wit. Camané’s Canta Marceneiro is filled with mischievous stories that reveal the common cares and fears in all of us through the lives of astute waitresses, drunken painters, and kings’ courtiers.
Deolinda formed in 2006, inspired by Mariza, the Portuguese fado star who is renowned the world over. With a theatrical bent to much of their work Deolinda’s Ana Bachalau (meaning salted cod) recalls bringing her feminine character to life ‘She stands for days listening to records her grandmother left her and watching through the lace curtains at neighbors.’
The songs they write are often vehicles for comments on Portuguese culture and lifestyle and in recent years they have had their track ‘Movimento perpetuo Associativo’ used for political gain at party conferences (a fact the band smile wryly at considering the track took aim at national identity).
Deolinda’s debut album ‘Canção ao Lado’ (2009) achieved Platinum status in Portugal and their unique blend of delicate fado and Cape Verdean blues saw them scoop newcomer of the year at the 2010 Songlines Music Awards.
Marta Pereira da Costa started playing the piano at the age of 4, later at 8 learned the classical guitar and at 18 began to study the Portuguese Guitar under the tutelage of Carlos Gonçalves, one of Amália Rodrigues’ most important guitar players.
Marta has performed with some of the true giants of Portuguese music, including Camané, Mário Pacheco, Dulce Pontes, and Mariza, as well as Afro-Atlantic legends such as Cameroon’s Richard Bona and Cape Verde’s Tito Paris.
Marta’s self-titled debut album was released by Warner Music in 2016, containing 13 tracks that mixed original compositions with interpretations showcasing contemporary Portuguese composers; instrumental tracks with guest vocalists such as Dulce Pontes, and Rui Veloso, and fado tradition with jazz improvisation and instruments and influences from around the world. One of Marta’s key collaborators on this album was GRAMMY Award-winning Cameroonian bassist Richard Bona, who helped bring Lisbon’s simmering Afro-Atlantic vibes to the fore on “Encontro”.
The 5th edition of EXIB Música will take place in Setúbal, Portugal during June 13-15, 2019. The event celebrates the musical diversity of Ibero-America (Spain, Portugal and the Spanish and Portuguese countries of the Americas).
EXIB Música includes international showcases, conferences and workshops.
Fado music is the heart of the Portuguese soul. It is one of the oldest urban folk music styles in the world. Some say it came as a dance from Africa in the 19th century and was adopted by the poor on the streets of Lisbon. Or perhaps it started at sea as the sad, melodic songs created by homesick sailors and fishermen.
Whatever its origins, fado’s themes have remained constant: destiny, betrayal in love, death and despair. A typical lyric goes: “Why did you leave me, where did you go? I walk the streets looking at every place we were together, except you’re not there.” It’s a sad music and a fado performance is not successful if an audience is not moved to tears.
All fado is dominated by the sentiment known as saudade. While there is no precise English definition for this word, it may be translated roughly as ‘yearning.’ Essentially it describes the soul of the music and is the measure of understanding that passes between performer and audience.
By the early twentieth century, fado had become popular in the everyday life of Lisbon’s working class. It was played for pleasure but also to relieve the pain of life. Skilled singers known as fadistas performed at the end of the day and long into the night. Fado was the earthy music of taverns and brothels and street corners in Alfama and Mouraria, the old poor sections of Lisbon. (Another strain of fado, Coimbra fado, was favored among university students and professors.)
The fado is normally sung by men or women and accompanied by one Portuguese guitar and one classical guitar, which in Portugal is called viola. This song reached its golden era in the first half of the 20th century, when the Portuguese dictatorship of Salazar (1926-1968) forced the fado performers to become professional and confined them to sing in the fado houses and the so called “revistas”, a popular genre of “vaudeville”.
The main names of that period were: Alfredo Marceneiro, Amalia Rodrigues, Maria Teresa de Noronha and guitar players Armandinho and Jaime Santos.
From the 1940s until her death in 1999, the towering figure of Portuguese fado was Amalia Rodrigues. She was the diva of fado, worshiped at home and celebrated abroad as the most famous representative of Portuguese culture. When she died the country’s prime minister called for three-days of national mourning. Such is the hold of fado over the people of Portugal.
The essential element of fado music is saudade, a Portuguese word that translates roughly as longing, or nostalgia for unrealized dreams. Fado flowers from this fatalistic world-view. It speaks of an undefined yearning that can’t be satisfied. For Portuguese emigrants fado is an expression of homesickness for the place they left behind.
Like other forms of deeply moving folk music such as flamenco, American blues, Argentine tango or Greek rembetiko, fado cannot be explained; it must be felt and experienced. One must have the soul to transmit that feeling; a fadista who does not possess saudade is thought of as inauthentic. Audiences are very knowledgeable and very demanding. If they do not feel the fadista is up to form they will stop a performance.
Fado can be performed by men or women, although many aficionados prefer the raw emotion of the female fadista. Dressed in black with a shawl draped over her shoulders, a fadista stands in front of the musicians and communicates through gesture and facial expressions. The hands move, the body is stationary. When it is done correctly, it is a solemn and majestic performance.
Aside from the Lisbon fado there is another completely different form of this song, sung by the students of Coimbra University whose ancient roots can be found in the medieval songs called trovas. Here the subjects are mainly love, friendship and nostalgia. This form of fado reached its most famous period in the 1950s and 1960s when names like Edmundo Bettencourt, Luis Gois, José Afonso and the musicians Artur Paredes, Carlos Paredes and Antonio Portugal among others, combined new forms and lyrics to a song which was limited to student circles.
The traditional accompaniment for the fadista is a Portuguese guitar, or guitarra, a 12-stringed instrument, and a bass guitar, or viola. Sometimes a second acoustic guitar is added. In recent years, fado recordings have added piano, violin and accordion, instruments which sometimes accompany the music on the streets of Lisbon.
Today the younger generation in Portugal is respectful but not dedicated to fado. However, a new generation of young musicians have contributed to the social and political revival of fado music, adapting and blending it with new trends.
Contemporary fado musicians like Misia have introduced the music to performers such as Sting. Misia and fadistas like Cristina Branco and Mariza, Amelia Muge, Antonio Zambujo, Ana Lains, Ana Moura, Joana Amendoeira, Katia Guerreiro, Mafalda Arnauth, walk the fine line between carrying on the tradition and trying to bring in a new audience.
One of the biggest names in the new generation of male fado singers is award-winning Marco Rodrigues.
2018 saw the rise of a new fado revelation, Sara Correia, who released her debut album Sara Correia.
(Sources: World Music Central, World Music Institute, World Music Network)
Coimbra Fado is a genre of fado originating in the city of Coimbra, Portugal. This fado is closely linked to the academic traditions of the University of Coimbra and is exclusively sung by men; both the singers and musicians wear black capes during performances, the remaining part of the students outfit. It is sung at night, almost in the dark, in city squares, streets, or fado houses. (source: Fado group Verdes Anos)
The following artists perform fado or fado-influenced music: Ala Dos Namorados, Almaplana, Amélia Muge, Ana Laíns, Ana Marina, Ana Moura, Antonio Chainho, Antonio Zambujo, Armenio de Melo, Bicho de 7 cabeças, Camané, Catarina Cardeal, Cristina Branco, Custodio Castelo, Duarte, Grupo Cancao de Coimbra, Joana Amendoeira, Jorge Fernando, Katia Guerreiro, Lula Pena, Mario Pacheco, Madredeus, Mafalda Arnauth, Maria Amelia Proen, Mariza, Melian, Mike Siracusa, Misia, Nem Truz Nem Muz), Ramana Vieira, Sonia Tavares, Teresa Salgueiro, Verdes Anos – Fado group, Cuca Roseta, Yolanda Soares, Raquel Tavares, Gisela João, Claudia Aurora, Carla Pires, Marco Rodrigues, Joana Rios, and Sara Correia.
Mariza began singing Fado as a child, before she could read. Her father sketched out little cartoon stories to help her remember the lyrics. At the age of five, she would join in the spontaneous singing at her parents’ restaurant in Mouraria, one of Lisbon’s most traditional neighborhoods.
Mariza was born in Mozambique, but her family moved to Portugal when she was a baby, giving her plenty of time to get immersed directly in the Fado tavernas (Fado houses) where singing is part of everyday life. She told the BBC, “Half of me is very, very Portuguese and the other half is very, very African.”
At the age of twenty-six, Mariza released her first CD, Fado Em Mim, the recording presents six classic Fados and six original compositions, all of them tugging listeners at the heart and soul.
Fado is Portugal’s passionate and bittersweet musical gift to the world, equivalent to Blues or Rebetika or Tango or Flamenco. “They all stand on emotions,” said Mariza. “Fado is an emotional kind of music full of passion, sorrow, jealousy, grief, and often satire.”
Mariza had her first major national exposure in 1999 as one of the guest performers in Tribute Concerts for Amália Rodrigues in the Coliseums of Lisbon and Oporto. Both performances were broadcast live on one of Portugal’s Network TV channels. Mariza’s performances immediately sparked interest in the public and in the national media. In 2000, she received the award, “Voice of Fado,” presented by Central FM (Portugal’s national radio station). She was invited to “introduce” Fado to rock icon Sting by a highly rated national television show Hermansic.
Mariza walks the fine line necessary to both genuinely carry the tradition and bring it freshness for today. Her performance style captures the raw emotion that characterizes the genre, but with her own personal twist.
When Mariza recorded Transparente, her latest studio album, she recruited Brazilian Jaques Morelenbaum to help her create the sonority she wanted. “He gave me a more velvet, more intimate, more romantic sound,” Mariza dreamily recalls.
“We recorded the Transparente album in Brazil,” explains Mariza. “I am looking for fado from a different perspective, because I now travel a lot. One month I am at the Sidney Opera House, another month I am in China or Thailand. I am starting to find that this music that belongs to Lisbon, to Portuguese people, is starting to feel more and more universal. It speaks about universal feelings. Each country interprets it in its own way. We are crossing cultural lines now. And I feel so proud about it.”
When Lisbon’s mayor invited Mariza to perform for Lisbon in this way, she brought Morelenbaum in once again for the arrangements and conducting duties. One a rainy summer evening in 2005, around 25,000 people gathered at the Tower of Belem’s gardens in Lisbon to hear Mariza.
The 500 year-old Tower of Belem sits at the mouth of the River Tagus. The Tower of Belem looks in one direction onto the river and towards the sea, the departure point for Portugal’s famous sailors. In the other direction it looks over the city of Lisbon. Looking forward while looking back.
At the gardens, Mariza performed favorite songs from her young-but-full career with a full orchestra, the Sinfonietta de Lisboa, conducted by Jaques Morelenbaum. The magical night is captured on Concerto em Lisboa, released on CD with a bonus DVD documentary. Concerto em Lisboa went platinum in Portugal for both CD and DVD version.
“Having the river and the Tower, the place where the boats left to make their discoveries in the 16th Century; going to India and Africa. Being in that place, singing fado was very emblematic that night,” says Mariza. “Even if I didn’t want to think about it, the sea was so near, and all these things came to mind that night. I never thought a girl with roots in Africa would have all that!“
“I was not expecting so many different ages, from a younger generation, to grandmothers with grandchildren. There were traditional people from my neighborhood and people coming from the north and the south, even from Spain!” exclaims Mariza. “When I saw the images, showing my Lisbon people, and not only people from Lisbon, but a very eclectic audience, all clapping and singing along, I realized what a beautiful night it was. It was not a typical fado audience. I was so surprised. I loved it.”
Outside interest in Mariza abounds, from her sell-out concert at the 6,000-seat Royal Albert Hall in London, to her BBC World Music Award, and being picked by Germany’s ‘100 most important women in Europe.’ She performed a duet with Sting for the Athens Olympics album, and became a UNICEF Ambassador.
In 2007 Mariza took the symphonic show on the road. “Sometimes when you talk about classical music, people have a cold approach and they get a little bit distant,” Mariza says. “But with John Mauceri, it was amazing. He had a very, very special way of treating the music. Always explaining it to the audience and saying funny things. It was unbelievable! I learned from him that even if you have a light approach, it doesn’t mean you are not respecting the music.”
Mariza has also been getting her feet wet in the film world. The BBC released a documentary in 2007 titled Mariza and the Story of Fado, compellingly profiling both the artist and the genre. There will be a special limited edition version of the Concerto em Lisboa album that includes the full BBC documentary. And Mariza played the lead role in a new film called Fado by Carlos Saura, whose past works include the Oscar-nominated Tango and Flamenco, giving fans a chance to see her in an acting role.
In 2007 prominent architect Frank Gehry designed a set for a performance by Portuguese fado singer Mariza later this year. Gehry, renowned for his stunning and daring urban visions, agreed to create a taverna-inspired stage for Mariza’s performance in October at the Walt Disney Concert Hall.
Gehry said he met Mariza several years ago in Lisbon and was enamored by fado, Portuguese folk music that often has mournful lyrics. “It’s a very intimate setting and there is a dark ambiance,” said Mariza. “It’s a huge privilege to have my own taverna directed by Mr. Gehry.”
Her international acknowledgement is notable: in 2003 she won the BBC Radio 3 Award For World Music, in the European category. She was the first Portuguese artist ever nominated for the GRAMMY awards in the category of Best Folk Album.
Fado Em Mim (World Connection, 2001) Ao Vivo Na Culturgest (2002) Fado Curvo (EMI, 2003) Fado Curvo / Ao vivo em Espanha (EMI-Valentim De Carvalho, 2004) Ao Vivo No Casino (Corda Seca, 2004) Transparente (EMI, 2005) Concerto Em Lisboa (EMI Music Portugal, 2006) Terra (EMI Music Portugal, 2008) Fado Tradicional (EMI Music Portugal, 2010) Live at Philharmonie im Gasteig in Munich (2013) Mundo (Warner Music Portugal, 2015) Mariza (Warner Music Portugal, 2018)
New traditional music from the northern Portugal, with a strong acoustic flavor. Starting from its own musical researches in “deep Portugal”, this band has developed a solid reputation in the Portuguese traditional music scene.
Toque de Caixa won the “José Afonso” Award in 1989 – Best Folk Band of the Year. The award is named after one of the best Portuguese folk-singers of all times and devoted to celebrate new achievements in the evolution of Portuguese traditional and folk music.
Miguel – guitars, viola braguesa, rajão, quatro ocarina, percussion, vocals
Machado – vocals, guitar, keyboards, percussion
Albertina – accordion, concertina, keyboards, percussion
Horácio – guitar, viola braguesa and percussion
Luís Viegas – vocals, percussion
Eugénio – percussion
Tété – gaita de foles, flutes and percussion