Projeto Acadêmico

ALINE CARDOZO

1ª edição

Cardozo, Aline Jorge Ben Jovem. Uma Biografia - Aline Cardozo. Rio de Janeiro: AC Comunicação Visual, 2010 (1ª edição) 70p.: il.; 20 cm x 20 cm ISBN 00-0000000-00-0

1. Jorge Ben Jor. 2. Biografia. 3. Design - Projeto de Conclusão.

“A única coisa que não podem tirar de você é o conhecimento“

IntroduçãoAlegria, swing, dança…A princípio, adjetivar Jorge é fácil. Difícil é representar Ben Jor.Carioca, negro e suburbano. O que esse sujeito queria com a bossa de dedilhares minu-ciosamente corretos?Com essa pergunta é que iniciamos nosso projeto…De uma maneira despretenciosa, assim como sua carreira, esse livro vai retratando a vida deste gênio em formas e cores. O livro evolui a cada capítulo em suas páginas coloridas, numa integração alegre entre texto e imagens e tem como objetivo levar ao leitor não ap-enas a conhecer uma história de vida, mas também a história de nosso País. Jorge é história viva.

Origem Africana

Nascido em 22 de Março de 1942, o artista que tem sua origem na Zona Norte, mais especifi cadamente no bairro de Madureira. Infl uenciado pela Bossa Nova que dominou o cenário Mundial na década de 60, sua referência artística (e para a

maioria dos adolescentes da época) era João Gilberto, apesar de na sua infância ter ouvido Ataulfo Alves e Luiz Gonzaga. Mas Jorge Ben Jor talvez pudesse ter sido o “Fio Maravilha”. Perto da época de subir para o profi ssional pelo Flamengo, teve uma contusão no tornozelo que encerrou sua vida es-portiva, mas iniciou uma nova paixão - o violão que havia ganho da mãe. A sua pouca intimi-dade com as cordas, o tornou um mestre. Inclassifi cável compositor, intérprete, bandleader e arranjador, misturou o samba, a bossa, o funk, o soul e criou um ritmo swigado único com letras contadas, tão inovador que a maioria dos músicos não conseguiam acompanhá-lo. Em seu primeiro disco “Mas Que Nada” de 1963 só foi possível com a parceria do grupo de jazz Meirelles e os Copa 5, que também se apresentavam na Boite Little Club no Beco das Garrafas, reduto da Bossa Nova, onde Jorge foi descoberto por Armando Pitigliani, produ-tor de seus quatro primeiros discos. Grande artista, respeitado e admirado em todo Mundo, sua música “Mas Que Nada”, atingiu as paradas de sucesso americanas e foi a única com este feito. Jorge transitou pela Bossa Nova, Jovem Guarda e Tropicália de uma maneira ímpar. Sempre convidado para cantar em programas da TV Tupi e TV Record, participou de Festivais de Música com “Charles 45” e foi sua música “Fio Maravilha” na voz da cantora Maria Alcina, que levou o prêmio em 1972 no Festival de Música da TV Globo. Suas can-ções ascenderam muitos artistas como Wilson Simonal com “País Tropical”, Os Mutantes com “Minha Menina” e até Gal Costa com “Que Pena”, atingiu o primeiro time das cantoras brasileiras junto com Maria Bethânia. Suas letras também foram interpretadas por não me-

12

nos que Ney Matogrosso, Ivan Lins, Elza Soares, Elis Regina, Jair Rodrigues, Paulinho Nogueira, Maria Creuza, Tânia Maria e outros tantos até que Rod Stuart plagiou Taj Mahal em sua música “Da Ya Think I´m Sexy?”, processo que rola até hoje. Com a Black Music e o rei o Soul Brasileiro, Tim Maia fez ginásios e bailes lotarem com seus sucessos. Ele é unanimidade brasileira, sendo acolhido com respeito por todos os artistas, em todos os movimentos musicais, desde o pós-bossa nova até nossos dias.Cronologicamente, um pouco depois, veio a black music. Com os Diagonais, Cassiano, Fábio, Banda Black Rio e o rei da soul music, Tim Maia, os shows e bailes, que faziam a alegria da periferia do Rio de Janeiro, tornaram-se populares em quase todo o país. Jorge nunca pensou em fazer sucesso tão rápido. Em apenas 2 dias de lan-çamento do seu LP “Mas que nada”, ele recebeu várias propostas para cantar em vários lugares, inclusive no exterior e foi com as indas e vindas pela Eu-ropa, Ásia e América do Norte em festivais de Jazz e de Word Music. Com o passar dos anos, em 1989 por questões de direitos autorais, acrescentou o “Jor” no fi nal de seu nome, passando a se chamar Jorge Ben Jor por causa do guitarrista internacional George Benson. Em 1963 em uma entrevista a Revista do Rádio, Jorge comenta sobre a adoção de seu nome artístico:“ - Meu avô, que era etíope, chamava-se Ben Jorge. Em homenagem a ele, inverti o nome e passei a chamar-me, artisticamente, Jorge Ben.”Com canções que falam desde uma vida cotidiana, de um subúrbio romântico e com letras inocentes como “Bebete Vambora” e “Cadê Tereza”, homena-

Referências musicais

The poems presented here are those which have been set to music by the German composer Carl Orff (1895-1982). They form only a small part of the whole Carmina Burana, the name applied to a large collection of medieval poems which survive in a

late medieval manuscript found in the early nineteenth century in southern Germany. These poems, which come to more than two hundred in number but are never of any great length, can be roughly classifi ed as follows: Moralistic and satirical poems, the former being con-cerned with the human condition and the world at large, the latter with abuses in the church.Love songs and songs celebrating the return of spring. Songs connected with drinking and gambling.Most of the poems seem to have been intended to be sung. The main language is Latin; a few are in German or are macaronic, i.e. mixtures of Latin and a vernacular (here either German or French). The manuscript has a type of musical notation, which is not fol-lowed by Orff but which has been used by others to reconstruct the original presentation. No poem is assigned to an author.A remarkable feature of the intellectual life of the late Middle Ages was the ease and readi-ness with which scholars and students (and no doubt a good many hangers-on) moved about Europe from one university town to another. There seems to have always been a large number of such people in temporary residence in university towns both in their native countries and in foreign parts. As might be expected, they were not always on good terms with locals who had no connec-tion with, or interest in, intellectual pursuits (such rustici are a frequent butt in the Carmina Burana) and, as their common interests naturally brought them together, they tended to form a class apart, a society to which the terms Wandering Scholars and Ordo Vagorum have been applied. These it was who in the twelfth and thirteenth centuries composed and sung most of the poems of Carmina Burana. Because they were generally without bonds or ties

14

and were not involved in acquiring or maintaining social sta-tus, they were not concerned overmuch with the conventions of society, nor were they greatly troubled by the fulminations of religion against worldly pleasures. The Carmina Burana show attitudes not usually associated with the Middle Ages; we see a quite amoral attitude to sex, a fresh appreciation of nature, and a disrespect of the established church which even today’s society would fi nd hard to tolerate. The Wan-dering Scholars were very much concerned with enjoying themselves, they were frank and uninhibited, and were not afraid of attacking or ridiculing people and institutions they did not like. Their poetry was written for the immediate present, to express an emotion or experience, to complain of some current abuse, but chiefl y, one may conjecture, to entertain their fellows as they caroused. At its best it has spontaneity and freshness which compensate for its limited range and technique.The poems presented here are those which have been set to music by the German composer Carl Orff (1895-1982). They form only a small part of the whole Carmina Burana, the name applied to a large collection of medieval poems which survive in a late medieval manuscript found in the early nineteenth century in southern Germany. These poems, which come to more than two hundred in number but are never of any great

Infância suburbana


late medieval manuscript found in the early nineteenth century in southern Germany. These poems, which come to more than two hundred in number but are never of any great length, can be roughly classifi ed as follows: Moralistic and satirical poems, the former being con-cerned with the human condition and the world at large, the latter with abuses in the church.Love songs and songs celebrating the return of spring. Songs connected with drinking and gambling.Most of the poems seem to have been intended to be sung. The main language is Latin; a few are in German or are macaronic, i.e. mixtures of Latin and a vernacular (here either German or French). The manuscript has a type of musical notation, which is not fol-lowed by Orff but which has been used by others to reconstruct the original presentation. No poem is assigned to an author.A remarkable feature of the intellectual life of the late Middle Ages was the ease and readi-ness with which scholars and students (and no doubt a good many hangers-on) moved about Europe from one university town to another. There seems to have always been a large number of such people in temporary residence in university towns both in their native countries and in foreign parts. As might be expected, they were not always on good terms with locals who had no connec-tion with, or interest in, intellectual pursuits (such rustici are a frequent butt in the Carmina Burana) and, as their common interests naturally brought them together, they tended to form a class apart, a society to which the terms Wandering Scholars and Ordo Vagorum have been applied. These it was who in the twelfth and thirteenth centuries composed and sung most of the poems of Carmina Burana. Because they were generally without bonds or ties and were not involved in acquiring or maintaining social status, they were not con-

16

cerned overmuch with the conventions of society, nor were they greatly troubled by the fulminations of religion against worldly pleasures. The Carmina Burana show attitudes not usually associated with the Middle Ages; we see a quite amoral attitude to sex, a fresh appreciation of nature, and a disrespect of the established church which even today’s society would fi nd hard to tolerate. The Wandering Scholars were very much concerned with enjoying themselves, they were frank and uninhibited, and were not afraid of attacking or ridiculing people and institutions they did not like. Their poetry was written for the immediate present, to express an emotion or experience, to complain of some current abuse, but chiefl y, one may conjecture, to entertain their fellows as they caroused. At its best it has spontaneity and freshness which compensate for its limited range and technique.The poems presented here are those which have been set to music by the German composer Carl Orff (1895-1982). They form only a small part of the whole Carmina Burana, the name applied to a large collection of medieval poems which survive in a late medieval manuscript found in the early nineteenth century in southern Germany. These poems, which come to more than two hundred in number but are never of any great length, can be roughly classifi ed as follows: Moralistic and satirical poems, the former being concerned with the human condition and the world at large, the latter with abuses in the

Referências musicais

Jorge Duílio Lima Menezes vulgo Jorge Ben (Nome adotado em homenagem ao avô etíope, chamado Ben Jorge), entrou na cena musical na década de 60 onde tocava pandeiro ao lado do Copa Trio (Manuel, Toninho e Dom Um Romão, que acresci-

dos de Pedro Paulo-trompete e J.T. Meirelles-sax, formariam o Copa 5, que tocaria nas primeiras gravações de Ben). Outro que requisitava seus serviços era o organista Zé Maria (inclusive, há um disco dele datado de 1962, Tudo Azul, que lança Jorge Ben em LP) e se apresentavam no Little Club situado no Beco das Garrafas no Rio de Janeiro. Não de-morou muito, foi descoberto pelo produtor Armando Pittigliani que logo em 1963 lançou o LP “Samba Esquema Novo”. Jorge Ben queria um grupo de samba para o disco, mas os sambistas da época não conseguiam acompanhá-lo, de forma que foi mais fácil juntar os velhos amigos do Bottle’s, dando uma cara mais bossa-nova para o disco e que se repetiria nos seguintes, Sacundim Ben Samba (1964), Ben é Samba Bom (1964), Big Ben (1965) e O Bidu- Silêncio no Brooklin (1967). Destes discos, apenas Bicho do Mato - lançado em 64 - seria composta pra brincar com o jeito de Rosinha de Valença, violonista virtuosa. No fi nal de 1963, o Itamaraty convidou Sérgio Mendes a organizar um grupo para uma “turnê cultural”. Sérgio Mendes (piano), Jorge Ben (violão e vocal), Wanda Sá (vocal), Rosinha de Valença (violão), Sebastião Neto (contrabaixo) e Chico Batera (bateria) partiram para os Estados Unidos onde “Mas que Nada” conseguiu fi car em primeiro lugar nas para-das americanas em versão original com o seu “teleco-teco” inconfundível do sambalanço (movimento paralelo a Bossa) tocados principalmente em universidades por vários meses. Em plena Ditadura Militar com a Jovem Guarda tomando espaço, participou de programas comandados por Elis Regina & Jair Rodrigues em o “Fino da Bossa” e o de Ro-berto Carlos & Erasmo no Programa “Jovem Guarda”, ambos altamente antagônicos e um artista que se apresentasse neles, era proibido de cantar nos outros devido as discordân-

20

cias de estilos e instrumentos. Firmando parcerias, compôs e gravou com Erasmo Carlos (um ícone, assim como Roberto Carlos), a música “Menina Gata Augusta”. Tempo depois, a Tropicália com os recém lançados Caetano Veloso e Gilberto Gil, através de Guilherme Araújo (que em 1967 o reintegrou à Philips depois de dois compactos lançados pela Artis-tas Unidos sem sucesso e o aproximou de Caetano e Gil) chamaram o veterano Jorge e com Caetano, compôs anos depois “Ive Brussel”, recebendo-o assim de braços abertos à Tropicália das guitarras elétricas, pois devido a “richa” entre a Bossa e a Jovem Guarda, Jorge acabou fi cando numa situa-ção delicada uma vez que não poderia ser considerado um integrante da Jovem-Guarda muito menos um bossa-novista.

Los gringos


late medieval manuscript found in the early nineteenth century in southern Germany. These poems, which come to more than two hundred in number but are never of any great length, can be roughly classifi ed as follows: Moralistic and satirical poems, the former being con-cerned with the human condition and the world at large, the latter with abuses in the church.Love songs and songs celebrating the return of spring. Songs connected with drinking and gambling.Most of the poems seem to have been intended to be sung. The main language is Latin; a few are in German or are macaronic, i.e. mixtures of Latin and a vernacular (here either German or French). The manuscript has a type of musical notation, which is not fol-lowed by Orff but which has been used by others to reconstruct the original presentation. No poem is assigned to an author.A remarkable feature of the intellectual life of the late Middle Ages was the ease and readi-ness with which scholars and students (and no doubt a good many hangers-on) moved about Europe from one university town to another. There seems to have always been a large number of such people in temporary residence in university towns both in their native countries and in foreign parts. As might be expected, they were not always on good terms with locals who had no connec-tion with, or interest in, intellectual pursuits (such rustici are a frequent butt in the Carmina Burana) and, as their common interests naturally brought them together, they tended to form a class apart, a society to which the terms Wandering Scholars and Ordo Vagorum have been applied. These it was who in the twelfth and thirteenth centuries

22

attitudes not usually associated with the Middle Ages; we see a quite amoral attitude to sex, a fresh appreciation of nature, and a disrespect of the established church which even today’s society would fi nd hard to tolerate. The Wandering Scholars were very much concerned with enjoying themselves, they were frank and uninhibited, and were not afraid of attacking or ridiculing people and institutions they did not like. Their poetry was written for the immediate present, to express an emotion or experience, to complain of some current abuse, but chiefl y, one may conjecture, to entertain their fellows as they caroused. At its best it has spontaneity and freshness which compensate for its limited range and technique.The poems presented here are those which have been set to music by the German composer Carl Orff (1895-1982). They form only a small part of the whole Carmina Burana, the name applied to a large collection of medieval poems which survive in a late medieval manuscript found in the early nineteenth century in southern Germany. These poems, which come to more than two hundred in number but are never of any great length, can be roughly classifi ed as follows: Moralistic and satirical poems, the former being concerned with the human condition and the world at large, the latter with abuses in the church.Love songs and songs celebrating the return of spring. Songs

Vou de samba



26

about Europe from one university town to another. There seems to have always been a large number of such people in temporary residence in university towns both in their native countries and in foreign parts. As might be expected, they were not always on good terms with locals who had no connection with, or interest in, intellec-tual pursuits (such rustici are a frequent butt in the Carmina Burana) and, as their common interests naturally brought them together, they tended to form a class apart, a society to which the terms Wandering Scholars and Ordo Vagorum have been applied. These it was who in the twelfth and thir-teenth centuries composed and sung most of the poems of Carmina Burana. Because they were generally without bonds or ties and were not involved in acquiring or maintaining so-cial status, they were not concerned overmuch with the con-ventions of society, nor were they greatly troubled by the ful-minations of religion against worldly pleasures. The Carmina Burana show attitudes not usually associated with the Middle Ages; we see a quite amoral attitude to sex, a fresh appre-ciation of nature, and a disrespect of the established church which even today’s society would fi nd hard to tolerate. The Wandering Scholars were very much concerned with enjoy-ing themselves, they were frank and uninhibited, and were not afraid of attacking or ridiculing people and institutions

Namoro elétrico


late medieval manuscript found in the early nineteenth century in southern Germany. These poems, which come to more than two hundred in number but are never of any great length, can be roughly classifi ed as follows: Moralistic and satirical poems, the former being con-cerned with the human condition and the world at large, the latter with abuses in the church.Love songs and songs celebrating the return of spring. Songs connected with drinking and gambling.Most of the poems seem to have been intended to be sung. The main language is Latin; a few are in German or are macaronic, i.e. mixtures of Latin and a vernacular (here either German or French). The manuscript has a type of musical notation, which is not fol-lowed by Orff but which has been used by others to reconstruct the original presentation. No poem is assigned to an author.A remarkable feature of the intellectual life of the late Middle Ages was the ease and readi-ness with which scholars and students (and no doubt a good many hangers-on) moved about Europe from one university town to another. There seems to have always been a

30

Namoro elétrico

about Europe from one university town to another. There seems to have always been a large number of such people in tempo-rary residence in university towns both in their native countries and in foreign parts. As might be expected, they were not always on good terms with locals who had no connection with, or interest in, intel-lectual pursuits (such rustici are a frequent butt in the Carmina Burana) and, as their common interests naturally brought them together, they tended to form a class apart, a society to which the terms Wandering Scholars and Ordo Vagorum have been applied. These it was who in the twelfth and thirteenth centu-ries composed and sung most of the poems of Carmina Burana. Because they were generally without bonds or ties and were not involved in acquiring or maintaining social status, they were not concerned overmuch with the conventions of society, nor were they greatly troubled by the fulminations of religion against worldly pleasures. The Carmina Burana show attitudes not usu-ally associated with the Middle Ages; we see a quite amoral at-titude to sex, a fresh appreciation of nature, and a disrespect of the established church which even today’s society would fi nd hard to tolerate. The Wandering Scholars were very much concerned with enjoying themselves, they were frank and un-inhibited, and were not afraid of attacking or ridiculing people and institutions they did not like. Their poetry was written for

Black power

The poems presented here are those which have been set to music by the German composer Carl Orff (1895-1982). They form only a small part of the whole Carmina Burana, the name

applied to a large collection of medieval poems which survive in a late medieval manuscript found in the early nineteenth century in southern Germany. These poems, which come to more than two hundred in num-ber but are never of any great length, can be roughly classifi ed as fol-lows: Moralistic and satirical poems, the former being concerned with the human condition and the world at large, the latter with abuses in the church.Love songs and songs celebrating the return of spring. Songs connect-ed with drinking and gambling.Most of the poems seem to have been intended to be sung. The main language is Latin; a few are in German or are macaronic, i.e. mixtures of Latin and a vernacular (here either German or French). The manuscript has a type of musical notation, which is not followed by Orff but which has been used by others to reconstruct the original

34

about Europe from one university town to another. There seems to have always been a large number of such people in temporary residence in university towns both in their native countries and in foreign parts. As might be expected, they were not always on good terms with locals who had no connection with, or interest in, intellectual pur-suits (such rustici are a frequent butt in the Carmina Burana) and, as their common interests naturally brought them together, they tended to form a class apart, a society to which the terms Wan-dering Scholars and Ordo Vagorum have been applied. These it was who in the twelfth and thirteenth centuries composed and sung most of the poems of Carmina Burana. Because they were generally without bonds or ties and were not involved in acquiring or maintaining social status, they were not concerned overmuch with the conventions of society, nor were they greatly troubled by the fulminations of religion against worldly pleasures. The Carmina Burana show attitudes not usually associated with the Middle Ages; we see a quite amoral attitude to sex, a fresh appreciation of na-ture, and a disrespect of the established church which even today’s society would fi nd hard to tolerate. The Wandering Scholars were very much concerned with en-joying themselves, they were frank and uninhibited, and were not afraid of attacking

about Europe from one university town to another. There seems to have always been a large number of such people in temporary residence in university towns both in their native countries and in

As might be expected, they were not always on good terms with locals who had no connection with, or interest in, intellectual pur-suits (such rustici are a frequent butt in the Carmina Burana) and, as their common interests naturally brought them together, they tended to form a class apart, a society to which the terms Wan-dering Scholars and Ordo Vagorum have been applied. These it was who in the twelfth and thirteenth centuries composed and sung most of the poems of Carmina Burana. Because they were

volved in acquiring or maintaining social status, they were not concerned overmuch with the conventions of society, nor were they greatly troubled by the fulminations of religion against worldly pleasures. The Carmina Burana show attitudes not usually associated with the Middle Ages; we see a quite amoral attitude to sex, a fresh appreciation of na-ture, and a disrespect of the established church which even today’s society would fi nd hard to tolerate. The Wandering Scholars were very much concerned with en-joying themselves, they were frank and uninhibited, and were not afraid of attacking

38



Ben de Ben Jor

about Europe from one university town to another. There seems to have always been a large number of such people in temporary residence in university towns both in their na-tive countries and in foreign parts. As might be expected, they were not always on good terms with locals who had no connection with, or interest in, intellectual pursuits (such rustici are a frequent butt in the Carmina Burana) and, as their common interests nat-urally brought them together, they tended to form a class apart, a society to which the terms Wandering Scholars and Ordo Vagorum have been applied. These it was who in the twelfth and thirteenth centuries composed and sung most of the poems of Carmina Burana. Because they were generally without bonds or ties and were not involved in acquiring or maintaining social status, they were not con-cerned overmuch with the conventions of society, nor were they greatly troubled by the fulminations of religion against worldly pleasures. The Carmina Burana show attitudes not

Devoção e fé



42

about Europe from one university town to another. There seems to have always been a large number of such people in temporary residence in university towns both in their na-tive countries and in foreign parts. As might be expected, they were not always on good terms with locals who had no connection with, or interest in, intellectual pursuits (such rustici are a frequent butt in the Carmina Burana) and, as their common interests nat-urally brought them together, they tended to form a class apart, a society to which the terms Wandering Scholars and Ordo Vagorum have been applied. These it was who in the twelfth and thirteenth centuries composed and sung most of the poems of Carmina Burana. Because they were generally without bonds or ties and were not involved in acquiring or maintaining social status, they were not con-cerned overmuch with the conventions of society, nor were they greatly troubled by the fulminations of religion against worldly pleasures. The Carmina Burana show attitudes not

Mensagens e o cavaleiro


late medieval manuscript found in the early nineteenth century in southern Germany. These poems, which come to more than two hundred in number but are never of any great length, can be roughly classifi ed as follows: Moralistic and satirical poems, the former being con-cerned with the human condition and the world at large, the latter with abuses in the church.Love songs and songs celebrating the return of spring. Songs connected with drinking and gambling.Most of the poems seem to have been intended to be sung. The main language is Latin; a few are in German or are macaronic, i.e. mixtures of Latin and a vernacular (here either German or French). The manuscript has a type of musical notation, which is not fol-lowed by Orff but which has been used by others to reconstruct the original presentation. No poem is assigned to an author.A remarkable feature of the intellectual life of the late Middle Ages was the ease and readi-ness with which scholars and students (and no doubt a good many hangers-on) moved about Europe from one university town to another. There seems to have always been a large number of such people in temporary residence in university towns both in their native countries and in foreign parts. As might be expected, they were not always on good terms with locals who had no connec-tion with, or interest in, intellectual pursuits (such rustici are a frequent butt in the Carmina Burana) and, as their common interests naturally brought them together, they tended to form a class apart, a society to which the terms Wandering Scholars and Ordo Vagorum have been applied. These it was who in the twelfth and thirteenth centuries have been applied. These it was who in the twelfth and thirteenth centuries

44

Mensagens e o cavaleiro

about Europe from one university town to another. There seems to have always been a large number of such people in tempo-rary residence in university towns both in their native countries and in foreign parts. As might be expected, they were not always on good terms with locals who had no connection with, or interest in, intellectual pur-suits (such rustici are a frequent butt in the Carmina Burana) and, as their common interests naturally brought them together, they tended to form a class apart, a society to which the terms Wandering Scholars and Ordo Vagorum have been applied. These it was who in the twelfth and thirteenth centuries com-posed and sung most of the poems of Carmina Burana. Because they were generally without bonds or ties and were not involved in acquiring or maintaining social status, they were not con-cerned overmuch with the conventions of society, nor were they greatly troubled by the fulminations of religion against worldly pleasures. The Carmina Burana show attitudes not usually as-sociated with the Middle Ages; we see a quite amoral attitude to sex, a fresh appreciation of nature, and a disrespect of the established church which even today’s society would fi nd hard to tolerate. The Wandering Scholars were very much concerned with enjoying themselves, they were frank and uninhibited, and were not afraid of attacking or ridiculing people and institutions they did not like. Their poetry was written for the immediate pres-

Homem Gol

The poems presented here are those which have been set to music by the German composer Carl Orff (1895-1982). They form only a small part of the whole Carmina Burana, the name applied to a large collec-

tion of medieval poems which survive in a late medieval manuscript found in the early nineteenth century in southern Germany. These poems, which come to more than two hundred in number but are never of any great length, can be roughly classifi ed as follows: Moralistic and satirical poems, the former be-ing concerned with the human condition and the world at large, the latter with abuses in the church.Love songs and songs celebrating the return of spring. Songs connected with drinking and gambling.Most of the poems seem to have been intended to be sung. The main language is Latin; a few are in German or are macaronic, i.e. mixtures of Latin and a vernacular (here either German or French). The manu-script has a type of musical notation, which is not followed by Orff but which has been used by others to reconstruct the original presentation. No poem is assigned to an author.A remarkable feature of the intellectual life of the late Middle Ages was the ease and readiness with which scholars and students (and no doubt a good many hangers-on) moved about Europe from one university town to another. There seems to have always been a large number of such people in tempo-rary residence in university towns both in their native countries and in foreign parts.

48

As might be expected, they were not always on good terms with locals who had no connection with, or interest in, intellectual pursuits (such rustici are a frequent butt in the Carmina Burana) and, as their common interests naturally brought them together, they tended to form a class apart, a society to which the terms Wandering Scholars and Ordo Vagorum have been applied. These it was who in the twelfth and thirteenth centuries composed and sung most of the poems of Carmina Burana. Because they were generally without bonds or ties and were not involved in acquiring or maintaining social status, they were not concerned overmuch with the conventions of society, nor were they greatly troubled by the fulminations of religion against worldly pleasures. The Carmina Burana show attitudes not usually associated with the Middle Ages; we see a quite amoral attitude to sex, a fresh appreciation of nature, and a dis-respect of the established church which even today’s society would fi nd hard to tolerate. The Wandering Scholars were very much concerned with enjoying themselves, they were frank and uninhibited, and were not afraid of attacking or ridiculing people and institutions they did not like. Their poetry was written for the immediate present, to express an emotion or experience, to complain of some current abuse, but chiefl y, one may conjecture, to entertain their fel-lows as they caroused. At its best it has spontaneity and freshness which compensate for its limited range and technique.The poems presented here are those which have been set to music by the German composer Carl Orff (1895-1982). They form only a small part of the

Oba! Lá vem ela!



50

Oba! Lá vem ela!about Europe from one university town to another. There seems to have always been a large number of such people in tempo-rary residence in university towns both in their native countries and in foreign parts. As might be expected, they were not always on good terms with locals who had no connection with, or interest in, intellectual pur-suits (such rustici are a frequent butt in the Carmina Burana) and, as their common interests naturally brought them together, they tended to form a class apart, a society to which the terms Wandering Scholars and Ordo Vagorum have been applied. These it was who in the twelfth and thirteenth centuries com-posed and sung most of the poems of Carmina Burana. Because they were generally without bonds or ties and were not involved in acquiring or maintaining social status, they were not con-cerned overmuch with the conventions of society, nor were they greatly troubled by the fulminations of religion against worldly pleasures. The Carmina Burana show attitudes not usually as-sociated with the Middle Ages; we see a quite amoral attitude to sex, a fresh appreciation of nature, and a disrespect of the established church which even today’s society would fi nd hard to tolerate. The Wandering Scholars were very much concerned with enjoying themselves, they were frank and uninhibited, and were not afraid of attacking or ridiculing people and institutions they did not like. Their poetry was written for the immediate pres-

Parcerias pop

The poems presented here are those which have been set to music by the German composer Carl Orff (1895-1982). They form only a small part of

the whole Carmina Burana, the name applied to a large collection of medieval poems which survive in a late medieval manuscript found in the early nineteenth cen-tury in southern Germany. These poems, which come to more than two hundred in number but are never of any great length, can be roughly classifi ed as follows: Mor-alistic and satirical poems, the former being concerned with the human condition and the world at large, the lat-ter with abuses in the church.Love songs and songs celebrating the return of spring. Songs connected with drinking and gambling.Most of the poems seem to have been intended to be sung. The main language is Latin; a few are in German or are macaronic, i.e. mixtures of Latin and a vernacular (here either German or French). The manuscript has a type of musical notation, which is not followed by Orff but which has been used by others to reconstruct the original pre-sentation. No poem is assigned to an author.A remarkable feature of the intellectual life of the late Middle Ages was the ease and readiness with which scholars and students (and no doubt a good many hang-ers-on) moved about Europe from one university town to

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another. There seems to have always been a large number of such people in tempo-rary residence in university towns both in their native countries and in foreign parts. As might be expected, they were not al-ways on good terms with locals who had no connection with, or interest in, intellec-tual pursuits (such rustici are a frequent butt in the Carmina Burana) and, as their common interests naturally brought them together, they tended to form a class apart, a society to which the terms Wandering Scholars and Ordo Vagorum have been applied. These it was who in the twelfth and thirteenth centuries

Discografia de JorgeSamba esquema novo1963

Sacundin Ben samba1964

O bidúsilêncio no Brooklin1967

Jorge Ben1969

Força bruta1970

Negro é lindo1964

Ben é samba bom1964

Big Ben1965

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Solta o pavão 1975

Jorge Ben à L’Olympia1975

África Brasil1976

A tábua de esmeralda1972

Ben1972

Tropical1977

10 anos depois1974

A banda do Zé Pretinho1978

Gil Jorge1975

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Salve simpatia1979

Alô, alô, como vai1980

Sonsual1985

Ben Brasil1986

Ben Jor1989

Live in Rio1992

Bem-vinda amizade 1981

Dádiva1984

Discografia de Jorge

Músicas para tocar em elevador1997

cústico MTV - Banda do Zé Pretinho 2002

Acústico MTV - Admiral Jorge V2002

Ben Jor world dance1995

231993

Reactivus amor est (Turba Philosophorum)2004

Homo Sapiens1995

Recuerdos de Asunción 4432007

Para você cantarA Cegonha Me Deixou Em MadureiraComposição: Augusto de Agosto / Jorge Ben Jor

A cegonha me deixou em MadureiraDe presente para minha mãe Silvia Lenheira

Madureira, ô, ô Madureira, ô, ôMe deixou numa santa casa barulhentaQue tremia toda quando o trem passavaOlha o trem Disseram que eu cheguei com dois quilos e meio Com dois quilos e meioO que é que é isso?Um bebê ou um palito

Disseram também que eu cheguei sorrindoE cantando Em vez de chegar chorandoAcharam estranho

A cegonha me deixou em Madureira De presente para minha mãe Silvia Lenheira Madureira, ô, ô Madureira, ô, ô Madureira, terra de bamba e de tradição De casas coloridas e meninas bonitas Do jogo do bicho, do comércio e do mistério Terra de samba da Portela e do ImpérioMas de madureira me levaram Para o Rio Comprido / TijucaDo Rio Comprido / TijucaMe levaramPara Copacabana / Zona Sul

E de lá eu caí no mundoE de lá eu caí no mundoAbençoado por DeusCantando “mas que nada”Já não me chamam de vagabundo.

Mas Que NadaComposição: Jorge Ben Jor

RemexendoRemexendoRemexendoRemexendo

Menina Sarará remexe aíQue eu quero verMenina Sarará remexe aíQue eu quero ver

Remexe de cima em baixoQue eu canto pra vocêRemexe de cima em baixoQue eu toco pra você

RemexendoRemexendoRemexendoRemexendo

Ô, ô, ô, ô, ô, ariá, raiôObá, obá, obáÔ, ô, ô, ô, ô, ariá, raiôObá, obá, obá

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Mas que nada sai da minha frenteQue eu quero passarPois o samba está animadoE o que eu quero é sambar

Esse sambaQue é misto de maracatuSamba de preto velhoSamba de preto tutú

Mas que nada um sambaComo este tão legalVocê não vai quererQue eu chegue no fi nal

Ô, ô, ô, ô, ô, ariá, raiôObá, obá, obáÔ, ô, ô, ô, ô, ariá, raiôObá, obá, obá

Ô, mas que nadaÔ, mas que nadaÔ, mas que nadaÔ, mas que nada

Esse samba é gostosoEssa dança é danadaMas que nadaMas que nada

Esse sambaQue é misto de maracatuSamba de preto velhoSamba de preto tutú

Mas que nada um sambaComo este tão legalVocê não vai quererQue eu chegue no fi nal

Ô, ô, ô, ô, ô, ariá, raiôObá, obá, obáÔ, ô, ô, ô, ô, ariá, raiô

Obá, obá, obáObá, obá, obáObá, obá, obáObá, obá, obáMas que nada

Samba LegalComposição: Claudionor Sant’Anna / Henrique de Almeida

O samba estava legalMas eu bobeei e cheguei no fi nalO samba estava legalMas eu bobeei e cheguei no fi nal

Ive BrusselComposição: Caetano Veloso / Jorge Ben Jor

Você com essa mania sensualDe sentir e me olharVocê com esse seu jeitoContagianteFiel e sutil de lutar...

Não sei nãoAssim você acabaMe conquistandoNão sei nãoAssim eu acaboMe entregando...(2x)

Pois está fazendoUma ano e meio amorQue eu estive por aquiDesconfi ado, sem jeitoE quase caladoQuando fui bem recebidoE desejado por vocêNunca como euPoderia esquecer amor...

Ai, ai, aiSe naquele dia vocêFoi tudo foi demais prá mimAi, aiSe naquele dia vocêFoi tudoFez de mim um anjo...(2x)

Não sei nãoAssim você acabaMe conquistandoNão sei não

Assim eu acaboMe entregando...(2x)

Você com essa mania sensualDe sentir e me olharVocê com esse seu jeitoContagianteFiel e sutil de lutar...


Pois está fazendoUma ano e meio amor(Simpática!)Que eu estive por aquiDesconfi ado, sem jeitoE quase caladoQuando fui bem recebidoE desejado por vocêNunca como euPoderia esquecer amor...

Ai, ai, aiSe naquele dia vocêFoi tudo foi demais prá mimAi, aiSe naquele dia vocêFoi tudoFez de mim um anjo...(2x)


Ive! Ive! Ive!Brussel! Brussel!Brussel! Brussel!Brussel!Ive! Brussel! Ive! Brussel!Ive! Brussel! Ive! Brussel!Ive! Brussel! Ive! Brussel!Brussel! Brussel!Bru Bru BruBru Bru Bru BrusselEu quero Ive Bru BrusselBru Bru Bru Brussel!Bru Bru Bru Brussel!Eu quero Ive Bru BrusselBru Bru Bru Brussel!Bru Bru Bru BrusselEu quero Ive Bru BrusselBru Bru Bru Brussel!...

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W/Brasil (Chama O Síndico)Composição: Jorge Ben Jor

Alô, Alô W o BrasilAlô, Alô W o Brasil

Jacarezinho! Avião!Jacarezinho! Avião!Cuidado com o disco voadorTira essa escada daíEssa escada é prá fi carAqui foraEu vou chamar o síndicoTim Maia! Tim Maia!Tim Maia! Tim Maia!

O trem corre no trilhoDa Central do BrasilO trem corre no trilhoDa Central do Brasil

Incluindo paixão antigaE aquele beijo quenteQue eu ganhei da sua amigaE o que é que deu?Funk na cabeçaE o que é que deu?Funk na cabeça...


Jacarezinho! Avião!Jacarezinho! Avião!Cuidado com o disco voadorTira essa escada daíEssa escada é prá fi carAqui fora

Eu vou chamar o síndicoTim Maia! Tim Maia!Tim Maia! Tim Maia!

E o que é que deu?Funk na cabeçaE o que é que deu?Funk na cabeçaDeu no New York TimeFernando, o BeloNão sabe se vaiParticiparDo próximo campeonatoDe surf ferroviário...

Surfi sta de tremSurfi sta de tremDeu no New York TimeA Feira de AcariÉ um sucesso!

Tem de tudoÉ um mistérioDeu no New York TimesDizem que Cabral 1Descobriu a fi lialDizem que Cabral 2Tentou e se deu malDizem que Cabral 1Descobriu a fi lialDizem que Cabral 2Tentou e se deu mal...

Amor! Dor! Dor!Lá da rampa mandaram avisar

Que todo dinheiro será devolvidoQuando setembro chegarNum envelope azul indigoNum envelope azul indigoChama o síndico,Tim Maia! Tim Maia!Tim Maia! Tim Maia!


Da Central passandoPela MangueiraDando uma volta na PavunaE chegando em MadureiraÉ lá!Que o samba rola de primeiraÉ lá!Que o samba rola de primeira...

Alô, Alô tia LéiaSe tiver ventando muitoNão venha de helicópteroAlô, Alô tia LéiaSe tiver ventando muitoNão venha de helicóptero!

Alô Alô, W o BrasilAlô Alô, W o Brasil

-Alô telefonistaMe desperte às 7:15 por favorRádio táxi 9 e meiaSenão o bicho pegaEu também quero gravesMédios e agudos!

Eu vou chamar:

Jacarezinho! Avião!Jacarezinho! Avião!Cuidado com o disco voadorTira essa escada daíEssa escada é prá fi carAqui foraEu vou chamar o síndicoTim Maia! Tim Maia!Tim Maia! Tim Maia!Tim Maia!

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AlcoholComposição: Jorge Ben Jor

O mago mandou avisar:Água de beber, água de benzerÁgua de banhar

Alcohol só para desinfetarEu quero águaÁgua de beber, água de benzerÁgua de banharAlcohol só para desinfetarEu quero água

Porque o céu é água marinhaPorque o sol é ouroPorque a lua é prataPorque a chuva é cristalinaPorque o mar é esmeraldaPorque somos seres terrestresPorque São Jorge mora na luaPorque você não vem me dar um beijoUm beijo de amor e de desejo

Porque eu gosto tanto de vocêEu gosto tanto de vocêEu gosto tanto de você

Na hora do espantoNão precisa ter olho clínico para saberPara saberQue o melhor é fi car tudo em famíliaUm controle ambientalPois contra uma lingua atômicaNem mesmo um para-raio digital

Cada palavra caçadaÉ um compasso de um passadoQue foi enterrado

A caça ao fantasma continua porqueO fogo é mais antigo que o fogãoEm busca de uma nova identidadeNa fi la dos aposentados

Um radical chic espera a sua vezJogando xadrez

Água de beber, água de benzerÁgua de banharAlcohol só para desinfetarEu quero água

Água de beber, água de benzerÁgua de banharAlcohol só para desinfetar

Em vez de uma nova trombadaUma marcha ré com dignidadeÉ melhor do que fi car com pesade-los

Tédio, calça arriada, queda de audiênciaFilme queimadoAquele homem grooverAquele santo homemSó porque gostavaDe andar de terno branco,Camisa de seda, cardão de ouro,Tênis, chinelo ou tamancosEra chamado de marginalSubir, descer, entrar, sairFaz parte do talento individual de cada um

Porque você não vem me dar um beijoUm beijo de amor e de desejoPorque eu gosto tanto de vocêEu gosto tanto de vocêEu gosto tanto de vocêO mago mandou avisar.

Para você tocarA Banda do Zé Pretinho

intro: F#m F#m Bm C#m F#m Bm C#m Para,____ animar a festa. Salve símpatia

F#m Bm C#m F#m Para,____ animar a festa

Bm C#m Boa noite, boa noite, bom dia

F#m Bm C#m F#m Bm C#m Para,____ animar a festa. Salve símpatia


Bm C#m Boa noite, boa noite, bom dia F#m A banda do Zé Pretinho chegou

F#m Bm C#m F#m Bm C#m Para,____ animar a festa. Ô, ô F#m Bm C#m F#m Bm C#m Zambá, zambé, zambi, zambó, zambu. Zambá

F#m Bm C#m F#m Bm C#m Zambá, zambé, zambi, zambó, zambu. Zambá Bm Samba Zé Pretinho

C#m Samba, rei bonito

F#m Crioulo que eu quero ver

Bm Anima a festa, crioulo rei Pôe alegria C#m F#m Bota a tristeza pra correr

Bm Peça à banda pra tocar

C#m F#m Que todos nós dançamos com você

Bm C#m Mistura bumbo com violino, pandeiro, cuíca, trambone,

F#m ganzá, guitarra e violão

Bm E salta de banda pra gente ver

C#m F#m Que nós queremos aprender com você, hei

Bm Com você, hei

F#m Com você, hei

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Bm Com você, hei

F#m Com você, hei

Bm C#m Com vocêêêê

F#m Bm C#m Crioulo rei, crioulo

F#m Bm C#m Crioulo rei, crioulo

F#m Esse, esse, esse, esse, esse

É Zé Pretinho zé, zé, zé, zé Esse, esse, esse, esse, esse É Zé Pretinho zé, zé, zé, zé



Bm C#m Boa noite, boa noite, bom dia



Bm Boa noite, boa noite, bom dia

C#m De olho no play, de olho no play! F#m Bm C#m F#m Bm C#m Zé Pretinho. Zé, zé

F#m Bm C#m Zé Pretinho. Zé, zé

F#m Bm C#m Zé Pretinho. Zé, zé



Bm C#m Boa noite, boa noite, bom dia F#m A banda do Zé Pretinho chegou, em cima F#m Bm C#m F#m Paraaa____ animar a festa Oh! Velho, velho, velho!

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