Ula: La pizzica a pizzica incontra la capoeira, the most recent recording by the southern Italian singer Anna Cinzia Villani, is an encounter between her native territory, the Salento subregion of Puglia, and its now world-famous pizzica, and Brazil, or relatively, the music related to the Afro-Brazilian martial artwork, capoeira. If that appears like an unlikely or contrived pairing, relaxation assured it is something however. The album’s twelve picks, a mixture of conventional and new materials, carried out by Villani, three Italian musicians, and visitor artist Mestre Canho, obtain a robust and convincing fusion of two musical cultures.
Pizzica, and the music performed to accompany capoeira, which mixes self-defense actions, dance, and acrobatics, have been created by subaltern peoples. “It’s not by probability that in capoeira I might instantly acknowledge one thing very near the music of Salento,” Villani stated in an interview within the Italian language journal Blogfoolk. “We’re speaking about poor populations, usually exploited however proud, who’ve produced codes which were occurring for hundreds of years.”
Peasants and laborers in Salento used pizzica as a ritual, therapeutic music (its well-documented affiliation with the tarantismo phenomenon) but in addition performed it for different social events. Capoeira was invented by enslaved Blacks in fifteenth-century Brazil. To deceive slave masters, they usually disguised its martial artwork and combating methods as a folks dance. Pizzica and capoeira music are each extremely rhythmic, percussion-driven kinds. One sort of pizzica, the pizzica scherma, isn’t solely rhythmically near capoeira; just like the Brazilian type, it combines dance and combating methods.
Alessandro Lorusso, a guitarist with whom Villani collaborated on Fimmene in Dub (a 2012 compilation album that includes Villani and several other different Salentine girls singers), took capoeira classes with Mestre Canho. In rehearsals with Villani, he introduced Brazilian devices he borrowed from Canho, together with the berimbau. This single-string bow leads the capoeira actions within the roda, the circle wherein the capoeiristas sing and play devices. Villani hadn’t thought to incorporate Canho or capoeira songs on her subsequent recording, however she says she “fell in love” with the sound of the berimbau and was intrigued by the potential of singing to its accompaniment.
On Ula -the title means each “olive” in Salentino dialect and “I might” or “I would love” -Villani is backed by Lorusso on guitar, berimbau, and several other Afro-Brazilian percussion devices; Massimiliano Per, accordion, tamburello, and vocals; Francesco De Donatis, tamburello, bendir and duff, two Center Japanese hand drums, and vocals; and Mestre Canho, berimbau, vocals, and two of the principle percussion devices utilized in capoeira, pandeiro and atabaque.
The primary observe, “Marituma Pecuraru,” a few uncared for farm spouse whose husband is extra attentive to his sheep than to her, opens with the buzzing sound of the berimbau, adopted by Villanis transient spoken introduction. The berimbau’s ostinato and the beats of a number of hand drums circle her vocal because it rises in depth.
“Pizzicapoeira” opens with Mestre Canho singing Portuguese lyrics that tout the narrator’s power and spirituality, bestowed by Samson and St. Matthew, within the roda. The rhythm easily shifts to the 6/8 of pizzica, and Villani calls on St. Paul, the patron of the tarantate (girls supposedly bitten and possessed by tarantulas, typically scorpions).
“Teresina,” a straight-up pizzica that options Per on diatonic accordion, comes from the tarantismo custom; the lyrics deal with a tarantula referred to as Teresina (the spiders usually got names) to find out precisely the place it bit its feminine sufferer. The tender “Una mia bella luna” is a filastrocca salentina, a conventional nursery rhyme with new lyrics by Villani. The title observe, a Villani authentic, expresses an artist’s indignation over misconceptions concerning the inventive life:
There are those that suppose that life as an artist is easy and with none conquest
Those that suppose that all the pieces is given away, that all the pieces is all set due to destiny
I do not get up at midday within the morning
Quite the opposite, daily is a lottery
Lottery with out successful something.
|“Noite Escura” (excerpt)|
The Brazil-Salento fusion finds its most enchanting expression on “Noite Escura,” wherein Canho and Villani sing of loss and disappointment, he about his capoeira grasp, whose absence has stilled his music: “My berimbau did not play immediately, In the present day my pandeiro is mute”; she of a girl’s melancholy over her lover’s sickness. Mestre Canho kicks it off, singing in Portuguese to acoustic guitar accompaniment; Villani joins in on the second verse, delivering a beautiful vocal that is extra Lusitanian than Salentine. “Noite Escura,” with its irresistibly seductive melancholy, is my favourite observe on the album.
|“San Frangiscu” (excerpt)|
“Carciru” and “San Frangiscu” are jail songs, the primary a ballad sung to acoustic guitar accompaniment, the second carried out a capella by Villani to the rhythm of handclaps. Each are showcases for Villani’s beautiful vocal artistry. She’s been dubbed “the voice of Salento,” which could appear presumptuous for the reason that Salentine custom boasts many terrific singers, feminine and male. However Ula, solely her third album as a solo artist- Ninnamorella (2008) was her debut, adopted by Fimmana, mare e focu! (2012) – proves that the encomium is not any idle boast.
|“Pizzica pizzica di Galatone”|
Ula ends with one of many best-known entries within the Salentine repertoire, Pizzica pizzica di Galatone. To a spare backing of voices, handclaps, and percussion, Villani provides a vivacious rendition of this tarantismo love music that hails the great thing about love “and those that know the best way to make it” whereas imploring St. Paul to “give the grace” to the tarantate. There are numerous variations of the music, beneath various titles, however Villani’s is devoted to custom whereas sounding contemporary, even shocking.
The album is accessible from the artist in a novel, handmade, one-of-a-kind bundle (the video beneath), by way of Le Sorpresine