Hello! I'm "Sparrow" Roberts. Salvador Central is mine, but The Brazilian Grapevine (universal musician et al discovery based not in algorithms, which can only recommend music based on what one has heard before; nor in the curation of assigned professionals; but in word-of-mouth open to anybody) belongs to all the tremendous (and merely wonderful) people who participate in it. We began simply as The Online Guide to Salvador da Bahia, Brazil, but given that music is so compellingly paramount here in Bahia, and that the most compellingly paramount music here (it's called "chula") is, amazingly, highly unknown EVEN here... I wanted a way to reach around the world — to alert like-minded souls wherever they are that this powerfully heart, soul & body moving music exists and that the generally poverty-stricken people who make it live, sing and dance upon this at once select and benighted part of our earth... (some words about this & them at the bottom of this page)


My methodology is universality and was inspired in pre-Civil War African Americans' "grapevine telegraph" (origin of the expression "I heard it through the grapevine"). That is: EVERYBODY can publicize what THEY love, recommending other people (these recommendations appear on one's I RECOMMEND THEM tab), and then THOSE people recommend people, and those people recommend people...these recommendations-in-series forming long followable internet vectors running throughout the universe of music in our time, opening the world up to people and music we'd never otherwise discover while conversely offering musicians both unknown and established a means to reach new and perhaps more distant audiences.

We began with a musician who rose from poverty only to have his major label career crushed under the boot of Brazil's dictatorship (and be forced into exile under the threat of death): Raimundo Sodré. And with men of stunning talent, known only to their communities and a miniscule set of insiders here: João do Boi and Bule Bule.


It's your world too! Tell 'em!


Tours through old Salvador -- the Centro Histórico -- and for the more adventurous, into the Recôncavo around the other side of the bay (analogous in Brazil to the Mississippi Delta in the United States), to the sambas-de-roda and festivals out there (depending on what's going on). To learn something about samba-de-roda (primordial, African samba), the following two entrances below into our music section will put your hand on a heartbeat unlike that anywhere else...


Ubiquitous Deities

  • Ubiquitous Deities: Candomblé


    It's night in Salvador and you hear drumming. It may be coming from one of the numerous terreiros de candomblé scattered throughout the city. Most terreiros will permit visitors to attend their ceremonies. Should you go, dress respectfully. Trousers for men, and women should wear longer skirts. White is best because it is respectful to all the orixás.

    ("Orixá" is commonly translated as "god". A more accurate representation would perhaps be "saint". Candomblé posits a monotheistic supreme being -- usually referred to as Olodumaré or Olorum (in candomblé ketu) -- with the orixás being called upon as intermediaries between earthbound humans and the all-powerful, much as a Christian will pray for a saint's intercession on his or her behalf.

    Orixá is by far the most common term in Bahia for these entities (the candomblé ketu term), although they are also referred to as Nkisi in candomblé angola and Voduns in candomblé jeje.)

    If you speak Portuguese and would like to find information with respect to various houses of candomblé, where they are located, what nights they hold their ceremonies, and when they have their special festas, a good place to go is the FEDERAÇÃO BAIANA DE CULTO AFRO BRASILEIRO, located at Rua Portas do Carmo, 39 (1st floor) in Pelourinho.

    It's said that Salvador has a (Catholic) church for every day of the year, they're all over the place. But this number -- or whatever the true number is -- pales in comparison to the number of terreiros de candomblé in Salvador. An amazing project, the Mapeamento dos Terreiros de Salvador truly and literally puts this into perspective, detailing 1,155 terreiros (and this doesn't include Itaparica!), with maps, satellite and other photos, leaders' names, addresses and contact and other information.

    The practice of candomblé was at one time prohibited in Brazil (unofficially for centuries, and then officially by law between 1937 and 1945, during the Estado Novo of dictator Getúlio Vargas, who at the same time ironically, as part of his plan for the manipulation of the popular consciousness as a means for the further consolidation of his power, promoted Brazilian music and music which promoted Brazil, e.g. Ary Barroso's Aquarela do Brasil), and thereafter in Bahia a licence was required, the same that was required by nightclubs and gambling establishments. After a personal appeal by Mãe Stella of Ilê Axé Opô Afonjá to the governor of Bahia (Roberto Santos, in office from 1975 to 1979), this requirement was lifted, and new terreiros sprouted -- for the most part among the more humble neighborhoods -- like singing flowers weaving to the lovely melodies and gloriously complicated rhythms calling down to Salvador Iansã and Yemanjá, Dandalunda, Oxossi and Xangô...

    Candomblé Angola on the Beach

    February 2nd, 2012. A group from Irará, Bahia at the Festa de Yemanjá. A woman to the left has been possessed.

    Although for historical reasons candomblé ketu (from what is now Nigeria) is more common in Salvador and in Bahia generally than candomblé angola, candomblé angola was the first to arrive (with the Bantus) and its rhythms form the base for what is now called "samba".

    Here is candomblé ketu, in Salvador...

    Candomblé ketu in Salvador's neighborhood of Castelo Branco

    Salvador's two best-known and oldest continually functioning houses of candomblé are Casa Branca and Gantois (the latter named for the Fleming upon whose land the terreiro was originally founded).

    Address: Av. Vasco da Gama, 463 - Vasco da Gama
    Tel: 3334.2900
    *Mãe Altamira Cecília dos Santos

    Casa Branca (White House), or Ilê Axé Yá Nassô, is usually cited as Salvador's first house of candomblé, but it might be better said to be Salvador's oldest continually functioning house of candomblé because candomblé was practiced in the senzalas and on the terreiros of the sugarcane plantations both before (and after) the house was established. The "house" (in an organizational sense) was first located on the Ladeira do Berquo -- now known as Rua Visconde de Itaparica -- behind the Igreja (Church) da Barroquinha (the church is easily visible from Praça Castro Alves; it burned in 1983 but has since been rebuilt as a small theater).

    Ceremonies are on Sunday nights, beginning at 8 p.m., but it's always best to contact the terreiro; there's a post Carnival hiatus of some months when ceremonies don't take place, and there are other such spots in the calendar as well.

    GANTOIS (Ilê Axé Yá Massê)
    Address: Alto do Gantois, 23 - Federação
    Tel: 3336.9594
    *Mãe Carmem

    The terreiro do Gantois branched off of that of Casa Branca due to a dispute in succession, and Gantois' beloved fourth mãe-de-santo, Mãe Menininha, who presided from 1922 to 1986, was probably the most sung religious leader of all time.

    Mãe Menininha, front and almost-center

    Without the resources to build cathedrals, their temples of worship simple houses within the means of runaway or freed slaves, African-Brazilians reached inward for what they could project out, and the result of their soul-searching was soul-stirring music and dance. These are the Tincoãs of Cachoeira, Bahia (a tincoã is a bird native to the region), in extremely rare footage. Mateus, their primary composer (building on melodies and rhythms of candomblé) is the only surviving member of the group.

    Mateus at a terreiro de candomblé in São Francisco do Conde

    The lower quadrant features another song of Mateus' taken straight from candomblé (and elaborated upon). The first singer there is Thalma de Freitas, accompanied on piano by her father, Maestro Laércio de Freitas. Second voice is Mateus' daughter Fabiana, and Mateus himself plays guitar.

    The deities which are the subjects of the song are both mother figures, the first being Yemanjá, and the second Nanã. Saravá!

    As for Mateus himself, he was brought up in the terreiro Roça do Ventura, a Jêje candomblé in Cachoeira. The Jêje house in Salvador is Bogum, in the neighborhood of Engenho Velho de Federação...a principal runtó (ordained drummer) is Luizinho do Jêje.

Salvador Central Members/Nodes

    There's a lot of spectacle in Bahia...


    Carnival with its trio elétricos -- sound-trucks with musicians on top -- looking like interstellar semi-trailers back from the future...shows of MPB (música popular brasileira) in Salvador's Teatro Castro Alves (biggest stage in South America!) with full production value, the audience seated (as always in modern theaters) like Easter Island statues...


    Carlinhos Brown's Museu do Ritmo (Rhythm Museum; an entertainment venue) all done up Bahian faux tribal showbiz style...glamour and glitz and press agents...


    Carlinhos Brown: Man with a Shtick...er...Stick


    And then there's where it all came from...the far side of the Baía de Todos os Santos (Bay of All Saints), a land of subsistence farmers and fishermen, many of the older people unable to read or write...their sambas the precursor to all this, without which none of the above would exist, their melodies -- when not created by themselves -- the inventions of people like them but now forgotten (as most of these people will be within a couple of generations or so of their passing), their rhythms a constant state of inconstancy and flux, played in a manner unlike (most) any group of musicians north of the Tropic of Cancer...making the metronome-like sledgehammering of the Hit Parade of the past several decades almost wincefully painful to listen to after one's ears have become accustomed to evershifting rhythms played like the aurora borealis looks...


    So there's the spectacle, and there's the spectacular, and more often than not the latter is found far afield from the former, among the poor folk in the villages and the backlands, the humble and the honest, people who can say more (like an old delta bluesman playing a beat-up guitar on a sagging back porch) with a pandeiro (Brazilian tambourine) and a chula (a shouted/sung "folksong") than most with whatever technology and support money can buy. The heart of this matter, is out there. If you ask me anyway.


    Alumínio Saturno, resident of Pitinga, Bahia, chuleiro and subsistence farmer; now with God