Hello! I'm "Sparrow" Roberts. This site is mine, but the network belongs to all the tremendous (and merely wonderful) people who are on it. Things began simply as The Online Guide to Salvador da Bahia, Brazil, but given that music is so paramount here, and so compelling, and that I wanted a way to conceivably reach around the world — to and through other people — in order to publicize a highly unknown genre here that I and maybe 10 other non-Bahians love (chula, or samba chula, the primordial African samba which is in so many words the highly moving delta blues of Brazil) in the hope that there might be a few more people around the world who will love these people and what they do as I do (there are words about this music at the bottom of this page...).


My methodology was inspired in pre-Civil War African Americans' "grapevine telegraph" (from where we get 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 and capable of opening the world (or some of it anyway) 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 (like free, world-spanning publicity).

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 chula 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...


Salvador's Afoxés & Blocos Afros

  • Salvador's Afoxés and Blocos Afros

    Afoxé (ah-faw-SHEH) is basically candomblé with the religion taken out...the use of candomblé rhythms and "songs" in social, non-religious settings like Carnival and weekly dances. The principal rhythm associated with afoxé is ijexá (ee-zheh-SHAH), a more subtle and complicated version of what you might hear pounded out on the Maxwell House coffee can for a late-hours Manhattan cocktail party conga line (a modified version was also used in composer Stan Worth's theme for the 1960s George of the Jungle cartoon series). On terreiros de candomblé ijexá is associated with Oxalá (the father) and Oxum (goddess of sweet waters).

    Embaixada Africana (African Embassy) was the first afoxé, parading in the Carnival of 1895. The next year afoxé Pândego da África (African Hijinks) went out, and in 1905 an afoxé climbed the Ladeira da Barroquinha to parade up the Ladeira de São Bento, thereby breaking a tacit understanding that the Carnival groups from the lower (and darker) economic classes had their areas (Baixa dos Sapateiros, Barroquinha, Pelourinho) and the upper classes had theirs (Avenida Sete de Setembro, Piedade). Salvador's largest and most widely known afoxé -- Filhos de Gandhy -- was formed in 1949 by a stevedore whose inspiration was the great Indian leader and pacifist (who had been assassinated the year before). Other afoxés include Filhos de Korin Efan, Badauê, and Filhas de Oxum. From 1904 until 1918 afoxés were forbidden to march during Carnival, ostensibly to combat "crime, ao deboche, e à desordem (crime, debauchery, and disorder)".

    Blocos Afros are Carnival blocos (groups) which, put simply, celebrate cultural manifestations of African origin. The rhythms are usually based in what is called "samba reggae" (which comes in a number of variations) and the dress is African-inspired (in contrast to afoxé Filhos de Gandhy, whose robes draw their inspiration from the Indian subcontinent). Olodum, Ilê Aiyê, and Ara Ketu are the three biggest and best-known blocos afros...Ara Ketu -- and in international terms Olodum to an even greater degree -- having achieved significant commercial success. Other blocos afros include Muzenza (from Liberdade), and Malê de Balê (of Itapoan), who drew the inspiration for their name from the Malê Revolt.

    Muzenza, left, is from the neighborhood of Liberdade; Ilê Aiyé, right, is also from Liberdade, from an area called "Curuzu"

    With respect to the name "Olodum", the best known of Salvador's blocos afros (both Michael Jackson and Paul Simon have recorded with them), I've heard respectful stories in several variations but with the common theme of reaching deep into tradition and pietous religiosity for inspiration...

    Principal founder Geraldo Miranda (popularly called Geraldão -- Big Gerald), who went on to found Muzenza after an internal breach, tells it like this, however (my translation):

    "As for the name of the bloco, Olodum, I was the one who came up with it, thanks to a friend, a filha-de-santo (candomblé adept), who happened to mention that Olo and Dum were two gods, without mentioning anything about their origins or if there was really any religious basis for this. I stuck the two names together and nobody disagreed and so it was, Olodum."

    Geraldão was correct in his unvoiced but implied suspicion that there wasn't any true religious basis for this, although it wasn't completely off the mark.

    I mention this not only to puncture a glossed image which is often presented to the world (not only by some of these groups; isn't this pretty much universal human behavior?), but as intro to the fact(s) that in spite of some groups' in-some-cases questionable origins, the rhythms and music they play can nevertheless be wonderful (gee! sounds like Christianity!).

    Olodum played New York's Summerfest in...what, 1990? I wrote the descriptive part of the grant request to the New York State Council for the Arts, bullshitting as I hadn't actually ever heard Olodum. But the bucks were provided and Olodum played Central Park. I of course went, but...

    Wonderful people have come out of Olodum, but the bloco ain't my personal bag.

    The best recording, BY FAR, of Salvador's afoxés and blocos afros in a carnivalesque sense is Edil Pacheco's (together Paulo César Pinheiro's) AFROS E AFOXÉS DA BAHIA. Some of that can be heard here...

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