CLEMENTINA DE JESUS

Unforgettable

Português

Clementina
Born in Valença, State of Rio de Janeiro, on February 7 1902.
As a young girl, CLEMENTINA DE JESUS often lit her mother's
tobacco pipe, a habitual gesture that preceded the washing of clothes.
While washing, D. Amália would sing lundus, jongos, corimas,
modas, incelenÉas, pontos, chulas and working songs, melodies
that were stored in her daughter's memory for nearly 50 years.
A rough diamond could be the way to define this singer who started
her professional career at age 48 after working as a maid ( in the same
household ) for over 20 years. At her work place, all enjoyed her singing
while she washed, ironed and prepared the meals, except the missus, who
would remark that Clementina's voice irritated her because it sounded like
a cat's "meaow". Her coarse voice together with a mostly recited singing
mode were out of any conventional style, and up until today there are no
parallels between Brazilian singers and her. Her peculiar style and theway
in which she integrates her body and voice could be compared to African
American singers like Bessie Smith.
Clementina's songs rich in African rhythms and prose brought to light
the fascinating folklore of the Terreiros ( places where African rituals
are performed ) to the urban and contemporary language.
Clementina embodied a multicultural country rich with African
and European traditions. From the prayers in jeje and nago,
and the singing in iorubá which she learned from her mother
to the catholic hymns she sang in the church choir; from
the pontos de Candomblé to the Samba de Roda she used to sing
at parties, she reflected nothing less than the soul of her country.
She was one of Brazil's most important musical personalities of this century.

Clementina singing
In 1963 she was invited by Herminio Bello de Carvalho,
who heard her before at a party, to go up on stage
of the Teatro Jovem, in Botafogo/Rio de Janeiro opening
the movement/performance "Menestrel", which unified
classical and popular styles. Turíbio Santos, one of Brazil's
most prominent classical guitarist accompanied her.
The repercussion was tremendous, and inspired Carvalho
to create a sequence - Rosa de Ouro - (Golden Rose).
In this, Clementina worked with variety artists such as
Araci Cortes, and had young talents like Paulinho da Viola,
Elton Medeiros, Nelson Sargento to accompany her.
Clementina de Jesus did not go to school to learn vocal
technique, but did learn or better yet, developed
her singing while working on a daily basis.
"Tina" or "Quele" as her friends called her, recorded
nine albums and three singles ( currently almost
impossible to find in Brazil ) and participated in other
artists albums like Milton Nascimento.

This African Brazilian wonder performed
in Africa and Europe, as well.
She even sang Marselhesa,
the French national hymn, in France.
She was not a great sales performer and like
Carlos Calado stated: "It is ironic and sad,
but in some countries the fake jewels
are more precious than rough diamonds"
Tina, or Quele, died in poverty on July of 1987,
leaving an emptiness in our hearts.
What she also left us and to generations to come
was the perpetual mark and reminiscence of a people:
The African Brazilian people.

Semente do Samba
Helio Cabral - Real Audio
Tatarata - Real Audio
Arr. e adapt. - Clementina de Jesus - Real Audio
Mironga de moça branca
Folclore - Real Audio
Essa nega pede mais
Paulinho da Viola - Real Audio
A compilation of Clementina's recordings just
became available. Click HERE to buy it

SAMBA - WHAT IS IT? CAPOEIRA - WHAT IS IT?

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