Untangling the web of “Bambo do Bambu” An embolada with nine lives. Daniella Thompson 29 January 2003 Carmen Miranda by J. Luiz As every Carmen Miranda fan knows, a Pequena Notável began her American career on 29 May 1939. Having disembarked from the Good Neighbor ship S.S. Uruguay in New York harbor on the 17th (according to her biographer Abel Cardoso Junior) or on the 18th (according to the Moore-McCormack website), the soon-to-be-crowned Brazilian Bombshell was on stage less than a fortnight later, when the musical revue Streets of Paris opened for a preview run in Boston. On 19 June, the show moved to the Broadhurst Theatre on Broadway, and the rest is history. In Streets of Paris, Carmen had only six minutes on stage, and she filled them with a a medley of four songs that included an old tongue-twisting embolada she called “Bambu-Bambu.” The song was old enough for the singer not to have known its author. This presented a problem, since her astounding success on stage soon brought about a film role and a record deal, both of which called for repeat performances of “Bambu-Bambu,” triggering the payment of royalties.1 But to whom? [Carmen Miranda’s recording of “Bambu-Bambu”] Carmen therefore sent a letter to the singer/songwriter/radio man Almirante, telling him that she was going to film in November and had a great need to discover the songwriter’s name. Why Almirante? First, because he was Carmen’s close friend and colleague. Second, because he was a great collector and researcher of popular Brazilian music. Third, because Carmen had heard Almirante sing another tongue-twisting embolada2 in September 1932, while they were touring Brazil’s northeastern region. Almirante recorded the song earlier the same year: Autor: Almirante - Valdo Abreu Título: Cabelo Branco Gênero: Embolada Intérprete: Almirante e seu Bando de Tangarás Gravadora: Victor Número: 33557-B Matriz: 65449 Data Gravação: 12.04.1932 Data Lançamento: Jun/1932 Almirante’s “Cabelo Branco” was recorded at a time when música nordestina was all the rage in Rio de Janeiro. The fashion for emboladas had begun in the 1920s, and one of the most popular recordings in this vein was “Bambo Bambú,” with Patrício Teixeira and Donga, who also took authors’ credits. The precise recording date of their “Bambo Bambú” is not known, the assumed range being between 1921 and 1926. The recording information below was extracted from the Funarte 78-rpm disc database. Autor: Patrício Teixeira - Donga Título: Bambo, Bambú Gênero: Embolada Intérprete: Patrício Teixeira Gravadora: Odeon Número: 122961 Patrício Teixeira Teixeira and Donga were followed by Francisco Alves in 1927. O Rei da Voz recorded the song on a 6” Odeonette disc. No author was specified on the 2” disc label, although the Funarte database shows the same authors as above. The lyrics in this recording vary considerably from those ascribed to Teixeira and Donga (see lyrics at the bottom of the page). Autor: Patrício Teixeira - Donga Título: Bambo-Bambú Gênero: Canção Nortista Intérprete: Francisco Alves Gravadora: Odeonette Número: 107-A Matriz: 110 Francisco Alves Carmen was a teenager when Teixeira’s and Alves’ records were released, and she was likely to have heard one or the other and remembered the title. Yet the lyrics she sang on Broadway and later on a Decca record and in the film Down Argentine Way (1940) did not come from Teixeira’s or Alves’ discs. Nor did they come from Almirante’s “Cabelo Branco.” What was their origin then? If she had no head for authors’ names, Carmen did have a phenomenal memory for lyrics, for she wasn’t working from a published score. Neither Carmen nor her Bando da Lua musicians could read music, and it was Aloysio de Oliveira, Bando da Lua leader and her boyfriend at the time, who taught her the song aboard the Uruguay. Had a score been available to the singer, it probably would have intensified her confusion. The original and exclusive publisher of “Bambo Bambú,” Carlos Wehrs & Cia. of Rua da Carioca 47, Rio de Janeiro, brought out three contemporary editions of the music score—all with contiguous catalog numbers and each with a different set of authors. In P4577, the title was “Bambo Bambú” and the authors were listed as J. Tomaz and E. Santos (Donga). In P4578, Patrício Teixeira substituted J. Tomaz as Donga’s partner. In P4579, J. Tomaz was identified as sole author and the title altered to “Bombo do Bambú.” This last edition carried lyrics that were different from those in the previous two (scroll down to see the various sets of lyrics). In his book No Tempo de Almirante, Sérgio Cabral discloses that in 1926, Donga registered the song at the Instituto Nacional de Música, while J. Tomaz registered it as well, but in the Biblioteca Nacional. No one thought anything of it at the time, nor the following year, when Chico Alves’ disc came out, nor six years later, when Almirante recorded a similar tune with a different title and lyrics. The whole matter would never have erupted into controversy had it not been for Carmen Miranda. It was the song’s inclusion in a Hollywood film and the hoped-for rich royalties that caused the ruckus. Here’s how it came about. Carmen recorded “Bambu-Bambu” on 26 december 1939, accompanied by Bando da Lua and the legendary guitarist Garoto. The song was released on Decca 23132 (matrix 67001) as the B-side of “Mamãe Eu Quero” (Jararaca/Vicente Paiva). Sérgio Cabral, who quoted Carmen’s letter to Almirante, did not provide the latter’s reply. Almirante probably said nothing, for no authors were specified on the disc label (in various reissues, the song is described as “traditional”). Traditional or not, someone had to receive royalties, and Almirante was picked as the likeliest source. Sooner or later, it came to the attention of Donga and Patrício Teixeira that Almirante had signed an American contract as the author of “Bambu-Bambu,” and they accused him of profiting from their work. Almirante As was to be expected, the press jumped on the case. Cine-Rádio-Jornal approached Almirante, who testified: In December ’39 or January ’40, I don’t remember exactly, I received from Wallace Downey [an American producer who headed Columbia Records in Brazil and made several Brazilian films] a contract with Robin [sic] Music Corporation. At first I didn’t want to sign the document, because I had had nothing to do with the embolada. But Downey, who was in the U.S. with Carmen as representative of ABCA [Associação Brasileira de Compositores e Autores] in order to establish copyright for the compositions of this society, explained that Carmen sang the song with my lyrics. Later, the first album of Decca discs with Carmen’s American recordings arrived in Brazil, and “Bambu Bambu” came in that collection. I heard the disc at Odeon and noticed that it didn’t carry the authors’ names on the label. I also noted that the sung verses were of the embolada “Cabelo Branco,” which I remembered to have been only of Valdo de Abreu’s authorship. Later I recalled that I was co-author. Odeon and Valdo de Abreu were notified. The latter said it wasn’t important and authorized me to sign the contract. Later I saw in the newspapers that Donga and J. Tomaz said they were the true authors of “Bambu Bambu” and would sue me for having signed an illegal contract. According to Cabral, Almirante went on to say that he had known the song since 1924, when it served as the theme of a São Cristóvão team with these lyrics: Olha o bambo Do bambu, bambu, bambu Olha o bambo Do bambu, bambu, bambu Eu vi bambo Embolado pelo chão Eu também vi o clarão Quando o bambo caiu no mar Almirante was the programmer and host of some of Brazil’s most popular radio shows. One of those, Curiosidades Musicais, was the ideal platform from which to ask listeners for information on any song. The responses he got regarding “Bambo Bambu” were numerous and varied. Some listeners in Minas Gerais had known the song since 1912, others in Pernambuco had known of it for 30, 40, or even 50 years. Each sent in different lyrics. The poet Ascenso Ferreira claimed he had known the song for more than 20 years and that he published the lyrics in his 1927 book Catimbó. Donga In his turn, Donga averred in a Correio da Noite interview that he had collected the music in Pernambuco while touring with the Oito Batutas, and that he and Patrício Teixeira created a special arrangement and a second part. Since J. Tomaz also was a member of Oito Batutas, we could speculate that he may have collected the song on the same Pernambucan tour. Article 556 of Brazil’s Civil Code allows anyone to adapt a theme in the public domain and register the adaptation’s copyright as his/her own, independently of previous adaptations. Thus Almirante and Valdo de Abreu’s names appear on subsequent recordings utilizing the lyrics sung by Carmen Miranda, among them Ney Matogrosso’s (“Bambo de Bambu” in Pois é of 1982, Vinte e Cinco of 1997, and Batuque of 2001) and Eduardo Dussek’s (“Bambo do Bambu” in Adeus Batucada—Eduardo Dussek Sings Carmen Miranda, 2000). Curiously, Nazaré Pereira, who recorded the same lyrics in 1979 (“Bambo de Bambu” in Nazaré—an audio sample is provided), attributed them to folklore and to herself. Equally curious is the attribution in Dussek’s book on Carmen Miranda, released together with the CD, in which the score of “Bambo do Bambu” credits only Donga and Patrício Teixeira. And before we forget, there’s one more recording: “Bambo do Bambu” was one of the legendary Native Brazilian Music recordings made in August 1940 under Leopold Stokowski’s supervision aboard the same S.S. Uruguay that had brought Carmen Miranda to New York. Here the performers are Jararaca (co-author of “Mamãe Eu Quero”) and Ratinho, accompanied by Donga’s conjunto regional featuring Laurindo de Almeida’s guitar. This time, the author’s credit went to Donga alone. Beyond the refrain, the lyrics bear no resemblance to any other recorded or published version. Could the comic duo have improvised them on the spot? [Jararaca and Ratinho’s recording from Native Brazilian Music] The tiff between Donga and Almirante did not diminish their friendship in any way, as can be seen from the following recordings. Both these songs (in José Gonçalves’ interpretation) also found their way into Native Brazilian Music, where Donga was given sole author’s credit. Autor: Motivo Popular - Arr.: Donga Título: Passarinho Bateu Asa Gênero: Batuque Intérprete: Almirante Gravadora: Odeon Número: 11875-A Matriz: 6387 Data Gravação: 28.05.1940 Data Lançamento: Jul/1940 Autor: Donga - Cicero de Almeida Título: Seu Mané Luiz Gênero: Samba Intérprete: Almirante Gravadora: Odeon Número: 11875-B Matriz: 6388 Data Gravação: 28.05.1940 Data Lançamento: Jul/1940 As for the fat purse foretold for the lucky author, we have Almirante’s assurance that it was much ado about nothing: It isn’t these 300 or 80 contos of which so much was said but the ridiculous sum of 5 contos and 400 mil réis.3 It’s a lot of noise for so little money. = = = 1. Wallace Downey represented not only the Associação Brasileira de Compositores e Autores but also the American publisher Robbins Music Corporation—a clear conflict of interest. By sleight of hand, he appropriated the foreign rights to all the songs that were performed in his Brazilian films (e.g., Alô, Alô, Brasil; Estudantes; Alô, Alô, Carnaval; Banana da Terra). These were registered at Robbins. The composers never saw a penny of royalties, but Lee Shubert, producer of Streets of Paris, was presented with an exorbitant demand by Robbins (and even proposed to make Carmen pay 50%) until a settlement was reached. The money was presumably shared between Robbins and Downey. How did Almirante manage to receive the pittance that was paid to him for “Bambu-Bambu” when even Dorival Caymmi was left out in the cold? In his biography of Carmen Miranda, Ruy Castro attributes Almirante’s feat to his having agreed to act as intermediary between Downey and Carmen. 2. Listen to the Donga-Teixeira, Alves, Almirante, and Carmen Miranda recordings by doing a title search on the Instituto Moreira Salles website. I have found no similarity in melody or lyrics between Almirante’s “Cabelo Branco” recording and Carmen’s sings in “Bambu-Bambu.” It’s entirely possible that Almirante’s memory betrayed him, leading to his confusing the two emboladas. 3. Determining the value of 5:400$000 is not easy, owing to wartime inflation. In letters sent to Almirante from the U.S. by Carmen Miranda and Aloysio de Oliveira in December 1939 and early 1940, respectively, they pegged a conto at $50, making Almirante’s royalties amount to a mere $270. My earlier and more convoluted calculations indicate the amount to be closer to $1,890. Judging by Almirante’s disdain, the former figure is likelier. Lyrics Carlos Wehrs & C. edition P4577: Bambo Bambú (Côco de embollada da Bahia) SAMBA Música e letra de J. Thomaz e E. Santos (Donga) Côro: Olha o bambo do bambú bambú, bambú Olha o bambo do bambú Bambo bombê, olha o bambo Do bambú bambo bombá Quero ver dizer três vezes Ram-bambú bambú Lálá ... (Bambu) [bis] 1. Quem tiver sua filha moça Não deixe apanhar café Si for menina vem moça Si for moça vem mulher Bambú, bambú [bis] 2. Eu dei uma tapa, na cabeça da morena Que fiquei com tanta pena De ver em sangue nadar Olha o Bambo do bambú Bambo bambá. Quero ver dizer três vezes Ram-bambú bambú Lálá ... (Bambu) [bis] 3. Tem luz eletrica, tem fogo Tem lamparina tambem tem terebentina Tem vella, tem castiçal Dona Carlota p'ra que tanta claridade Deixe essa farcidade ponha a lampa no lugar. Bambú, bambú. [bis] Image courtesy of Dijalma M. Candido Carlos Wehrs & C. edition P4578: Bambo Bambú (Côco de embollada da Bahia) Samba Offerecido ao querido vespertino “O GLOBO” por Ernesto dos Santos (Donga) e Patricio Teixeira [same lyrics as in P4577; this is the version recorded by Patrício Teixeira] Carlos Wehrs & C. edition P4579: Bombo do Bambú Côco Música e letra de J. Thomaz Creação no palco do Theatro Phenix pelo querido artista Henrique Chaves Côro: Oia o bombo do bambú bambú bambú Oia o bombo do bambú bom bom bê Oia o bombo do bambú bom bê bom bá Quero vê dizê três vezes bom bambú bambú lá lá bambú [bis] I Mestre fuguita bóte fôgo na giranda Ateie fogo de banda nos ares pearrá pá pá O trem de ferro que aitou em Pernambuco Tea fazendo rúco-rúco na cidade do Pará. Côro: Oia o bombo do bambú etc. II Pega pega agarra agarra emenda emenda O Caixeiro vem p'ra venda que o matuto qué comprá A chea grande que passou no meu cercado Deixou tudo alagado meu gado passando má. Côro: Oia o bombo do bambú etc. III Minha marrêta tem um cabo de imbiriba O lê lê, salto p'ra riba e dou na pedra p'ra quebrá Pedro Paulino, Leodoro, Loriano Essa lei repubricana, tá damnada p'ra brigá, bambú Image courtesy of Dijalma M. Candido The version recorded by Francisco Alves: Bambo-Bambú (Canção Nortista) Óia o bambo do bambu bambu bambu E óia o bambo do bambu bambubá E óia o bambo do bambu bambuvê Quero ver dizer três vezes Bambuvê bambulalá Eu fui lá não sei aonde Visitar não sei a quem Fiquei assim não sei como Morrendo não sei por quem E óia o bambo do bambu bambu bambu [...] Eu dancei com uma negrinha Que já tava sem casaco Debaixo do braço dela Tinha um ninho de macaco* E óia o bambo do bambu bambu bambu E óia o bambo do bambu bambuvê E óia o bambo do bambu bambubá Quero ver dizer três vezes Bambuvê bambulalá *Ninho de macaco (monkey’s nest) was a metaphor for unpleasant odor. My thanks to Dijalma M. Candido for the lyrics and the explanation. The version recorded by Carmen Miranda: Bambu-Bambu (traditional/Almirante/Valdo de Abreu) E olha o bambo de bambu, bambu, E olha o bambo de bambu, bambulelê E olha o bambo de bambu, bambulalá Eu quero ver dizer três vezes bambulelê, bambulalá Fui a um banquete na casa do Zé Pequeno A mesa tava no sereno P'rá todo mundo cabê Tinha toda qualidade de talher Tinha mais home que mulié Mas só não tinha o que comer (bambu) E no tal banquete, dito cujo, referido Mulher que não tinha marido Não passou aperto não Pois as danada para não morrer de fome Cada qual comeu seu home Não tiveram indigestão (bambu) Conheço um home que tem 17 filho Que pôs tudo no desvio P'rá polícia empregá A mulher dele de beleza ainda promete Dar à luz a 17 P'rá depois então parar (bambu) The version recorded by Ney Matogrosso: Bambo de Bambu (Almirante/Valdo de Abreu) Olha o bambo de bambu, bambu, bambu Olha o bambo de bambu, bambulelê Olha o bambo de bambu, bambulalá Eu quero ver dizer três vezes Bambulelê, bambulalá Fui a um banquete na casa do Zé Pequeno A mesa tava no sereno pra todo mundo caber Tinha toda qualidade de talher Tinha mais homem que mulher Mas só não tinha o que comer, bambu No tal banquete dito-cujo referido Mulher que tinha marido Não passou aperto não Pois as danadas, para não morrer de fome Cada qual comeu seu homem Não tiveram indigestão, bambu Conheço um homem que tem 17 filhos Que pôs tudo no desvio Pra polícia empregar A mulher dele, de beleza ainda promete Dar a luz a 17 Pra depois então parar The version recorded by Eduardo Dussek: Bambo do Bambu (Almirante/Valdo de Abreu) Olha o Bambo de bambu, bambu, bambu Olha o Bambo de bambulelê, bambulelá Eu quero ver dizer tres vezes Bambulelê, bambulalá (bambu) Fui a um banquete na casa do Zé Pequeno A mesa tava no sereno pra todo mundo caber Tinha toda qualidade de talher Tinha mais homem que mulher Mas só não tinha o que comer, bambu No tal banquete dito-cujo referido E no salão ao pé do cujo referido Mulher que tinha marido Não passou aperto não Pois as danadas para não morrer de fome Cada qual comeu seu homem E não teve indigestão, bambu Conheço um homem que tendo tido sete filhos Que pôs tudo no desvio, prá polícia empregar A mulher dele tem beleza e ainda promete Dar a luz a dezessete, prá depois então parar, bambu The version published by Eduardo Dussek: Bambo do Bambu (Donga/Patrício Teixeira) [same lyrics as in Dussek’s recorded version] Copyright © 2003–2014 Daniella Thompson. All rights reserved.