1 	Coração Do Mar 	1:27
2 	Mulher Do Fim Do Mundo 	4:37
3 	Maria Da Vila Matilde 	3:44
4 	Luz Vermelha 	4:31
5 	Pra Fuder 	3:56
6 	Benedita 	5:05
7 	Firmeza?! 	3:32
8 	Dança 	3:34
9 	O Canal 	3:07
10 	Solto 	3:41
11 	Comigo 	2:17

Elza Soares - vocals
Kiko Dinucci - guitar
Marcelo Cabral - bass
Rodrigo Campos - guitar
Felipe Roseno - drums
Marcelo Cabral - violão de sete cordas and synth
Cuca Ferreira - flute
Aramís Rocha - violin
Robson Rocha - violin
Edmur Mello - viola
Deni Rocha - cello
Edy Trombone - trombone
DJ Marco - pick ups
Felipe Roseno - percussion
Thomas Rohrer - rabeca
Cuca Ferreira - flute
Rodrigo Campos - vocals on "Firmeza"

The woman at the end of the world (A mulher do fim do mundo).

Septuagenarian Brazilian music icon Elza Soares teams up with the cream of São Paulo's avant-garde musicians for an album of apocalyptic, experimental samba sujo (‘dirty samba’) that tackles the burning issues of 21st century Brazil: racism, domestic violence, sex and drug addiction.

Over a sprawl of distorted guitars, squalling horns, taught strings and electronic shards, samba is savaged by rock ‘n’ roll, free-jazz, noise and other experimental music forms as Elza sings, spits and screams tales of a life in Brazil that is anything but a tropical paradise.

A true legend of Brazilian music Elza has an incredible musical oeuvre that stretches back over seven decades mixing samba with jazz, soul, funk, hip hop and electronica, whilst her life-story is a rags-to-riches-to-rags rollercoaster of triumphs and tragedies that has made her a voice for Brazil’s repressed female, black, gay and working class populations. ---elzasoares.bandcamp.com

Foi possível entender um pouco melhor Elza Soares depois de assistir My Name Is Now, um dos muitos documentários escolhidos para nova edição do In-Edit Brasil. Em A Mulher do Fim do Mundo, ela, pela primeira vez, coloca no mercado um trabalho apenas de composições inéditas, o que diz muito sobre o momento atual dela – de redescoberta por uma geração – ainda que de outros compositores.

"Coração do Mar" é um poema de Oswald de Andrade musicado por José Miguel Wisnik e abre o disco, e tem uma Elza Soares cantando à capela, uma dessas coisas que ficam muito bonitas quando tudo se encaixa de maneira perfeita. Foi o caso aqui. O samba "A Mulher do Fim do Mundo" traz a cantora em uma de suas especialidades. E a melodia leve e um arranjo bem agrupado dão o tom.

A violência contra a mulher é quase dissecada em “Maria da Vila Matilde - Porque se a da Penha é Brava, Imagine a da Vila Matilde". Basicamente, a cantora ligará ao Disque-denúncia para denunciar o agressor e diz ‘cê vai se arrepender de levantar a mão para mim’ em outro samba muito bom – um alento e um incentivo a quem sofre diariamente qualquer tipo de agressão. A pesada, principalmente na melodia, "Luz Vermelha" coloca na mesa uma reflexão sobre a solidão, algo triste em uma cidade como São Paulo, o pano de fundo do disco.

O Bixiga 70, uma das ótimas bandas dessa nova geração paulista, participa no arranjo do samba "Pra Fuder", que coloca a cantora em uma ótima posição: a de soltar a voz sem dó. E isso ela faz como poucos. Celso Sim abre "Benedita", a canção mais mutante do disco inteiro – ela vai e volta em diversos temas, descrições, ritmos, gêneros e posições. Mas Elza mostra toda sua versatilidade no rap "Firmeza", dominada por um belo sax ao fundo, e "Dança", apesar de inferior às outras, consegue manter o prumo.

A descrição precisa de momentos de uma mulher brasileira faz de "O Canal" um retrato fiel em uma faixa quase de teor religioso. Já a delicada e de ótimo arranjo "Solto" é mais falada do que cantada, soando um desabafo de alguém que viveu muito, perdeu maridos e filhos, mas segue firme e forte. Outra pesada no quesito sentimental é "Comigo", que começa pesada até encerrar abruptamente para abrir espaço para Elza retornar ao início do disco: a capela.

A música brasileira vive um ano muito bom em 2015 e discos ótimos foram lançados. Estar em outubro e ainda ter a chance de ouvir um lançamento de Elza Soares é ainda melhor. E é ainda mais quando ela conseguiu canalizar toda sua experiência ao lado de uma boa geração de músicos, lançando um excelente álbum, não fugindo de quem ela é. Ao contrário, ela reafirmou sua posição como uma cantora muito acima da média, não importando o tipo de música que cante. A Mulher do Fim do Mundo não é apenas um disco, é um legado que ela deixa a todas as cantoras brasileiras. --- Fagner Morais, musicontherun.net

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1 	Tenha Pena De Mim (Ai, Ai, Meu Deus) 	2:45
2 	Boato 	3:22
3 	Fala Baixinho 	2:17
4 	Marambaia 	2:05
5 	O Samba Está Com Tudo 	2:31
6 	Cadeira Vazia 	3:22
7 	Perdão 	2:18
8 	Beija-me 	2:24
9 	O Bilhete 	2:13
10 	O Samba Brasileiro 	2:26
11 	As Polegadas Da Mulata 	2:06
12 	Eu Quero É Sorongar 	2:51

Awesome re-mastering of a 1961 classic. Fans of Samba, jazz, and anything latin will appreciate Elza Soares' energetic performances. Had she been in the USA she would have fit in nicely in the Rat Pack! However, as a black woman in the melting pot that is Brazil, her success opened doors much like Dorothy Dandridge in the USA. I would even compare her with the great Ella. Her interesting story includes being married to the soccer star Garrincha! ---M. Perl, amazon.com

One of the most shocking but ultimately uplifting stories of Brazilian music: Soares grew up in extreme poverty in a favela, at 13 was forced to marry a man who raped her, gave birth to three stillborn children - but still fought her way to the top of the industry, performed with Louis Armstrong, married Garrincha, lost him to booze & loose women, in addition to their son and her mother in car accidents. And is still going strong! This is probably her best album and indeed is absolutely lovely, grooves like nothing else. She sings with passion & fire in her lungs like the fabulously versatile singing magician she is. ---StonedWallaby, rateyourmusic.com

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1 	Se Acaso Você Chegasse 	
2 	Mulata Assanhada 	
3 	Edmundo (In The Mood) 	
4 	Devagar Com A Louça 	
5 	Boato 	
6 	Tenha Pena De Mim 	
7 	Samba Da Minha Terra 	
8 	O Mundo Encantado De Monteiro Lobato 	
9 	Salve A Mocidade 	
10 	Bahia De Todos Os Deus 	
11 	Lendas De Abaeté 	
12 	Bom Dia Portela 	
13 	Meia-Noite Já É Dia 	
14 	Não Ponha A Mão 	
15 	Xamego De Crioula 	
16 	Primeiro Eu 	
17 	Eu Agora Sou Feliz 	
18 	Confesso Que Chorei 	
19 	Marambaia 	
20 	Quem É Bom Já Nasce Feito

I was 16 when I first heard Elsa and was stunned by the voice (a feminine Satchmo)! All the lyrics were printed on the record jacket so I was able to eventually sing along. Unfortunately, it's difficult to find her music in the West Indies or the U.S. I'd certainly love to get all her old music with the lyrics on CD. As to these tunes, well each one is like dying and going to heaven! Can't wait to get more. Elsa can teach the newer singers a thing or two! If you like things Brazilian, you'll love this! ---Sherry Issa, amazon.com

Owner of a distinctive, harsh voice, Elza Soares is one of the most swinging samba singers. From the time she issued her debut single -- "Se Acaso Você Chegasse" in 1959, and on which she introduced scat singing à la Louis Armstrong, to samba -- she became a successful recording artist. Her second album, A Bossa Negra, from 1961, is considered a treasure of Brazilian music at home and abroad. With her voice and songs, Soares has always celebrated the gritty aspects of peasant life. It is her birthright, as she was born in a favela. Her dispassionate, exaggerated style won over audiences in Brazil and across the world. In the lineage of Brazilian she is considered part of an eternal avant-garde, because of her desire to innovate in everything she sings. Admired by artists such as Caetano Veloso, Chico Buarque, and Nick Cave, to name a few, she was awarded best female singer of the millennium by the BBC. Soares shows no signs of slowing down in her eighties. With the album A Mulher do Fim do Mundo, she navigated a combined landscape of noise, angry rock, and Afro-Brazilian rhythms, to global acclaim.

Having appeared in 1959 with the samba "Se Acaso Você Chegasse," Elza Soares always had her artistic career complicated by her personal life. Having gotten married at 12 and lost three children who died of hunger, she later became the wife of Garrincha, one of the most genial soccer players ever, and also a chronic alcoholic. The peak of her career was in the '60s, with albums like O Máximo em Samba (1967), Elza Soares & Wilson das Neves (1968), and Elza, Miltinho e Samba (a three-album series shared with Miltinho). In that decade she had several hits, among them "Boato," "Edmundo" (a version of "In the Mood"), "Beija-me," "Devagar Com a Louça," "Mulata Assanhada," "O Mundo Encantado de Monteiro Lobato," "Bahia de Todos os Deuses," "Palmas no Portão," and "Palhaçada." In the '70s, she had further success with "Salve a Mocidade" (1974) and "Malandro" (1977; this song launched Jorge Aragão as a composer). But it wasn't enough to prevent her from facing huge economical adversity, and at the same time she was being systematically turned away by recording companies. With Garrincha, Soares had a very troubled marriage and the untimely demise of their son Garrinchinha in a car accident in 1986 didn't help.

Trying unsuccessfully to develop a career abroad, she returned to Brazil in 1994, poor and depressed. Finally, she was rediscovered in the '80s by the younger generations of Brazilian rockers (Os Titãs, Lobão) and MPB artists like Caetano Veloso, after having been awarded the Sharp Prize award as the Best Samba Singer of 1997. Her life was depicted in the musical Crioula, which had several songs written especially for her by Chico Buarque, Chico César, Nei Lopes, and others. In 2000, she was appointed Singer of the Millennium by London's BBC. Soares continues to challenge her destiny, performing shows in every venue available.

Living in extreme poverty throughout her childhood and teens, Soares had her first audition in radio at Ary Barroso's novice show when she was 16, winning first place. She was then hired as a crooner by the Orquestra Garam de Bailes (led by conductor Joaquim Naegli). She worked in the orchestra until 1954, when she became pregnant. In 1955, she was invited to star with Grande Otelo in the play Jour-Jou-Fru-Fru, which was a smash. Three years later, she toured Argentina, returning in the next year when she was hired by Rádio Vera Cruz. Also in 1959, she recorded a 78 rpm of "Se Acaso Você Chegasse" (Lupício Rodrigues/Felisberto Martins), one of her biggest hits. In 1960, she went to São Paulo, where she performed regularly in the show I Festival Nacional de Bossa Nova and recorded her first LP, Se Acaso Você Chegasse. In 1962, she represented Brazil in Chile during the World Soccer Cup, where she met Garrincha. Having recorded several albums with the hits "Só Danço Samba" (Tom Jobim/Vinícius de Moraes), "A Banca do Distinto" (Billy Blanco), "Pressentimento" (Elton Medeiros/Hermínio Bello de Carvalho), and "Princesa Isabel" (Sérgio Ricardo), she moved to Italy in 1969, where she performed at the Sistina Theater (Rome), returning to Brazil in 1972. In the same year, she opened the show Elza em Dia de Graça at the Opinião Theater (Rio) and participated in the Brasil Export Show (Canecão). Rediscovered in the '80s as a cult heroine by Os Titãs, she performed with the band in a regular show at the Madame Satã nightclub. Soares also recorded in duet with Caetano Veloso on his album Velô, and with Lobão on Casa de Samba. With her Trajetória (1997), in which she was paid tribute by Zeca Pagodinho, she won the Prêmio Sharp Award as Best Samba Singer. In November 1999, Soares participated in the show Desde Que o Samba é Samba (at Royal Albert Hall, London, England), together with Chico Buarque, Caetano Veloso, Gilberto Gil, Gal Costa, and Virginia Rodrigues. In 2000, her life was depicted in the musical Crioula (by Stella Miranda).

In 2002, she released the acclaimed Do Cóccix Até O Pescoço on Maianga Discos, which successfully wedded samba, bossa, and MPB with electronic sounds. Produced and recorded by Alê Siqueira, it featured an enormous cast of guest musicians under the direction of pianist Jose Miguel Wisnik, including Caetano Veloso, Chico Buarque, and Carlinhos Brown. It sold well internationally and received a Grammy nomination. Vivo Feliz followed on Tratore in 2004 and contained the singles "Rio de Janeiro" and a reading of "Concordia" by Nando Reis, featuring the songwriter in a duet. Working again with Wisnik, she released the live Beba-Me Ao Vivo and a concert DVD with the same title in 2007.

Though Soares continued to perform, she took an extended break from recording. A year later she was the featured vocalist on the soundtrack of the film Chega de Saudade. She fell from the stage during a performance and required numerous spinal column surgeries. It slowed her down and forced her to perform in a chair, but she never stopped. In 2015, she re-entered the studio with producer Guilherme Kastrup of São Paulo’s groundbreaking samba sujo scene. She didn't like his idea of recording a set of classic sambas in modern settings and instead insisted on creating entirely original new material -- a first in her long career. He hired the city's vanguard post-punk band Passo Torto (with Metá Metá's Kiko Dinucci) and several players from Bixiga 70. A Mulher Do Fim Do Mundo, a collection of 11 songs (culled from over 50) that focuses on the achievement of justice for women, people of color, and members of the LGBT community -- causes she had celebrated throughout her life. Issued in Brazil in October by Circus Produções Culturais, it was celebrated in the national press as the year's best album by a national artist, regardless of genre. Due to global acclaim, it was re-released internationally by Mais Um Discos in June of 2016. The recording was selected as Album of the Year by the BBC, and other outlets. After numerous shows in Brazil and South America, Soares enlisted the same team -- Guilherme Kastrup as producer with assistance from Romulo Fróes, Marcelo Cabral, Rodrigo Campos, and Kiko Dinucci -- for her follow-up, Deus é Mulher ("God Is a Woman"). In accordance with its title and theme, Soares also enlisted a number of female instrumentalists for the project including Maria Portugal and Maria Beraldo, and recorded songs by Tulipa Ruiz and Alice Coutinho. The full-length was released in May of 2018 and charted inside the Top Ten on the International and Brazilian Albums charts. ---Alvaro Neder, allmusic.com

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01. Bom Dia, Portela (David Corrêa - Bebeto di São João) - 2:56				play
02. Pranto Livre (Dida - Everaldo da Viola) - 3:31
03. Não é Hora de Tristeza (Lino Roberto - Wilson Medeiros - Walter da Imperatriz) - 3:30
04. Meia Noite Já é Dia (Norival Reis - David Corrêa) - 2:39
05. Desabafo (Tatu - Nezinho - Campo) - 2:24
06. Partido do Lê Lê Lê (Otilo Gomes) - 2:17								play
07. Deusa do Rio Niger (Walter Norambê - Motorzinho) - 2:49
08. Quem Há de Dizer (Lupicínio Rodrigues - Alcides Gonçalves) - 3:00
09. Louvei Maria (Elza Soares) - 3:08
10. Xamego de Crioula (Zé Di) - 2:38
11. Falso Papel (Dario Marciano) - 3:27
12. Giringonça (Josealdo Fraga) - 3:12
Bonuses:
13. Salve a Mocidade (Luiz Reis) - 2:25
14. Fest do Círio de Nazaré (Aberdal Moreira - Dario Marciano - Nilo Mendes) - 3:45
15. O Mundo Fantástico do Uirapuru (Tatu - Campo - Nezinho) - 2:41

Personnel:
- Elza da Conceição Soares - vocals
- Ed Lincoln, Jose Xavier – producers

Her first album over at Tapecar paired Elza with pianist Ed Lincoln, who had kind of a rockin', soul-swinging past. That side of Lincoln's career isn't so much in evidence here -- Elza keeps on the path she'd started out, shifting away from gafieria and jazz-tinged sambas towards a rootsier sound -- they've even got her seated in a wicker chair and wearing one of the same sort of Afro-Bahian frocks that Clara Nunes favored at the time. The arrangements are still a bit on the overly-perky side, but she was clearly intent on giving Nunes a run for her money, and does an admirable job. Some of the slower songs are clunky -- she has a pretty hefty voice that works better when wrapped around a rhythm than trying to phrase a hushed melody, though on the other hand, she's not getting all slushy and popped-out the way Clara did when she slowed down the pace, so in some ways this sounds better. Anyway, this is really nice stuff... Worth checking out! --- slipcue.com

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