01 Clementina de Jesus, Doca & Geraldo Filme

O Canto dos Escravos

(Estúdio Eldorado, 1982)

Samba de partido alto singer Clementina de Jesus was only discovered in the 60s when she was already in her 60s herself, but she instantly blazed a trail for Afro-Brazilian music from Rio de Janeiro. She performed with Pixinguinha, Milton Nascimento, Naná Vasconcelos and cut the defining ‘Marinheiro Só’. This collection of slave songs from Minas Gerais, in which she shares vocal duties with Doca and Geraldo Filme, is one of many career highlights.

02 Serena Assumpção

Ascensão

(Selo Sesc, 2016)

The title’s ascensão (ascension) refers to every life’s journey, ascending from the visible to the invisible realm. Based on the cosmogony and ceremonies of Nagos (Brazilian Yorubans), the songs pair popular music with the energy and spirituality of the terreiros (temples). This is the only album recorded by Serena, who died at 39, months before its release; her music lives on.

03 As Ganhadeiras de Itapuã

As Ganhadeiras de Itapuã

(Coaxo do Sapo, 2014)

Stunning harmonies from generations of female singers that carry on the traditions of the Afro-Brazilian washerwomen of Lagoa do Abaeté in Itapuã, Salvador. Set to a samba de roda beat, these are work songs referencing gods Iemanjá and Oxum, a consequence of Itapuã’s position as a sacred site, epitomised by the Lavagem de Itapuã festival every Feb 2.

04 Juçara Marçal & Kiko Dinucci

Padê

(Tratore / Selo Cooperativa, 2008)

Singer Marçal and guitarist Dinucci would go on to form Metá-Metá with saxophonist Thiago França, but they laid the framework for the group here, paying respect to Brazilian popular music’s African ancestry while exploring their religious beliefs. Dinucci started his career in punk bands and he brings an attack to his guitar-playing throughout, while Marçal’s voice erupts and caresses.

05 Os Tinçõas

Os Tinçõas

(Odeon, 1973)

If there was a category for spiritual pop music then Os Tinçõas would be its leading lights. With only the simplest of instrumentation (guitar, congas, agogô and shekere) this is all about the vocal harmonies of the three main members whose style was heavily influenced by Bahia’s Candomblé terreiros. ‘Deixa a Gira Girá’ remains one of the greatest vocal performances ever put to tape.

06 Various Artists

Oriki – Chants & danses du Candomble

(Arion, 2003)

One of the best recordings of Candomblé chants and songs, as would be heard in terreiros, with performances by four different nações (nations) paying homage to Exu, Ogun, Oxossi, Xangô and other orixás. Accompanied by atabaque drums and bells such as the agogô, it’s easy to lose oneself in the devoted call-and-response vocals.

07 Orquestra Afro-Brasileira

80 Anos

(Day Dreamer, 2021)

Orquestra Afro-Brasileira formed in 1942, recording their debut album in 1957. From the off, their mission was to present Black Brazilian histories in a big band format that incorporated Candomblé chants and African percussion. Surprisingly, in 2021, they released a new album led by Carlos Negreiros, who had been in the band on their second album in 1968. Not only did it continue their mission, but it proved they were still as vital, and needed, as ever.

08 Vinícius de Moraes & Baden Powell

Os Afro-Sambas

(Forma, 1966)

When one of Brazil’s most prominent songwriters and one of its guitar greats realised they had both become fascinated by Candomblé, they decided to record an album together with the help of vocal group Quarteto em Cy. The result has since become a template for any album combining acoustic samba with Afro-Brazilian spirituality, with songs like ‘Canto de Ossanha’ losing none of their ability to astonish after all these years.

09 Virgínia Rodrigues

Nós

(Natasha Records, 2000)

Born in Salvador, Rodrigues grew up singing in Catholic and Protestant churches, as well as Candomblé terreiros, and she brings a syncretic approach to this collection of songs inspired by carnival in Bahia which pay tribute to many orixás. With hints of Milton Nascimento, Cesária Évora and the aforementioned Os Afro-Sambas, it’s a stunning album that sits somewhere between pop, classical and gospel.

10 Olodum

Da Atlântida À Bahia… O Mar É O Caminho

(Continental, 1991)

So tied is carnival with Afro-Brazilian religion that there’s an endless list of blocos (carnival groups) from across Brazil that could feature here. Olodum, for their sheer popularity and stellar recording career, are near the top. De Atlântida is a great entry point, with paeans to Iemanjá, their punchy fisherman’s chant (‘Canto ao Pescador’) and Jimmy Cliff guesting as they perfect their samba-reggae formula.

This article originally appeared in the May 2024 issue of Songlines. Never miss an issue – subscribe to Songlines today