Born José Gomes Filho, in Paraíba, Brazil, a region in the northeast of the country, Jackson do Pandeiro's mother, Flora Mourão, was a musician and singer who played several percussion instruments.
As a child he had originally wanted to play the accordion, but his parents could not afford it and bought him a pandeiro, a type of tambourine, in its place. He began playing music with the zabumba, however, in order to assist his mother in performances. When Jackson was 13 years old his family moved to Campina Grande, a city in Paraíba. After the move, Jackson lived in João Pessoa, where he performed in various cabarets and on the radio; and also to Recife, where he eventually began working in a radio station and took the pseudonym of Jackson do Pandeiro. Originally his mother had nicknamed him "Jack", after the actor Jack Perry, who played parts in cowboy films which were popular in Brazil during Jackson's youth. He had his first hit with "Sebastiana", a song based on traditional Brazilian rhythms.
The single was followed by a number of albums that were successful with audiences throughout Brazil. Soon after, he joined his future wife Almira Castilhos de Albuquerque on a trip to Rio de Janeiro, financed by his recent success. The two had been performing in a duo together and were eventually married in October 1954. However, the duo and marriage were jointly ended in 1967, and Jackson's popularity diminished soon after. Jackson did find some greater success later, though, when the popular singer and guitarist Gilberto Gil, as well as the singer Gal Costa, recorded some of his material in 1972.
Discography
1954: Sua Majestade - o Rei do Ritmo
1955: Jackson do Pandeiro
1956: Forró do Jackson
1957: Jackson e Almira - Os Donos do Ritmo
1958: Forró do Jackson
1959: Jackson do Pandeiro
1960: Cantando de Norte a Sul
1961: Ritmo, Melodia e a Personalidade de Jackson do Pandeiro
1961: Mais Ritmo
1962: A Alegria da Casa
1962: ...É Batucada!
1963: Forró do Zé Lagoa
1964: Tem Jabaculê
1964: Coisas Nossas
1965: ...E Vamos Nós!
1966: O Cabra da Peste
1967: A Braza do Norte
1970: Aqui Tô Eu
1971: O Dono do Forró
1972: Sina de Cigarra
1973: Tem Mulher, Tô Lá
1974: Nossas Raízes
1975: A Tuba da Muié
1976: É Sucesso
1977: Um Nordestino Alegre
1978: Alegria Minha Gente
1980: São João Autêntico de Jackson do Pandeiro
1981: Isso é que é Forró!
Capoeira mata um
Jackson do Pandeiro Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Capoeira mata um
Zum zum zum, zum zum zum
Capoeira mata um
Samba que balança é bom
Samba que balança não cai
O meu samba tem que ser no tom
A pedido do meu pai
Samba que balança é bom
Samba que balança não cai
O meu samba tem que ser no tom
A pedido do meu pai
Salve a Bahia iôiô
Salve a Bahia iáiá
Quem não sabe jogar capoeira
Berimbau vai lhe ensinar
Valha-me Deus, o senhor, o São Bento
Buraco velho tem cobra dentro
Valha-me Deus, o senhor, o São Bento
Buraco velho tem cobra dentro
Ê, zum zum zum, zum zum zum
Capoeira mata um
Zum zum zum, zum zum zum, zum zum zum
Capoeira mata um
Samba que balança é bom
Samba que balança não cai
O meu samba tem que ser no tom
A pedido do meu pai
Samba que balança é bom
Samba que balança não cai
O meu samba tem que ser no tom
A pedido do meu pai
Salve a Bahia iôiô
Salve a Bahia iáiá
Pra quem não sabe jogar capoeira
Berimbau vai lhe ensinar
Valha-me Deus, o senhor, o São Bento
Buraco velho tem cobra dentro
Valha-me Deus, o senhor, o São Bento
Buraco velho tem cobra dentro
Ê, zum zum zum, zum zum zum
Capoeira mata um
Zum zum zum, zum zum zum
Capoeira mata um
Samba que balança é bom
Samba que balança não cai
O meu samba tem que ser no tom
A pedido do meu pai
Samba que balança é bom
Samba que balança não cai
O meu samba tem que ser no tom
A pedido do meu pai
Salve a Bahia iôiô
Salve a Bahia iáiá
A quem não sabe jogar capoeira
Berimbau vai lhe ensinar
Valha-me Deus, o senhor, o São Bento
Buraco velho tem cobra dentro
Valha-me Deus, o senhor, o São Bento
Buraco velho tem cobra dentro
Valha-me Deus, o senhor, o São Bento
Buraco velho tem cobra dentro
Valha-me Deus, o senhor, o São Bento
Buraco velho tem cobra dentro...
"Capoeira mata um" by Jackson do Pandeiro is a song that references the Afro-Brazilian martial art of capoeira, which has roots in the African slave trade in Brazil. The lyrics repeat the phrase "Capoeira mata um" or "Capoeira kills one" in a rhythmic and repetitive manner, emphasizing the power and danger of the martial art. The song also references the importance of the beat and rhythm in samba music, saying that a good samba should not fall or lose its rhythm. The line "A pedido do meu pai" or "At the request of my father" suggests the influence of family and tradition in Brazilian music.
The song also pays homage to Bahia, a state in northeastern Brazil known for its deeply rooted Afro-Brazilian culture and traditions. The lyrics say, "Salve a Bahia" or "Hail Bahia," and encourage those who do not know how to play capoeira to learn from the berimbau, a musical instrument used in capoeira.
The lyrics also include a religious reference, calling on the aid of God and the saints to protect against danger. The line "Valha-me Deus, o senhor, o São Bento / Buraco velho tem cobra dentro" or "Save me God, Lord, and St. Benedict / Old holes have snakes inside" serves as a warning against danger and the need for spiritual protection.
Overall, "Capoeira mata um" is a lyrical tribute to the power and importance of Afro-Brazilian culture, specifically capoeira and samba, and highlights the influence of tradition, family, and spirituality.
Line by Line Meaning
Ê, zum zum zum, zum zum zum
This song starts with a rhythmic chant of 'zum zum zum' which sets the tone for the rest of the song.
Capoeira mata um
The singer declares that capoeira can kill, making it appear that one must be careful when practicing or participating in the martial art.
Samba que balança é bom
The singer is acknowledging the importance of samba music that makes people want to dance and move with the rhythm.
Samba que balança não cai
The singer is stating that samba music that moves people will never go out of popularity or phase, making people constantly move and dance to the upbeat sound.
O meu samba tem que ser no tom
The singer emphasizes the need to keep his samba music in the correct tone, which is often influenced by the request from his father.
A pedido do meu pai
The singer attributes his love for music and desire to stick to the correct tone to the request of his father.
Salve a Bahia iôiô
The singer shows appreciation and respect for the Bahia region of Brazil.
Salve a Bahia iáiá
The singer repeats the chorus line from earlier to keep showing appreciation and respect for the Bahia region of Brazil.
Quem não sabe jogar capoeira
The singer acknowledges that not everyone knows how to practice or participate in capoeira, which is a martial art that comes from Brazil.
Berimbau vai lhe ensinar
The singer suggests that the berimbau can be a great tool to teach those who are not familiar with capoeira.
Valha-me Deus, o senhor, o São Bento
The singer seeks blessings and protection from God and other spiritual entities.
Buraco velho tem cobra dentro
The singer uses a metaphor to suggest that danger lies in places that are old or abandoned, comparing it to the hidden danger of a snake in a hole.
Ê, zum zum zum, zum zum zum
The chant 'zum zum zum' comes back in as a reminder of the tone set at the beginning of the song.
Capoeira mata um
The singer repeats the earlier line that capoeira can be deadly.
Samba que balança é bom
The singer repeats the line that samba music that moves people is a great type of music to be celebrated and enjoyed.
Samba que balança não cai
The singer repeats the line that samba that moves people will never lose its popularity or ability to make people dance.
O meu samba tem que ser no tom
The singer repeats the earlier line that he is careful to keep his samba music in the correct tone.
A pedido do meu pai
The repetition serves as a reminder that the singer's love and respect for music comes from his father's request.
Salve a Bahia iôiô
The repetition shows the appreciation and respect the singer has for the Bahia region of Brazil.
Salve a Bahia iáiá
The repetition serves as a continued reminder of the singer's respect for the Bahia region of Brazil.
Pra quem não sabe jogar capoeira
The singer repeats the earlier line that not everyone knows how to practice or participate in capoeira.
Berimbau vai lhe ensinar
The singer repeats the line that the berimbau can be a great tool to teach those who are not familiar with capoeira.
Valha-me Deus, o senhor, o São Bento
The repetition of seeking blessings and protection from God and other spiritual entities serves as a continuation of the singer's spirituality and respect for higher powers.
Buraco velho tem cobra dentro
The singer repeats the metaphor that danger lies in places that are old or abandoned, comparing it to the hidden danger of a snake in a hole.
Valha-me Deus, o senhor, o São Bento
The repeat of seeking blessings and protection from God and other spiritual entities is emphasized as a closing for the song.
Buraco velho tem cobra dentro
The closing repeats the metaphor that danger lies in places that are old or abandoned, comparing it to the hidden danger of a snake in a hole.
Writer(s): Alvaro De Oliveira Castilho, Jose Ignacio De Castro
Contributed by Nora V. Suggest a correction in the comments below.