Spalding continued to branch out, playing with jazz groups as well as leading her own septet and trio. In 2002 she joined the hip-hop group Black Science Tribe, which gained a sizable following touring along the West Coast.
Since moving East to attend the Berklee College of Music, Ms. Spalding has regularly worked as a freelance bassist and singer, both locally and internationally. Ms. Spalding has worked with many notable Grammy-winning artists such as pianist Michel Camilo, vibraphonist Dave Samuels, saxophonist Joe Lovano, violinist Regina Carter, guitarist Pat Metheny, and singer Patti Austin.
She has also performed as a member of the Boston Pops, with drummers Bill Stewart (John Scofield, Chris Potter, Joe Lovano), Terri-Lyne Carrington (Herbie Hancock), Mark Walker (Paquito D'Rivera), as well as guitarist Adam Rogers (Michael Brecker, Chris Potter), saxophonist Seamus Blake (Mingus Big Band, Bloomdaddies), and trumpeter Byron Stripling and performed as an opening act for comedian and sometimes-jazz drummer/vocalist Bill Cosby.
Recently, Ms. Spalding released her debut album as a leader, Junjo on the Barcelona based jazz label Ayva Music. Her CD features pianist Aruan Ortiz, and drummer Francisco Mela.
She is the 2005 recipient of the prestigious Boston Jazz Society scholarship for outstanding musicianship. Spalding holds a B.M. from Berklee College of Music, where she also enjoys the status as the youngest faculty member ever in the history of the College. Esperanza recently became a new artist represented by the Montuno management agency.
In 2009 she played at the Nobel Peace Prize concert in Oslo(Norway), as the Nobel Peace Prize winner,
Barack Obama, artist of choice.
In 2011 she was awarded the Grammy for best new artist, the only Jazz musician to be awarded the Grammy.
Ponta De Areia
Esperanza Spalding Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Da Bahia à Minas, estrada natural
Que ligava Minas ao porto, ao mar
Caminho do ferro mandaram arrancar
Velho maquinista com seu boné
Lembra o povo alegre que vinha cortejar
Maria Fumaça, não canta mais
Para moças, flores, janelas e quintais
Casas esquecidas, viúvas nos portais
The lyrics of Esperanza Spalding's song Ponta De Areia narrate the nostalgic and bitter tale of a natural road that joined the Brazilian states of Bahia and Minas Gerais. A railroad travelled along the route, connecting Minas to the sea port. However, the authorities decided to remove it, and an old train driver still remembers the happy crowds that gathered to court the engine, which has now fallen silent. The joyful tune of the train no longer fills the air, and the streets of the once busy square are empty, echoing with the cries of the forgotten people and the laments of the widows who gaze through their doorways.
Line by Line Meaning
Ponta de areia, ponto final
The end of the road that goes from Bahia to Minas Gerais
Da Bahia à Minas, estrada natural
A natural road that connects Bahia to Minas Gerais
Que ligava Minas ao porto, ao mar
A road that linked Minas Gerais to the port and the sea
Caminho do ferro mandaram arrancar
They ordered the railway tracks to be pulled out
Velho maquinista com seu boné
An old train driver with his cap on
Lembra o povo alegre que vinha cortejar
Remembering the happy people who used to gather there
Maria Fumaça, não canta mais
The steam engine no longer sings
Para moças, flores, janelas e quintais
That used to entertain girls, flowers, windows and backyards
Na praça vazia, um grito um ai
In the empty square, a cry is heard
Casas esquecidas, viúvas nos portais
Forgotten houses, widows at the door
Lyrics © Sony/ATV Music Publishing LLC, Tratore
Written by: Fernando Brant, Milton Silva Campos Nascimento
Lyrics Licensed & Provided by LyricFind
@chuckheppner3374
Originally written and performed by Milton Nascimento, Esperanza now performs her self-titled album "Esperanza". Lyrics below:
Esperanza Spalding - Ponta de Areia
Ponta de areia
Ponto final
Da Bahia-Minas
Estrada natural
Que ligava Minas
Ao porto do mar
Caminho de ferro
Mandaram arrancar
Velho maquinista
Com seu boné
Lembra do povo alegre
Que vinha cortejar
Maria Fumaça
Não canta mais
Para moças
Flores janelas
E quintais
Na praça vazia
Um grito, um oi
Casas esquecidas
Viúvas nos portais
http://youtu.be/QqCZ8NoxptM
Tip sand
final
Bahia-Minas
natural road
Linking Mines
The sea port
Railway
sent boot
old driver
With his cap
Remember the happy people
Coming to court
Smokey Mary
No more singing
for girls
flowers windows
And backyards
The empty square
A cry, a hi
homes forgotten
Widows in portals
@lsf698
That's a word-by-word translation which is not a good idea... Sorry but I have to say the translation capture neither the true meaning nor the beauty of the lyrics. The translation made by Luiz Duarte 4 years before yours is better and I copy that (with minor modifications)here:
Ponta de Areia (a village in Bahia, a Brazilian State)
Last stop
Of the Bahia-Minas (Minas Gerais, a Brazilian State)
Natural road
That linked Minas (the State, which is landlocked)
To the harbor, to the sea
The railway tracks
An order was issued to pull out them.
Old locomotive engineer
With his cap
Remembers the cheerful people
with welcome greetings.
Smoky Mary (Brazilian way to refer to old trains)
No longer sings to girls,
flowers, windows, and backyards.
In the empty square
A cry, a moan
Forgotten houses
Widows at the front door.
@hldr4345
Tip of sand
Ending dot
From Bahia to Minas (Minas Gerais, that is)
Natural road
That linked Minas
To the bayside
Railroad
They told them to rip it off
The old trainman
With his old cap
Remembers the happy few
That came to cortesy
Of the steam train
That doesn't sing anymore
To the mistresses
Flowers, windows
And backyards
At the empty square (Like Central Park, but WAY smaller)
A scream, a salutation
Forgotten homes
Widowed women at the portals
@liegesaboya33
Ponta de areia, ponto final
Da Bahia à Minas, estrada natural
Que ligava Minas ao porto, ao mar
Caminho do ferro mandaram arrancar
Velho maquinista com seu boné
Lembra o povo alegre que vinha cortejar
Maria Fumaça, não canta mais
Para moças, flores, janelas e quintais
Na praça vazia, um grito um ai
Casas esquecidas, viúvas nos portais
@ava_alami
Ponta de areia
Ponto final
Da Bahia-Minas
Estrada natural
Que ligava Minas
Ao porto, ao mar
Caminho de ferro
Mandaram arrancar
Velho maquinista
Com seu boné
Lembra o povo alegre
Que vinha cortejar
Maria-fumaça
Não canta mais
Para a moça, as flores
Janelas e quintais
Na praça vazia
Um grito, um ai
Casas esquecidas
Viúvas nos portais
@chuckheppner3374
Originally written and performed by Milton Nascimento, Esperanza now performs her self-titled album "Esperanza". Lyrics below:
Esperanza Spalding - Ponta de Areia
Ponta de areia
Ponto final
Da Bahia-Minas
Estrada natural
Que ligava Minas
Ao porto do mar
Caminho de ferro
Mandaram arrancar
Velho maquinista
Com seu boné
Lembra do povo alegre
Que vinha cortejar
Maria Fumaça
Não canta mais
Para moças
Flores janelas
E quintais
Na praça vazia
Um grito, um oi
Casas esquecidas
Viúvas nos portais
http://youtu.be/QqCZ8NoxptM
Tip sand
final
Bahia-Minas
natural road
Linking Mines
The sea port
Railway
sent boot
old driver
With his cap
Remember the happy people
Coming to court
Smokey Mary
No more singing
for girls
flowers windows
And backyards
The empty square
A cry, a hi
homes forgotten
Widows in portals
@chuckheppner3374
AngelNugget, you're most certainly welcome and thank you for your kind response. ☺ 👍
@lsf698
That's a word-by-word translation which is not a good idea... Sorry but I have to say the translation capture neither the true meaning nor the beauty of the lyrics. The translation made by Luiz Duarte 4 years before yours is better and I copy that (with minor modifications)here:
Ponta de Areia (a village in Bahia, a Brazilian State)
Last stop
Of the Bahia-Minas (Minas Gerais, a Brazilian State)
Natural road
That linked Minas (the State, which is landlocked)
To the harbor, to the sea
The railway tracks
An order was issued to pull out them.
Old locomotive engineer
With his cap
Remembers the cheerful people
with welcome greetings.
Smoky Mary (Brazilian way to refer to old trains)
No longer sings to girls,
flowers, windows, and backyards.
In the empty square
A cry, a moan
Forgotten houses
Widows at the front door.
@hldr4345
Tip of sand
Ending dot
From Bahia to Minas (Minas Gerais, that is)
Natural road
That linked Minas
To the bayside
Railroad
They told them to rip it off
The old trainman
With his old cap
Remembers the happy few
That came to cortesy
Of the steam train
That doesn't sing anymore
To the mistresses
Flowers, windows
And backyards
At the empty square (Like Central Park, but WAY smaller)
A scream, a salutation
Forgotten homes
Widowed women at the portals
@avaldelis
Linda Esperanza!!! Uma das poucas intérpretes estrangeiras que sente a emoção das nossas músicas e representa isso em sua voz. Linda!
@ricardopierandreisantos4021
Exatamente! 👏🏻
@juancpgo
I LOVE that bassline.
@danielramone8645
ME TOO!!!!
@jacobbranch9862
This woman is the rawest figure in jazz today. She is keeping the craft alive. This is jazz, funk, salsa, r&b, and soul all mixed in one huge gumbo pot. I would absolutely love to see her live in concert along with Erykah Badu, Anita Baker, and Sade!!!
@jasonwoodard4154
This should have millions of views!!