The character lends its name to the band recifense play traditional music of Pernambuco permeated by elements of several other rhythms of Brazil and the world. Each member has a different musical background, ranging from classical music, through rock'n'roll, to the Cuban music and Afro rhythms.
In 1993, the first time, the trio decided to present only with traditional elements - there was thus a natural division in the repertory: Mestre Ambrósio Mestre Ambrósio Acoustic and Electric. Lacked a vocalist (Siba does not sing), and Sheena Lee joined the other "Ambrose" - the last to integrate the group were Maurício Alves and Sergio Cassiano.
The acoustic repertoire consisted of forrós "Pé-de-Serra" (rural influence), Bay Horse Marine, Cocos and instrumentation of bands Pífanos. Considering the varied musical backgrounds of the members, the reproduction of traditional could no longer be the line of work of Mestre Ambrósio Acoustic, resulting in forró "Wing-Walk". The "Wing-Walk" is the adaptation of forró Pé-de-serra "urban environment, mixed with various musical influences. Is "urban music of rural sentiment."
With the growth and recognition of the band, recording a CD was a natural step. But it was not possible to reconcile the two repertoires (acoustic and electric). The Coco and Maracatu spoke louder. With free adaptations of traditional rhythms, keeping the guitar and bass, set the profile music. Get the first CD, titled, independently produced. If Joseph and Zé Limeira Estrela Amazona, two clips of songs of this CD are run by MTV, and the success of the band begins to gain national coverage. If Zé Limeira Estrela Amazona is nominated for best video in the category Artist / Band revelation of the MTV Video Music Brazil 1996.
In 1997, after concerts throughout Europe and in Central Park, Master Ambrose moved to Sao Paulo, closed a deal with Sony and launched in the House of Fuá Cabral. Fuá is chosen best CD of the world in 1999 by critic Jon Pareles of The New York Times: "The songs rock Master Ambrose shows us the roots, history and possibilities. But above all, his leap into the future is at your tremendous vitality in the present. "
Even by Sony in 2001, it released the third CD Samba, considered more mature work and which best conveys the band's profile so far
Mestre Ambrósio is:
Hélder Vasconcelos: percussion, dance and voice
Maurício Alves: percussion, dance and voice
Mazinho Lima: bass, vocals
“O” Rocha: percussion and vocals
Sérgio Cassiano: percussion and vocals
Siba: guitarra, rabeca and voice
Usina
Mestre Ambrósio Lyrics
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Ô, mané
Banana, menino, a banana
Tombo no martelo tombador (usina)
Tombo no martelo militar (ô, usina)
Tombo no martelo tombador (usina)
Tombo no martelo militar (ô, usina)
Ajustei um casamento (usina)
Pensando ser boa ideia (usina)
Invés de ser com uma moça (ô, usina)
Era o diabo duma véia (usina)
Tombo no martelo tombador (usina)
Tombo no martelo militar (ô, usina)
Tombo no martelo tombador (usina)
Tombo no martelo militar (ô, usina)
Me caso contigo, véia (usina)
E é de ser em condição (usina)
De eu dormir na minha rede (ô, usina)
E tu, véia, no fogão (usina)
Tombo no martelo tombador (usina)
Tombo no martelo militar (ô, usina)
Tombo no martelo tombador (usina)
Tombo no martelo militar (ô, usina)
Me casei com esta véia (usina)
Pra livrar da fiarada (usina)
A danada dessa véia (ô, usina)
Teve dez numa ninhada (usina)
Tombo no martelo tombador (usina)
Tombo no martelo militar (ô, usina)
Tombo no martelo tombador (usina)
Tombo no martelo militar (ô, usina)
Desses dez que nasceram (usina)
Um deu pra ladrão de bode (usina)
Deu no tango e deu no mango (ô, usina)
Dos dez só ficaram nove (usina)
Tombo no martelo tombador (usina)
Tombo no martelo militar (ô, usina)
Dos nove que ficaram (usina)
Um deu pra roubar biscoito (usina)
E deu no tango e deu no mango (ô, usina)
Dos nove ficaram oito (usina)
Tombo no martelo tombador (usina)
Tombo no martelo militar (ô, usina)
Dos oito que ficaram (usina)
Um deu pra roubar chiclete (usina)
Deu no tango e deu no mango (ô, usina)
Dos oito ficaram sete (usina)
Tombo no martelo tombador (usina)
Tombo no martelo militar (ô, usina)
Dos sete que ficaram (usina)
Um foi roubar pão francês (usina)
Deu no tango e deu no mango (ô, usina)
Dos sete ficaram seis (usina)
Tombo no martelo tombador (usina)
Tombo no martelo militar (ô, usina)
Desses seis que ficaram (usina)
Um deu pra ladrão de pinto (usina)
E deu no tango e deu no mango (ô, usina)
Dos seis só ficaram cinco (usina)
Tombo no martelo tombador (usina)
Tombo no martelo militar (ô, usina)
Tombo no martelo tombador (usina)
Tombo no martelo militar (ô, usina)
Bambu
Ê, bambu
Ê, bambu
Ê, bambu
Dos cinco que ficaram (usina)
Um deu pra ladrão de pato (usina)
E deu no tango e deu no mango (ô, usina)
Dos cinco ficaram quatro (usina)
Tombo no martelo tombador (usina)
Tombo no martelo militar (ô, usina)
Dos quatro que ficaram (usina)
Um deu pra roubar outra vez (usina)
Deu no tango e deu no mango (ô, usina)
Dos quatro ficaram três (usina)
Tombo no martelo tombador (usina)
Tombo no martelo militar (ô, usina)
Desses três que ficaram (usina)
Um deu pra ladrão de boi (usina)
Deu no tango e deu no mango (ô, usina)
Dos três só ficaram dois (usina)
Tombo no martelo tombador (usina)
Tombo no martelo militar (ô, usina)
Desses dois que ficaram (usina)
Um deu pra roubar jerimum (usina)
Deu no tango e deu no mango (ô, usina)
Desses dois só ficaram um (usina)
Tombo no martelo tombador (usina)
Tombo no martelo militar (ô, usina)
Tombo no martelo tombador (usina)
Tombo no martelo militar (ô, usina)
Tombo no martelo tombador (usina)
Tombo no martelo militar (ô, usina)
Tombo no martelo tombador (usina)
Tombo no martelo militar (ô, usina)
Desse um que ficou (usina)
Um deu pra roubar ladrão (usina)
Deu no tango e deu no mango, ô usina
E acabou-se a geração
The lyrics of Mestre Ambrósio's song "Usina" paint a vivid and comedic story about a series of unfortunate events that befall a man who gets entangled in a complicated marriage with an older woman. The repetition of "Tombo no martelo tombador" and "Tombo no martelo militar" emphasizes the chaos and mishaps that follow the singer's decision to marry the elderly woman, symbolized by the "usina" or factory.
The lyrics convey the man's initial mistake of marrying the older woman, thinking it was a good idea to avoid other troubles. However, the consequences of this decision unfold in a humorous and exaggerated manner, as the woman ends up having multiple children, some of whom turn to a life of crime. The lyrics reflect a cycle of theft and loss, with each child inheriting the propensity for stealing.
As the story progresses, the children of the marriage continue the pattern of criminal behavior, each one specializing in stealing different items like cookies, gum, and even livestock. The repetition of "Deu no tango e deu no mango" adds a playful and rhythmic element to the narrative, underscoring the absurdity of the situation.
Towards the end of the song, the number of children dwindles as each one falls victim to their criminal tendencies. The singer's lineage is humorously decimated as each child is lost to theft, leaving only one descendant who also succumbs to stealing. The phrase "E acabou-se a geração" brings the tale to a conclusion, highlighting the end of the line due to the destructive behaviors passed down through the generations. Overall, the song uses playful language and repetition to weave a cautionary yet humorous tale of consequences and folly.
Writer(s): Sergio Roberto Veloso De Oliveira
Contributed by Asher K. Suggest a correction in the comments below.