The composer of bossa nova classics like "O Barquinho," "Ah, Se Eu Pudesse,… Read Full Bio ↴The composer of bossa nova classics like "O Barquinho," "Ah, Se Eu Pudesse," "Errinho à Tôa," "Nós e o Mar," "Rio," "Você," and "Vagamente," Roberto Menescal (Roberto Batalha Menescal - 10/25/1937 Vitória, ES) started his professional career in 1957 as Sylvia Telles' sideman (on guitar) in a tour around Brazil. In 1958, he opened a guitar school in Copacabana (Rio) with Carlos Lyra, having as his pupils Nara Leão and his sister Danuza Leão. In the same year, he formed, with Luís Carlos Vinhas, João Mário, Henrique, and Bebeto, the Conjunto Roberto Menescal, one of the first instrumental groups of bossa nova. The group accompanied Dorival Caymmi, Vinícius de Moraes, Billy Blanco, Maysa, and Telles. Also in 1958, he participated, with Telles, Carlos Lyra, and other artists, in a show at the Clube Hebraica (Rio), when the words "bossa nova" were used (inadvertently, by the club's secretary) for the first time to advertise the event. Having taken part with his group in the recording of Garotos da Bossa Nova in 1959, he participated in the I Festival de Samba Session at the Teatro de Arena theater of the School of Architecture at the State University of Rio de Janeiro. Such informal venues were important vehicles for bossa nova among the middle-class university people who were more inclined to absorb and disseminate it, and Menescal was instrumental for the promotion of such concerts in 1959, 1960, and 1961. Also in 1959, he had his first recorded composition, "Jura de Pombo" (with Ronaldo Bôscoli), by Alaíde Costa. His "O Barquinho" (with Ronaldo Bôscoli), a bossa nova classic, was simultaneously recorded by Maysa, Perry Ribeiro, and Paulinho Nogueira in 1960. In 1962, he accompanied Maysa in her Argentinean tour and, with Eumir Deodato's group, he performed in Marlene's program on TV Rio, having been hired for two years with his own group to back up artists on that TV station. In November 1962, he participated in the historic Bossa Nova Festival at Carnegie Hall in New York, NY, with Tom Jobim, Carlos Lyra, and others, interpreting "O Barquinho" in one of his few performances as a singer. From 1964 to 1968, he worked as an arranger and, invited by André Midani, he started to work as an independent producer and arranger at Polygram. In 1968, he accompanied Elis Regina in her performance at the MIDEM (International Phonographic Market and Music Publishers) in Cannes, France, and in her subsequent European tour, having been Regina's sideman until 1970, when he became Polygram's A&R. Already established as a major producer (having worked with Caetano Veloso, Gilberto Gil, Jorge Ben Jor, Gal Costa, Maria Bethânia, and many others), instrumentalist (as a session man he worked with Lúcio Alves, Maysa, Claudette Soares, Nara Leão, Jair Rodrigues, and Elis Regina), he had several compositions of his included in soundtracks of broadly popular TV soap operas and also wrote music for the cinema (Bye Bye Brasil, Joana Francesa, both by Cacá Diegues, and Vai Trabalhar Vagabundo, by Hugo Carvana). In 1985, having accompanied Nara Leão in performances in Brazil and abroad, he launched with her the LP Um Cantinho, Um Violão/Nara Leão e Roberto Menescal. In the next year, he abandoned his career in A&R and dedicated himself to his solo career. He has also been participating in jazz projects, among others with Joe Henderson. In 2001, he participated with Wanda Sá, Danilo Caymmi, and Marcos Valle in the Fare Festival (Pavia, Italy). Menescal also owns the label Albatroz, which released albums by Danilo Caymmi, Emílio Santiago, and others. - by Alvaro Neder - AllMusic

Balançamba
Roberto Menescal Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Balança com jeito
Balança no olhar
Balança pedindo
Pra eu balançar
Balança no tempo
Balança no andar

Balança essa bossa

Que vem de você
Balança o balanço
Que mora em você
Balança isso tudo

Que nem sei se sei
De repente eu balancei

Overall Meaning

The song Balançamba by Roberto Menescal is a rhythmic piece about dancing and surrendering oneself to the beats. In these lyrics, the singer describes the various ways in which he is urged to dance, from the way someone sways their hips to the look in their eyes. He is enticed to let go and move to the rhythm by the person's overall aura, the way they carry themselves, and the music that they are creating. The lyrics emphasize the importance of letting the music take over, as the singer admits that he doesn't even know what he's doing - "Balança isso tudo que nem sei se sei / De repente eu balancei" (I'm not even sure what I'm doing, but suddenly I'm dancing).

The lyrics are simple and straightforward, but they reflect the idea that dancing can be a truly immersive experience that allows us to escape our daily lives and embrace the present moment. The song's bossa nova style, which originated in Brazil in the late 1950s, is known for its combination of jazz and samba rhythms, and the carefree vibe of Balançamba perfectly captures the essence of this genre.

Line by Line Meaning

Balança com jeito
Sway gently

Balança no olhar
Sway with your eyes

Balança pedindo
Swaying, asking

Pra eu balançar
So I can sway

Balança no tempo
Sway to the rhythm

Balança no andar
Sway in your walk

Balança essa bossa
Sway this groove

Que vem de você
That comes from you

Balança o balanço
Sway the swing

Que mora em você
That lives in you

Balança isso tudo
Sway all of this