Cametá, a historical little Amazonian town on the shores of the river Tocantins, is the birthplace of the scorching music known as "Siriá"; a cross-pollination between the music of the inhabitants of the quilombos, a Brazilian hinterland settlement founded by escaped slaves of African origins, and the indigenous people of the Amazon rainforest. It is a breathing, pulsing, emphatic beat, and the modernized version of this local music, created by Mestre Cupijó, has been igniting street parties and traditional festivals across the state of Pará in Northern Brazil for decades. And at last in 2014, the combustible sound of Siriá will be celebrated internationally as the feverish, tropical sound of the summer. Foretelling his talent to flow between cultures, Cupijó was named after a local river when he was born in 1936, into a family of musicians. His father, Mestre Vicente Castro, was also known as Mestre Sicudera, the musical director of Centennial Euterpe, one of Brazil's oldest bands, founded in 1874. At 12, Cupijó started to play the clarinet. He also became proficient at the piano, mandolin and guitar, although the instrument that came to personify his sound was the alto saxophone. Waltz, bolero, cha cha cha and an assortment of dance hall music became part of Cupijó's repertoire, but it was Carimbó and Siriá, the music played by the black communities of Pará, that had the strongest impact on the young musician. To grasp the soul of this music, Cupijó went to its source and lived with the quilombolas (maroon) community of the Amazon. Upon his return, enriched by this life-changing experience, he founded the band Jazz Orquestra os Azes do Ritmo with the goal of reinventing Siriá and modernizing Samba de Cacete, Banguê and other folkloric music of the state of Pará. Airwaves from the Caribbean and Latin America had also brought the cumbia sound of the mighty Colombian orchestras, merengue from the Dominican Republic and Cuban music to the Amazon, all of which had an impact on the music of Northern Brazil, mambo especially! Mestre Cupijó took these influences and mixed them in with the ingredients he had studied in the Quilombos. That fusion -- as we are witnessing on this record -- had explosive effects. After the initial wave of enthusiasm, the first two LPs were recorded with rudimentary equipment in a dance club in Cametá. However, it was the third attempt, recorded in a studio in Belém, which would trigger a phenomenal success. "Caboclinha Do Igapo" and "Mambo do Martela," included on this record, became instant hits. A year later, "Mingau de Açai," one of Cupijo's most popular tunes, took the region by storm. In total six LPs were recorded by Mestre Cupijó. Analog Africa is ferociously proud and honored to have the chance to present these carefully-selected tracks from Mestre Cupijó's six studio albums, and hope that his music captivates you with the magic and bewilderment that it has them. Let go of your inhibitions and immerse yourself in the wonderful world of Mestre Cupijó... Segura! Housed in a 8-panel digipak with extensive liner notes.