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All choices I have made in my life were intuitive, emotive, affectionate.
The first thing that draw my attention was Tom Jobim.
When I started to learn how to play the guitar, when I was 9 years old.
This...
It made me shiver.
It made me shiver. It's all I wanted, these notes.
And to like Tom and Baden... I used to listen to Tom through Baden
and to listen to Villa-Lobos through Tom.
You get to see the family tree behind the people you like.
I dedicate this chapter to Villa-Lobos, whom I began to see
through Tom's eyes, and due to his influence in Tom's work,
which is not little, it's huge.
I listened to many things to find good arrangements
in order to make the difference, to show a different color
and especially to show the rhythm that was implicit, that is implicit
in all Villa-Lobos scores.
For example, the introduction of Dança (Martelo), which is
the second movement of Brazilian Bachian-pieces,
number 5, the famous one. I invited Mônica Salmaso to sing it.
It starts with a sentence like: tatatatatatata tatatatata ta.
Written it is like that. You give it to a guy
like the trumpet did, because I wrote this for trumpet,
who is from a band from Cordeiro, in Rio de Janeiro state.
He already has a rhythm, it's in him. He read the sentence, which was not
emphasized, I did not mark it, and he did: tacatacata tacatacata.
Mônica sings one solo and one duet. At the duet, she and Edu Lobo
sang Caicó, the Bachian-piece number 4.
Edu's solo is O Trenzinho do Caipira. He was the first one to record
this version with lyrics, which is a Ferreira Gullar's poem
that he already knew. The poem was written in honor of the song.
Another interesting participant is Milton, who I invited to sing
the Bachian-piece number 5. There are lyrics from a poetess
called Ruth Valadares Corrêa nicely harmonized by Villa-Lobos.
I think there are many elements from the Brazilian music there,
it's a very important source. So Milton's participation
in this song turned it into something differentiated.
-Let's listen to it once. -Let's listen to it.
Paula sang Canção de Cristal, which is a song for piano and voice,
a beautiful song. Sometimes it is part of the repertory
of classical singers, but it is never remembered by popular singers,
and it is beautiful, really sophisticated.
When sang without the classical, lyric voice, it sounds beautiful.
Another singer I invited was my sister, Muiza Adnet.
I invited her to sing her solo, Abril, which is a very Jobim-ish song
from Villa-Lobos. In fact, sentence "The freshness of
the wet drops", from Chovendo na Roseira,
was taken from that song.
Yamandu Costa also participated. He played a solo called Mazurka Choro.
Borandá has a very nice idea of treading its own path,
attracting its own public, paving its own road.
That attracted me when I saw it. I called Fernando and I think
there was a connection. So now I think we are a team
along with Borandá. My production team is my family.
I am very happy with this team and with our progress and history.
I hope this history can reach many more people now.