Astral Convergence

    Astral Convergence

    Rancharia is 1 of 49 special projects in the state of Bahia
    supporting 2,250 families. The majority of land
    is worked communally. Personal responsibility
    is reinforced by requiring each family to finance
    their own portion of the land through repayment of low interest
    government loans over a 20-year period.
    By Brazzil Magazine

    Sometimes two musicians unite with such stunning results that listeners feel the
    artists have been sharing the same stage and relating to each other musically since
    childhood. This is the case with Geraldo Azevedo and Elba Ramalho, two outstanding
    individual talents and influential leaders of Northeastern music who have earned the
    admiration of not only the public and the press but also of their peers. The high degree
    of musical artistry and love that is always present in their shows and recordings together
    is the result not only of their long friendship but also of a mutual admiration for each
    other as artists, a respect that has come about by virtue of working together for decades.
    Their pairing this month of September in Los Angeles is not merely dynamic but inevitable.

    Azevedo, one of the most original guitar players and composers in Brazilian music, is
    easily recognizable by his lyrical and passionate writing, his impressionistic guitar
    harmonies and dense voicings, and his long, carefully pondered melodic lines. Ramalho’s
    intensity makes Azevedo seem almost serene by contrast. Her hyperactivity on stage is
    legendary. These two complementary musical personalities share a razor-sharp sense of
    timing and perform with fire and sinew. Each is inventive, enhancing the other with
    unparalleled shows of unity.

    Combining the magnetism of two brilliant artists who are able to create, on the spot,
    any mood they choose, leaves small wonder why Azevedo and Ramalho have maintained their
    position of musical preeminence over the years and why the producer of the two shows in
    Los Angeles has engaged Snow Creek Music to record Ao Vivo em Los Angeles (Live in
    Los Angeles), a CD that will be a tribute to the talent of two musicians who are deeply
    attuned to each other. The show’s repertoire, an exquisite blending of African, Indian,
    Caribbean, and Northeastern Brazilian melodies and richly layered polyrhythms, promises a
    listening experience at once entrancing, primal, and exploratory.

    Although their band includes extraordinary Brazilian musicians like Toninho Ferragutti,
    known for his work with Marisa Monte and the Orquestra Popular de Câmara, and although
    there will be special guests like Dori Caymmi and ex-Weather Report percussionist Alex
    Acuna, the third luminary at the weekend performance will be the venue itself. On
    September 16 and 17, 2000, Los Angeles will be fortunate to host the poetry, balance,
    enthusiasm, and romance of Geraldo Azevedo and Elba Ramalho at the John Anson Ford
    Amphitheatre, unquestionably the West Coast’s most intimate outdoor venue.

    Listeners will be afforded an opportunity to commemorate a star-crossed musical
    encounter between artists who display an exquisite alertness to each other’s ideas and in
    which electrifying moments of mutual sensitivity and anticipation are sure to abound.
    Without a doubt, the wealth of Northeastern Brazilian music is alive and about to converge
    on California.

    I spoke with Azevedo and Ramalho about Northeast music, their backgrounds, and the
    upcoming show in Los Angeles via a three-way conference call linking Rio, Los Angeles, and
    Berlin.

    Brazzil—In the last five years there has been a strong resurgence
    of Northeastern music with artists like Lenine, Mestre Ambrósio, and Chico Science. Can
    you comment on this?

    Azevedo—There is a new theme in Brazil with artists like Lenine who
    are rescuing Brazilian culture, in the sense of reviving it. This is something the
    marketplace never allowed space for. These new artists are synchronized with the times and
    are bringing our music a new appreciation. The Brazilian public accepts this new
    generation, establishing it as a turning point in Brazilian music. I’m very happy this has
    been happening and that Brazil has finally reclaimed the Northeast. I’m flattered that
    these Northeastern artists and composers you mentioned find similarities in our work and
    reflect our influence. This new wave of young artists is rescuing music that was sleeping
    or buried for decades, but which is now highly valued by people of all ages throughout
    Brazil.

    Ramalho—We have always been a very musical country with many musical
    dimensions. But we have also been a divided country, one that had been closed-minded about
    the Northeast. The South, Rio de Janeiro and São Paulo, had been closed with regard to
    the Northeast. Music of the Northeast was considered second-class music, music for the
    peasants. It was never the kind of music presented in shows in the South. And although
    everything that happened musically in the South would come to the Northeast, nothing went
    South. Sure, some programs were occasionally heard on the radio, but seldom was there any
    space on TV for Northeastern music. It was considered music for illiterates, poor people,
    not people who were making money. Even though it has enormous strength, Northeastern music
    had always been shadowed by bossa nova and its American influence, which was
    recognized all over the world. But forró, quadrilha, and coco had
    been going strong, long before bossa nova, and there was always great support
    inside our Northeastern culture for the music’s unique richness of harmony, rhythm, and
    backbone. We had a stigma, but now the music of Luiz Gonzaga, Jackson do Pandeiro, Zé
    Ramalho, Alceu Valença, and Geraldo Azevedo is spreading and being applauded.

    Brazzil—What brought this about?

    Ramalho—In the last five years, Brazil discovered Brazil. After the
    arrival of Lenine, Chico Science, and Chico Césarwho all came with a
    stronger musical language, which added and established a certain equilibrium with the
    Southtaboos were broken and barriers knocked down. These artists arrived at
    the moment Brazil was open and ready to set aside its long prejudice against Northeastern
    music, and this was opportune for the Northeast. You could see wealthy Brazilians,
    musicians, and journalists who put off plans to vacation in the Bahamas or Rome to come to
    the Northeast. Brazilians all of a sudden wanted to explore our "new" culture.
    Now there is an explosion in Brazil that wasn’t created by the media, but by the young
    people and the university students, future professionals. Forró is a spreading
    sensation in Brazil. And we can blame the university students who discovered forró.
    Because afterward, the walls came down. Now the Northeast is definitely a unified region
    within Brazil.

    Brazzil—Elba, your recordings always have a fabulous collection of
    Northeastern songwriters—Lenine, Chico César, João do Vale, Jackson do Pandeiro,
    Alceu Valença, Geraldo Azevedo, Zé Ramalho. Which new Brazilian artists do you find most
    interesting?

    Ramalho—I believe that Lenine is the pinnacle. I should have spoken
    about Lenine and recorded his music from the beginning of my career. He has humor,
    culture, and intelligence. And the way he relates to sound and understands stage space is
    bringing him the tremendous success he deserves. Lenine is an important poet and a great
    revelation who works with terrific partners. I have always been connected to him through
    our common poetic language, which speaks to my heart, my romantic side. But I also like
    Chico César. His last CD, Mama Mundi, will be a landmark in the new generation’s
    poetry. He is still a little timid because he is just beginning his career, but his talent
    radiates. The Northeast’s new music has been centered around Pernambuco and groups like
    Nação Zumbi and Mundo Livre, and I believe Pernambuco will give us many more new talents
    who are perfecting and presenting traditional music.

    Brazzil—How do you choose which tunes to record? What criteria do
    you use?

    Ramalho—Rhythm and emotion. My musical language is the Northeastern
    language, and good rhythm speaks to my heart. Sometimes a song may not have great rhythm
    or noteworthy lyrics, but I’ll include it because is has a beautiful melody that I can
    exploit and embellish.

    Brazzil—Where do you see Northeastern music going next?

    Ramalho—Brazil is an extremely rich country musically, a fountain,
    and from that fountain will come a deluge. The source is inexhaustible. The Northeast has
    so much to give, and there are still so many things to be discovered. I don’t know
    exactly, but I believe Northeastern music is going to gain a much wider and more definite
    place in the international marketplace.

    Azevedo—For a long time I’ve felt forró would gain universal
    acceptance, the way samba spread all over the country. And now I see something similar
    happening with forró. I believe that forró will have the same sweep as
    samba and be welcome by all Brazilians. It is festive music that will be welcome anywhere
    in the world. According to the legend, the term forró developed in the early
    1900’s when the English railroad engineers promoted weekend parties to celebrate the first
    railroad in the interior of Pernambuco. Supposedly, a placard gave notice that the party
    was "for all," a phrase that Brazilian railroad workers pronounced "forró."
    The idea that the pronunciation of forró is evolving back into "for all"
    delights me.

    Brazzil—Are you seeing this in audiences outside Brazil?

    Ramalho—Today, there is a wider panorama, like an open Japanese fan.
    The more regional you are, the more universal you become. As you know, I’m in Europe now
    on a twenty-day tour, and our season here has been brilliant. We shine everywhere we
    perform because we are showing many people a new dimension in Brazilian music. I present
    not only coco and quadrilha but also our Afro-Caribbean influences, and
    above all, our poetry. What I’m showing is not only Carnaval in Pernambuco, but the
    general happiness of Brazilian Carnaval translated through my energy, my happiness, and
    through the diversity of Northeastern styles. And this has inspired both the public and
    the press to find out more about the Northeast.

    Brazzil—Geraldo, what was your path to becoming a professional
    musician?

    Azevedo—I was born in a musical moment. My mother sang for the
    community, school, and church parties. And my father, my brothers, all my relatives played
    guitar. It happened in a very spontaneous way. People simply played guitar and sang,
    naturally without professional aspirations. Because in the Northeast, there is a traditionkids
    learn how to play. When I was an adolescent, bossa nova arrived. Petrolina is on
    the bank of the São Francisco River close to Juazeiro where João Gilberto was born. I
    met João Gilberto when I was an adolescent, and he influenced me greatly, prompting me to
    approach the guitar more seriously and opening my eyes to becoming a professional
    musician. Through bossa nova, I discovered jazz. Jobim was a very important
    influence as were artists like Chico Buarque, Gilberto Gil, and Caetano Veloso, who helped
    me find my way, my identity. But bossa nova also made me look closely at my origins
    and the older generation musicians, like Luiz Gonzaga, Jackson do Pandeiro, and Dorival
    Caymmi who were very important for my musical development as a composer. In the early
    sixties, I went to Recife to study, and that’s where I met Nana Vasconcelos and entered
    the real musical world. From there, I went to Rio de Janeiro to work with Eliana Pittman
    who showcased my songs. Once in Rio, I started writing more personal compositions with
    Geraldo Vandré and working with Alceu Valença with whom I recorded my first album.

    Brazzil—After Geraldo Vandré went into exile, you were arrested
    and imprisoned. What effect did that experience have on your musical aspirations?

    Azevedo—Let me tell you one thing. In December 1968, the military
    regime had decreed Ato Institucional No. 5 (Institutional Act No. 5, or AI-5), which
    allowed no arbitrary freedom. There were arrests without cause. The hands of the dictator
    held all power. Many Brazilians were violated, and I was just one among many. There was a
    powerful censorship, a persecution of musicians who wrote lyrics with any kind of
    political strain. The dictator put a lot of pressure on composers like Gil, Caetano, and
    Chico Buarque. They were forced to leave the country. When I was working with Geraldo
    Vandré, I composed one of the songs that had been censored, and although it didn’t
    disturb me, I was arrested and jailed twice. But my problems weren’t any more or less than
    what everyone else in Brazil was experiencing. The dictatorship was reflected everywhere
    in everything. Contrary to the dictator’s coercion, music was the one thing that gave me
    the strength to rise above the oppression and violence that was all around me. It helped
    me to believe in myself, in humanity, and in the beautiful things in life. The horrible
    things that were happening never completely crushed me. Today I thank God we are free from
    the dictatorship. It is over, and I am here bringing music to Brazil and to the world.

    Brazzil—Wasn’t Alceu Valença influential in getting you started
    after your release from prison?

    Azevedo—Exactly. I was arrested in 1969, Brazil’s most difficult
    period, and after my release I was in a state of depression. Then in 1972, Alceu came to
    Rio from Pernambuco looking for me, fired with a new enthusiasm. We started a song writing
    partnership and through it, my energy was restored. And as I mentioned, we recorded our
    first record together as a duo. He was a great partner and I’m eternally grateful. We have
    developed independent careers, but have always been connected to each other, so much so
    that in 1996 we recorded O Grande Encontro together with Elba and Zé Ramalho.

    Brazzil—Elba, can you tell me about your musical background?

    Ramalho—Well, my father was an orchestral musician, and I grew up
    hearing him playing in the streets and in religious festivals, the religious and the
    profane. I heard a lot of jazz because he listened to jazz all the time. His instrument
    was the clarinet, but he also played sax and guitar very well. I remember the sax hanging
    on the wall in our house. These are all very strong memories and very clear in my mind.
    Now he’s 82 years old and doesn’t play any more, but I’m still savoring his influence.
    When I was fourteen, I started playing drums in an all-girl rock band, called As Brasas
    (The Cinders), and by sixteen, I had moved to Rio de Janeiro and was playing guitar in
    small bars. So I have a musical background that embraces Northeastern traditional music,
    rock, bossa nova, and jazz.

    Brazzil—I’m wondering if your father passed on not only his love
    for music but also for theater.

    Ramalho—It is true. My father loved music and cinema, and he guided
    my theatrical as well as my musical development. When I was young and living in
    Conceição de Piancó, I was very free and had a close relationship with the land. But
    when my family moved to Campina Grande and my father became the owner of the cinema, I
    quickly developed a craving to act. From a very early age, I helped him operate the
    machines in the projection booth. So even in the small cities of Paraíba, through my
    father, I was able to experience art. The film Cinema Paradiso has a lot to do with
    my life. After I moved to Rio, I joined a theater group, eventually receiving critical
    attention in a work by Chico Buarque and Rui Guerra called Ópera do Malandro.
    Drama gives me strength to interpret music. Today the actress comes on stage before the
    singer.

    Brazzil—Some of the cover photos of your CD’s like Leão do
    Norte, Baioque, and Fogo na Mistura are genuinely sexy, whereas the
    cover art on Solar is almost Hindustani or Buddhist. Is the artwork on the new CD a
    reflection of changes in your philosophy?

    Ramalho—I have always been a spiritual person. I have had a Buddhist
    initiation, I’m a Kardecista (a follower of Allan Kardec), I attend the Church of
    Spiritism in Brazil, and I’m a vegetarian and have practiced yoga and meditation for over
    fifteen years. So my health and my spirit are well-balanced. These are all elements that
    bring me to more and more music, and this is the aura I strive to present. My beliefs are
    ecumenical, not sectarian or dogmatic. I pursue concepts that give me a broader
    understanding of God. My searching began with my occidental Christianity, but developed
    through my reading about Hindu culture and the Bhagavad-Gita. The Orient has always
    fascinated me. I consider myself a divine worker from God, and I’m trying to function as
    an instrument of a new consciousness that combines the Christian and the cosmic. As a
    performer, I try to project these principles of peace and light, this joy. This is my
    inspiration for the new millennium. I am an eternal child.

    Brazzil—I understand that the Brazilian press gave you a very hard
    time about leaving your husband for a younger man. Would you comment on this?

    Ramalho—I’m an artist, a very exposed public person. I never hide
    myself behind walls. My husband and I have been married for four years. And yes, he is
    younger than I am, and he is very handsome. I also had a son with a famous actor who was
    younger than me. And since then, the press has propagated the story that Elba is always
    falling in love with younger men. This isn’t necessarily so because I’ve also had
    relationships with men my own age. It isn’t anybody’s business, but the press loves to
    shine bright lights on me.

    Brazzil—Geraldo, in the mid-eighties you participated in some
    exceptional musical encounters with Elomar, Xangai, and Vital Farias. Do you feel the
    Cantoria recordings laid the foundation for the Grande Encontro sessions?

    Geraldo—Cantoria 1 was recorded in 1984 in Salvador with the sole aim of
    helping four singers. But it was so successful that we went on tour and recorded Cantoria
    2 in 1985 in Belo Horizonte, Goiânia, and Brasília. These shows were historical live
    recordings, the first digital live recordings made in Brazil. We never imagined that the
    Cantoria projects would be so important, and I never imagined fate would hand me another
    project like them. One project leads to another. Cantoria 1 and 2 were indeed great
    encounters that launched other great encounters.

    Brazzil—O Grande Encontro with Zé Ramalho and Alceu Valença and O
    Grande Encontro 2 with both of you and Zé are essential recordings for any serious
    collector. Are you anticipating another Grande Encontro?

    Ramalho—O Grande Encontro was a recording that commemorated our
    friendship. We have all been close friends for many, many years. Without any expectations,
    the four of us decided to come together to celebrate our friendship on stage and preserve
    the event with this recording. O Grande Encontro was an enormous success, selling
    more than one million copies and giving a great stimulus to Northeastern music. O
    Grande Encontro 2 sold five hundred thousand. The two projects were so successful that
    now we are going to record O Grande Encontro 3 with Geraldo, Zé, Zeca Baleiro,
    Chico César, and Dominguinhos. Surely this will be another outstanding opportunity for
    the South to look favorably upon Northeastern music.

    Brazzil—How about a Grande Encontro in Los Angeles?

    Azevedo—Great encounters are celebrations of friendship on stage.
    Elba and I are very close and are always participating in each other’s shows and
    recordings. My relationship with her may be even stronger than my relationship with the
    others, even Alceu. Meeting on stage in Los Angeles comes as a result of this
    relationship, and we’ll be bringing a small group of essential musicians that can
    synthesize what we do in the Grande Encontro shows in Brazil, like the great sanfoneiro
    Toninho Ferragutti and Cesal Michilles who played sax and flute on my most recent CD.

    Ramalho—Geraldo has always been my musical support. I learn a lot
    from him, so our meeting on stage in Los Angeles will truly be another great encounter. We
    have so many things in common: our deep friendship, open minds, a broad musical
    background. We are Northeastern, but we both love samba, rock, bossa nova, salsa, merengue,
    Afro-Caribbean music. I see all of this in his work, so singing with him is effortless.
    Working together is always spectacular.

    Brazzil—With Elba’s current itinerary will there be enough time to
    rehearse for both projects?

    Azevedo—It is lamentable that Elba is traveling so much outside
    Brazil. We’re going to meet here (Rio) a few days before the show. I am preparing things
    here, but truly without her, it’s going to be difficult. Everything is going to be rushed.
    She is going to arrive just in time for us to record O Grande Encontro 3 before we
    leave for the United States. Everything is going to be done in a rush… part of life.

    Brazzil—Elba, will you have any time to relax before Los Angeles?

    Ramalho—I’m in Berlin now and I have a five-day festival here. I
    stay until Sunday then travel to Portugal on Monday, then back to Germany for another
    three shows. After those shows, we go to Verona, Italy, then back to Brazil on the 21st. O
    Grande Encontro 3 will be taped live on the fourth and fifth of September, so I have
    to organize my schedule carefully because I also have to finish two recordings that I’m
    producing in Brazil. One is an homage to the Virgin Mary with songs from many different
    composers that will be released on my own alternative label, and the other is the debut CD
    of a Brazilian artist who is living in New York. I’ll have to run 20 hours a day until I
    leave for Los Angeles! As soon as I arrive from Europe, I have parallel rehearsals for O
    Grande Encontro 3 and to polish material for Los Angeles.

    Brazzil—Geraldo, you started the independent Geração label in the
    early nineties. Why?

    Azevedo—I was having great difficulty identifying with the big
    record companies whose selection process did not include the kind of music that is such an
    integral part of my life. The major companies wanted me to write a style of music that the
    market was absorbingpopular music, and this generated difficulty in
    negotiating with them. I write my own compositions, in my own style. My feelings are not
    connected to a particular popular phase. The music that the large record companies are
    consuming has a very short life span; it is ephemeral. I have no interest in or commitment
    to that kind of music. My commitment is to the music I love and is connected to my
    cultural background, which, for me, has a timeless quality. That’s why I initiated an
    independent label to release my work. I have released five recordings on the Geração
    label; however, I still use the major companies as a vehicle for the distribution of my
    work. I never severed my ties with them and have a very good working relationship with
    BMG. My new CD, which by the way will be released in Brazil on the Geração/Snow Creek
    label just as I arrive in Los Angeles, will be distributed by BMG. I’m not sure who the
    distributor in the United States is going to be.

    Brazzil—Geraldo, I’ve always felt that your compositions were
    melodically inspired, harmonically truthful, and rhythmically authentic fusions. Can you
    comment on this?

    Azevedo—I love life and the beautiful gift that God gave us. My
    music is connected to human feelings, to feelings for our land and our relationship with
    nature. Love is present in almost all of my songs. Mine is the music of peace and of the
    soul. And the truth is that I don’t write the songs. I am the antenna and the songs come
    to me. I was given a talent for bringing something of beauty to humanity, and I’m only
    accomplishing a mission. It is gratifying to do something beautiful that I like and that
    benefits others.

    Brazzil—What about the tune "Berekekê"?

    Azevedo—"Berekekê" is a mixture of many pieces that I’ve
    written. It’s a very eclectic tune that embraces influences that were important in the
    formation of the Brazilian people, like those the Northeast received from the Moors and
    the Portuguese and those influences that I’ve talked aboutbossa nova,
    the music of Luiz Gonzaga and Jackson do Pandeiro. "Berekekê" is also a form of
    music that brings together the primitive African and indigenous Brazilian elements that
    we’ve absorbed. I’ve heard these different forms my whole life, and because I’m a creative
    person, I like to fuse influences and make my own contribution. It’s funny that you
    mention "Berekekê" because I’ve rerecorded it on my new CD.

    Brazzil—When are you going to publish a book of your tunes with
    lyrics and chord changes?

    Azevedo—When the telephone rang for our interview, I was at the
    computer writing out my songs for a book I will be publishing, and I’m going back to the
    computer when we finish our conversation. Right now I’ve got about forty tunes
    transcribed, but I want to publish the book with eighty, more or less. The moment I get
    home, I start writing out my songs, but I don’t have much time at home because I travel a
    lot. When I’m in Brazil, I don’t stop. Every weekend I have to travel, so the project has
    been postponed again and again. I’m writing slowly, in my leisure moments. The book should
    be in the stores by the end of the year or maybe the beginning of the next.

    Brazzil—Elba, do you think that Southern California is ready for
    the hyper-energy of Northeastern Brazilian music?

    Ramalho—I think so! It’s going to be great. Los Angeles is a hot
    place, and there will be lots of Brazilians in the audience. My tour in Germany was sold
    out. In Berlin, I drove the Germans into a state of delirium for over two hours. I know
    how to communicate, to put on a show with my voice, with my joy, with my happiness, with
    my energy. Los Angeles is a great place to receive my energy.

    Brazzil—Geraldo, Elba, thank you for the interview.

    Geraldo—Thank you for your patience. I know you’ve had to fish for my
    answers, and I thank you for your warmth and the extra work that you’re doing.

    Ramalho—You were marvelous. Thank you for your caring, affectionate
    way. I’m very happy to be coming to Los Angeles, and everyone can be sure I am going to
    give them my best, my music, and my joy.

    Lyrics

    Dona da Minha Cabeça
    Geraldo Azevedo/Fausto Nilo

    Dona da minha cabeça
    Ela vem como um carnaval
    E toda paixão recomeça
    Ela é bonita, é demais

    Não há um porto seguro
    Futuro também não há
    Mas faz tanta diferença
    Quando ela dança, dança

    Eu digo e ela não acredita
    Ela é bonita demais
    Eu digo e ela não acredita
    Ela é bonita, é bonita

    Dona da minha cabeça
    Quero tanto lhe ver chegar
    Quero saciar minha sede
    Milhões de vezes, milhões de vezes

    Na força dessa beleza
    É que eu sinto firmeza e paz
    Por isso nunca desapareça
    Nunca me esqueça, não te
    esqueço jamais

    Eu digo e ela não acredita
    Ela é bonita demais
    Eu digo e ela não acredita
    Ela é bonita, é bonita

    Owner of My Mind

    The owner of my mind
    Comes as a Carnaval
    All the passion resumes
    She is beautiful, too beautiful

    There is no safe harbor
    Or future
    But it’s so different
    When she dances, dances

    I tell her and she doesn’t believe
    She is so beautiful
    I tell her and she doesn’t believe
    She is beautiful, beautiful

    Owner of my mind
    I long to see her
    I want to quench my thirst
    Again and again

    In the force of that beauty
    I feel stability and peace
    Never disappear
    Never forget me, I can’t
    ever forget you

    I tell her and she doesn’t believe
    She is so beautiful
    I tell her and she doesn’t believe
    She is beautiful, beautiful

     

    Novena
    Geraldo Azevedo/Marcus Vinícius

    Nas horas de Deus amém
    Padre, Filho, Espírito Santo
    Essa é a primeira cantiga
    Que nessa casa eu canto

    Sei que são nove dias nove penas
    Enquanto a espera aumenta
    O mundo se faz esquecido
    Na terra dos homens
    De luzes coloridas

    Enquanto a família reza novena
    As notícias que montam cavalos ligeiros
    Vão tomando todo o mundo
    E na casa no lar
    Esquecidos ficam todos longe de saber
    O que foi que aconteceu
    E ali ninquém percebeu
    Tanta pedra de amor cair
    Tanta gente se partir
    No azul dessa incrível dor
    Enquanto a família reza alguém
    Segue a novena
    No abismo de preces repetidas
    No sossego de uma agonia sem fim

    Enquanto a família reza novena
    Nove dias se passam marcados
    Sem tempo sem nada e
    sem fim
    No meio do mundo, do medo
    E de mim despedaçado em
    tanto verso
    Então de orações a sala se faz
    E lá fora se esquece a paz
    Uma bomba explodiu por lá
    Sobre os olhos de meu bem
    E assim me mata também
    Enquanto a novena chega ao fim
    Bandas bandeiras
    Benditos passando pela vida
    E a novena se perde esquecida de nós

    Nas horas de Deus amém
    Padre, Filho, Espírito Santo
    Essa é a primeira cantiga
    Que nessa casa eu canto

    Novena

    Nine hours of God, amen.
    Father, Son, Holy Ghost
    This is the first song
    I sing in this house

    I know there are nine days, only nine
    While the waiting increases
    The world is forgotten
    In the land of man
    Of colored lights

    While the family prays
    News arrives like swift horses
    That will swallow the whole world
    In the house, in the home
    Forgotten, far from knowing
    What happened
    And none realize
    So many falling stones of love
    So many people leaving
    In the blue of this incredible pain
    While the family prays for someone
    The novena follows
    In the abyss of reputed prayers
    In the tranquility of agony without end

    While the family prays
    Nine days go by marked
    Without time, with nothing,
    without end
    Amid the world, the fear
    And me, in so many
    pieces of verse
    When prayers are being made
    Outside peace is forgotten
    And the bombs explode
    Above the eyes of my love
    And in this way also killing me
    When the novena comes to its end
    Flags and banners
    Blessed people passing through life
    And we forget the novena

    In the hours of God, amen.
    Father, Son, Holy Ghost
    This is the first song
    I sing in this house

     

    Chorando e Cantando
    Geraldo Azevedo/Fausto Nilo

    Quando fevereiro chegar
    Saudade já não mata a gente
    A chama continua
    No ar
    O fogo vai deixar semente
    A gente ri, a gente chora
    Ai, ai, ai, ai, a gente chora
    Fazendo a noite parecer um dia
    Faz mais
    Depois faz acordar cantando
    Pra fazer acontecer
    Verdades e mentiras
    Faz crer
    Faz desacreditar de tudo
    E depois
    Depois amor ô, ô, ô, ô

    Ninguém, ninguém
    Verá o que eu sonhei
    Só você, meu amor
    Ninguém verá
    O sonho que eu sonhei

    Um sorriso quando acordar
    Pintado pelo sol nascente
    Eu vou te procurar
    Na luz
    De cada olhar mais diferente
    Tua chama me ilumina
    Me faz
    Virar um astro incandescente
    O teu amor faz cometer loucura
    Faz mais
    Depois faz acordar chorando
    Pra fazer e acontecer
    Verdades e mentiras
    Faz crer
    Faz desacreditar de tudo
    E depois
    Depois do amor, amor, ô, ô

    Crying and Singing

    Longing will not kill us
    When February arrives
    The flame continues
    In the air
    The fire will leave a seed
    People laugh, people cry
    Ah, ah, ah, ah, we cry
    Making night seem like day
    And more
    After we wake up singing
    To make it happen
    Truth and lies
    Believing
    and disbelieving everything
    And after
    After comes love oh, oh, oh, oh

    Nobody, nobody
    Will see what I dream
    Only you, my love
    Nobody will see
    The dream that I dream

    I awake with a smile
    Painted by the sunrise
    I am going to look for you
    In the light
    Your every glance
    Illuminating me
    Creating
    an incandescent star
    Your love performing a madness
    And more
    After we wake up crying
    To make and to happen
    Truth and lies
    Believing
    and disbelieving everything
    And after
    Afterward love oh, oh

    Selected Discography for Geraldo Azevedo:
    TitleLabelDate
    Alceu Valença & Geraldo AzevedoCopacabana1972
    Geraldo AzevedoSom Livre1976
    Bicho de Sete CabeçasCBS1979
    Asas da América 1Ariola1979
    Asas da América 2Ariola1980
    Inclinações MusicaisAriola1981
    For All Para TodosAriola1982
    Cantoria 1Kuarup1984
    Tempo TemperoBarclay1985
    A Luz do SoloPolyGram1985
    De Outra ManeiraGeração (Originally on RCA)1986
    Eterno PresenteRCA1988
    Cantoria 2Kuarup1988
    PersonalidadeVerve1988
    Bossa TropicalRCA1989
    BerekekêGeração1991
    Ao VivoGeração1994
    FuturaméricaGeração1996
    O Grande EncontroBMG1996
    O Grande Encontro 2BMG1997
    Raízes e FrutosBMG1998

     

    Selected Discography for Elba Ramalho:
    TitleLabelDate
    Ave de PrataCBS1979
    Capim do ValeCBS1980
    ElbaCBS1981
    AlegriaAriola1982
    Coração BrasileiroAriola1983
    Fogo na MisturaPolyGram1984
    Do Jeito que a Gente GostaPolyGram1985
    RemexerPolyGram1986
    PersonalidadeVerve1987
    ElbaPolyGram1987
    FrutoPolyGram1988
    Popular BrasileiraPolyGram1989
    Ao VivoPolyGram1990
    Felicidade UrgentePolyGram1991
    EncantoPolyGram1992
    Devora-mePolyGram1993
    PaisagemPolyGram1995
    Leão do NorteBMG1996
    O Grande EncontroBMG1996
    O Grande Encontro 2BMG1997
    BaioqueBMG1997
    Flor da ParaíbaBMG1998
    SolarBMG1999

    Web sites of interest:

    Geraldo Azevedo Home Page
    http://www.geraldoazevedo.com.br 

    Elba Ramalho Official Web Site
    http://www.elbaramalho.com.br 

    Brazilian Nites Productions
    http://www.braziliannites.com 

    * Many thanks to Patricia Leão of Brazilian Nites Productions for her invaluable
    technical support.

    Bruce Gilman, music editor for Brazzil, received his Masters
    degree in music from California Institute of the Arts. He leads the Brazilian jazz
    ensemble Axé and plays cuíca for escola de samba MILA. You can reach him
    through his e-mail: cuica@interworld.net 

    Send your
    comments to
    Brazzil

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