Eloquence and Honesty

    Stories of crimes of passion by celebrities are
    quite common in Brazil.
    Here are some of the most notorious of them:
    By Brazzil Magazine

    Marisa Monte is one of those fortunate beings into whose lap the deities, who determine
    the destinies of artists, have poured all possible tokens of success. From her
    background of opera and popular music, Monte evolved a highly individualistic style,
    becoming the best-selling vocalist in Brazilian popular music (MPB) and one of the most
    striking musical figures to emerge from Rio de Janeiro in the past 15 years. Renowned
    not only for her singing, writing, and producing but also for her farsighted concept of
    the path Brazilian music must take, Monte is widely regarded as a central figure on the
    MPB scene.

    Promoting her new CD, Memórias, Crônicas e Declarações de Amor (Memories,
    Chronicles, and Declarations of Love), Marisa Monte opened her United States tour at Royce
    Hall on the campus of UCLA on September 22, 2000. And despite an encompassing
    on-stage sculpture, big screen projections, fabulous stage sets and lighting by Patrick
    Woodroffe (well known for his work for Tina Turner, the Rolling Stones, and Peter
    Gabriel); attention quickly gravitated to Monte’s slight figure center stage. She
    is, by general agreement, lovely in a delicate, porcelain way, like a piece of cloisonné;
    but what is more remarkable is her air of repose. An attractive, dark-haired young
    woman with a sensuous voice, hands that float ethereally, and truculent eyes; Monte imbues
    a luminous intensity, like a painting beheld with both ears and eyes.

    The voice, a mezzo-soprano, warm in timbre and unbelievably flexible, has a wider sweep
    of coloration in all ranges than most voices in contemporary Brazilian pop. It is a
    voice that possesses extraordinary dexterity and whose production does not seem to require
    any effort. Her pitch, expressive phrasing, and legato skips are
    exceptional—elements that are often forgotten within the ambit of popular music. She
    is dynamic and emotional, yet cool and under complete control; her audience appeal is
    irresistible.

    Born into a musical family, Monte attended rodas de samba (samba jam sessions)
    as a child—many taking place in her own home—and studied piano, percussion, and
    guitar before seriously pursuing a career in music. After operatic studies in
    Italy, she served the ultimate apprenticeship by filling theaters and clubs around Rio for
    close to two years without worrying about signing a recording contract. Her
    magnetic personal charisma and undeniable talents—musically and
    otherwise—assured that success was hers for the taking, and she had only to collect
    it.

    Meeting fame with her first recording twelve years ago supplied Monte with a security
    uncommon in the record industry. Unlike other major MPB (Música Popular
    Brasileira—Brazilian Popular Music) artists, Monte releases a new work every three to
    four years; her re-apparition is always an event. Furthermore, her latest agreement
    with EMI has brought about an unexpected change in the company’s policy, especially
    noteworthy during these delicate times when CD pirating and Internet downloading has
    offset the power structure of the multinational record labels. Monte’s renewed
    ten-year contract with EMI guarantees the continuous pressing of all her recordings, their
    distribution through Monte’s own subsidiary label, Phonomotor, and complete artistic
    freedom with no interference from EMI concerning the content of any Phonomotor release.

    To premiere the Phonomotor label, Monte produced and made a cameo appearance on the
    recording Tudo Azul, by the legendary Velha Guarda (Old Guard) da Portela, a group
    of hallowed sambistas. Selling more than thirty thousand copies, the
    recording, which is lyrically inspired, harmonically truthful, and rhythmically authentic,
    has helped to open new markets for traditional samba. Marisa Monte may be a pop
    singer, but she has brought the variety, charm, and consummate musicianship of Brazil’s
    finest sambistas as well as some of the richest strains of Brazilian culture to a
    wider audience.

    A musician who is not content with excelling in just one musical genre, Monte’s
    flexible approach and unique vocal gifts have enabled her to embrace—more often than
    not with great success—bossa nova, samba, rock, reggae, R&B, and funk. Her
    recordings, all surveys of Brazilian styles, have earned a reputation for intelligence in
    the selection of repertoire not solely for their quality but also for their timely
    retrieval of traditional forms, every recording paying tribute to the greatest icons of
    Brazilian imagination.

    Curiously, response to her latest offering, Memórias, Crônicas e Declarações de
    Amor (Memories, Chronicles, and Declarations of Love), remains lukewarm in some
    quarters. Monte is, without a doubt, a remarkable singer with an outstanding
    cultural and musical foundation, but has delivered so much marvelous music in the past
    that her fans have come to expect a spiraling higher level of quality from each new
    release. Devotees of traditional samba and choro have reproached her for abandoning
    the high art of Brazilian composers like Cartola, Monsueto, Jamelão, and Pixinguinha for
    what seems to be pop commercialism. Detractors assert that Monte should enlist
    Rogério Duprat or Gilson Peranzzetta to produce her work, and move beyond the offensive
    "world music" sonority of Arto Lindsay’s productions, which sound predictably
    the same.

    Despite the pop appeal of the disc’s arrangements and the production of the hits
    "Amor I Love You" and "Gentileza" (Kindness), Monte’s latest work
    offers listeners a number of exquisite tunes, including the sambas "Para Ver as
    Meninas" (To See the Girls) and "Gotas de Luar" (Drops of Moonlight). Memórias,
    Crônicas e Declarações de Amor is principally pop music, and inside that pop
    universe, the work is stylistically successful.

    Before she left Brazil, we spoke about her background, the new CD, her connection with
    traditional samba, Phonomotor, and the U.S. tour. I was surprised that an artist of
    her status could be as open, frank, and friendly as she was. She struck me as
    extraordinarily personable, a quietly forceful person of integrity.

    Brazzil—Can you tell me about your experience with the classical
    repertoire and why you decided to stop studying?

    Marisa Monte—I started to study because I wanted to sing well and classical
    training was the only methodology available here in Brazil for developing good technique.
    So I started studying when I was fourteen, and for a long time I took classes every
    day. It was a kind of workout, something that you really could develop through
    practice, you know, like breathing, tuning, and extensions. At the same time, I was
    singing popular Brazilian music in a lot of shows with friends and listening to a lot of
    traditional samba. So I had a kind of mixed formation through technical study and
    by playing Brazilian music.

    When I was eighteen I went to Italy to study opera, which gave me the opportunity to
    study the repertoire and to live outside Brazil awhile. But after living in Italy
    for a year, I began to see Brazil with different eyes. For the first time, I could
    see how rich, original, and unique Brazilian music is in relation to the rest of the
    world. I saw myself a long way from home and realized how hard it was going to be
    to put aside all the cultural weight, the density of my background. Never before
    had I felt so Brazilian.

    To escape my background, to forget all the culture that had been implanted since birth,
    I would have had to live outside of Brazil for the rest of my life. I also knew
    that it was going to be very difficult for me to put aside modern production techniques.
    And since opera is something that is turned more toward the past, I could see clearly
    how, for me, it was more important to be in Brazil than to be singing opera in Italy. So
    I came back when I was nineteen. I had been receiving invitations to record pop
    music in Brazil since I was sixteen, but studying in Europe was just a way of taking
    enough time to find my way, to decide what I really wanted.

    When I came back, I started working on stage, and I worked on stage here for two years,
    from the time I was nineteen until I was twenty-one. As you know, my first record
    was a consequence of this work on stage. My career, it seems, even now is
    structured around the stage. When I tour, especially in Brazil, I do very big
    tours. But I’ve also been composing and producing more and more with other
    musicians from my generation, with people like Carlinhos Brown and Arnaldo Antunes, you
    know, people that I admire and that are now working to further Brazilian music.

    BrazzilMarisa, you’ve co-written a number of tunes on the new
    CD, and I’m wondering how you like composing with other artists.

    M.M.—I love this kind of dialogue. And I love to do this kind of work
    with people that I admire. Composing is completely magic. You can bring
    something into the world where there was nothing before. It’s very abstract, only
    waves, only frequencies. You just organize these waves and something suddenly
    exists. It’s magic. And it’s very cool to make music with close friends. Since
    my instrument is a melodic one, my strength is in writing melodies. They are easier
    for me to write, but I also collaborate on lyrics and on grooves, like acoustic guitar
    grooves where the feeling of a tune often originates. I’m planning to write much
    more. You know, I’m trying to find the time because I would like a lot of people to feel
    my admiration, and I can show it by composing with them, when the process is a
    partnership.

    Brazzil—One of your tunes on the new CD is dedicated to Profeta
    Gentileza. Who is Profeta Gentileza?

    M.M.—He was a homeless person here in Rio, who for thirty years walked the
    streets preaching kindness and love. He wasn’t someone who was asking for anything
    on the streets, he was giving. He would say, "People, don’t use anger, use
    kindness. Kindness generates kindness. Violence generates violence."
    He was a very popular guy here. Everyone in Rio knew him because we always saw
    him on the streets. He used to write his prophesies on the city’s walls. They
    were messages of peace and love and kindness, so over time the people christened him
    Profeta Gentileza. One day about two years ago, I was walking by this place where
    there are many, many walls on which he used to write his messages. I often walked
    there to see his writings and to read the different branches, the new ones that I had
    never seen before, looking for new phrases, new expressions. But when I passed by
    that time, everything had been erased. Yeah, urban cleaning! Someone thought
    his work was dirty and ugly and had painted over it. I wrote the song
    "Gentileza" because I thought that that act was so symptomatic of our times and
    our world and our indifference to others in the urban environment. It was so anti-gentileza.
    The ONG (non-governmental organization) here in Rio recently restored all his works.
    Now they’re preserved forever and people cannot erase them anymore.

    Brazzil—Is Profeta Gentileza still around?

    M.M.—No, he died two years ago. A very nice person passed through our
    world. Now if you come to Rio, you can see Gentileza’s works. It’s a kind of
    urban book near the Rodoviária, the bus terminal at the entrance of the city, and it’s a
    very cool kind of welcome mat. Very beautiful, not only the texts, the words he’s
    written; but also the typography, the art, the graphics, all very beautiful. You
    have to see it.

    Brazzil—You mentioned producing, showing admiration, and furthering
    Brazilian music, so I have to tell you how much I admire your producing the Velha Guarda
    da Portela. Can you tell me about the project?

    M.M.—Well, the Velha Guarda, as it is known today, was founded in 1970 by
    Paulinho da Viola and is comprised of twelve musicians—nine instrumentalists and
    three female vocalists—who are the most expressive musicians from the composer group
    of the samba school. But from the time of their formation until now, they had made
    only three recordings. The last one (Homenagem a Paulo da Portela) was in
    ’88, so for twelve years they persevered without recording their own work. I
    learned through Paulinho da Viola that they had a huge repertoire that had never been
    recorded. So we researched extensively and discovered songs from the forties, from
    the fifties, and from the sixties that were present only in their minds, in their oral
    tradition, and then we recorded Tudo Azul. Most of the material had not been
    recorded before, even though some of the songs are from forty years ago. Tudo
    Azul was very well received here in Brazil.

    Brazzil—Wasn’t your father a member of the escola?

    M.M.—Yes, yes, when I was very young. I was born in ’67, and he was
    connected to Portela until ’73. I remember these guys in my home when I was very
    young, when I was just starting to listen and learn. I am from Rio, and samba is
    the strongest musical expression from our city. So I really enjoyed having these
    artists playing in my home, and I always admired them. My father wasn’t really
    involved after ’74, but he continued to buy the records and bring home all this
    traditional samba. Then in ’91, I invited the singers, the three female singers from the
    Velha Guarda da Portela, to sing with me. And then in ’94 all of them came to
    record with me on Rose and Charcoal with Paulinho da Viola. Since then I’ve
    kept in contact with them, and we’ve been collaborating in shows together. Sometimes
    they invite me to sing with them, and I go. Sometimes I invite them, they come.

    Brazzil—Do you think the recent comparisons of the Velha Guarda da
    Portela to the Buena Vista Social Club are valid?

    M.M.—They’re the same generation, but it’s a different context. There
    are some similarities, but musically it’s different. The comparisons didn’t come
    from me or from them, but from a few journalists who were trying be clever.

    Brazzil—What do you feel it will take for the Velha Guarda to achieve
    similar worldwide acclaim?

    M.M.— Well, they’re being released now in France, Spain, Portugal, and Africa
    on Lusafrica, the same label that releases Cesaria Evora, and there is a label interested
    in releasing them in the United States. Also, the record was a nominee for the
    Latin Grammy. You know, there is a new Latin Grammy, a samba category, and we were
    nominated. But the Velha Guarda musicians are very old, so it’s difficult for them
    to tour, to travel. Some of the guys are eighty years old; some are like seventy-eight,
    still it’s so moving to hear and see them live.

    Brazzil—I saw them at Peoples almost ten years ago, which was funny
    because at the time it was more of a bossa nova club. I don’t even know if it’s
    there any more.

    M.M.—Ah, you saw them with Cristina Buarque, right? Nice show. Yes,
    Peoples is still there, but it’s much more of a dance club now.

    Brazzil—What else are you planning for the Phonomotor label?

    M.M.—Well, my new record and my old records will be issued and distributed
    worldwide through Phonomotor. But I don’t plan on becoming the artistic director of
    a big record label or taking care of a lot of other artists. I just don’t have the
    time for that. Phonomotor is something that I created only for my projects, like
    the Velha Guarda or for something that I decide to produce in the future. I
    envision it as a very restrictive independent label that allows me to produce whatever I
    want. And I don’t really want to release new artists or look for new people or start
    listening to tons of tapes. People have already started sending me a lot of
    material, and I really can’t do that work. Phonomotor is something very chained to
    my work. When you see Phonomotor, you’ll see Marisa Monte.

    Brazzil—Marisa, some critics have said that your latest CD lacks the
    courage of your previous works and that the CD as a whole is too romantic. Would you
    comment on this?

    M.M.—Well, most of the critics were very positive, and I can tell that many
    people have been moved by the record. I’m touring Brazil, and I can feel the energy
    at the shows. The record was released only three months ago, and no matter where we
    perform, everyone in the audience knows the songs. Yeah, singing and listening, I
    can feel that they’re really happy because we’re singing together. And the sales,
    like 700,000 in three months, are too much, much more than the other records I’ve made.
    Maybe I should explain that my relationship with the critics is very impersonal. I
    know that whoever writes and signs his name to a review, is stating a personal opinion,
    not mine, so I don’t really get angry. I don’t get involved with critics. They’re
    a part of the business that I keep away from. My critic is my audience.

    Brazzil—Nobody talks about Marisa Monte’s personal life, and this kind
    of privacy is unusual in Brazil. How do you maintain your mysterious aura?

    M.M.—Well, I just put the music first, always. I really don’t think I’m
    more important or more interesting than the music and the art and the creation. So
    all the space that the media gives me, which for me is very valuable, I use to talk about
    music. My responsibility is to form an audience for music, not to spread gossip, so
    I just don’t contribute. Most of this personal gossip comes from artists who like
    to talk and think they have to, or think they need to, or something like that. For
    me, that kind of attention doesn’t work. It’s too restrictive. I’m really
    kind of shy with press like that. I don’t have anything to hide, but I don’t have
    anything to show. I’m a musician. I make music, and I don’t think that
    because I’m a musician, I have to expose my intimacies. It doesn’t make any sense.
    It’s a profession for me. It’s like being a teacher or a doctor. Why aren’t
    teachers and doctors asked to explain their personal lives to the press? I’m a
    singer, for me it’s the same.

    Brazzil—The media does get a little too crazy sometimes, like all that
    business we had here with Clinton. It’s really none of anybody’s business.

    M.M.—Ah, no, but Clinton is an elected guy. He’s someone who has a
    civic career. It’s different for someone who takes care of laws and peoples’ money
    and their safety. Music is just music. It’s something that doesn’t really
    interfere. It’s optional. If you don’t want to, you don’t need to listen.
    A musician and a president are different. I think they’re different. Music
    is a profession for me. It’s only work. The way people deal with media
    exposure is an individual matter. Everyone has their own style and reasons. And
    I’m already exposed a lot. I reveal myself a lot through my work because I’m very
    involved in all I do. If you just look at my work, it tells a lot about me. And
    I just want to tell about myself through that. I think it’s more interesting.

    Brazzil—You have such an ethereal stage persona; I’m wondering if your
    gestures are spontaneous or part of choreographed presentation.

    M.M.—No, they’re the same kinds of gestures that I make when I’m talking.
    Really, I talk a lot with my hands. It’s funny because in the new show, I play a
    little bit, so in some songs my hands are attached to the guitar, and I really miss moving
    them. It’s like a suspension of my expression. Moving my arms and hands is
    something that really helps me to sing and to communicate a song’s meaning.

    Brazzil—Can you tell me a little about the new show’s visual effects?

    M.M.—Well, in Brazil I always have shows that are much more produced and much
    more structured than my shows outside the country. Occasionally we tour abroad with
    everything, but generally, we take only the band. This year, however, I’m bringing
    the whole show to the United States, the same one that we’re now presenting in Brazil. Ernesto
    Neto, who is one of the most important visual artists in Brazil and whose career has a
    huge projection outside of Brazil, created a fabric sculpture for the show with a lot of
    transparencies, with different planes and different perspectives, and it works as a
    catalyst, dramatically integrating the lighting and the scenery in the production. It’s
    something that you have to see and which is hard to explain.

    Brazzil—As you know from last time you played Los Angeles, the entire
    Brazilian community will be there to see it.

    M.M.—That’s funny because in big cities like Los Angeles, New York, and Miami
    there are so many Brazilians, even outside the United States, in Europe. When we go
    to Madrid, there are hordes of Brazilians. But when we go to small cities, like
    last time we came to the United States, or like we did in Europe when we played six cities
    in Spain and eight cities in Germany, then we start getting into places where there are no
    Brazilians, and that’s interesting. The last time we performed in L.A., we played
    Palm Springs, which was so funny because there were maybe three Brazilians in the crowd.
    The audience, remarkably, was American, and it was really fun.

    Brazzil—Brazilian acts come to the United States every year, but your
    shows are usually the only ones to sell out months ahead of time.

    M.M.—Yeah, but this is a consequence of what we were talking about before, my
    career being on the stage. I’ve been working a lot lately as a composer and also
    producing more and more and working in the studio, but I prefer that direct connection
    with the audience.

    Brazzil—Will you be bringing the same band with you that you brought in
    ’98?

    M.M.—For this tour, I’m using a slightly different instrumentation. I
    have three percussionists, a cavaquinho, and a keyboard player, so the band
    formation is also a little different.1 Toninho Ferragutti, I changed
    because I didn’t want to have an accordion now that I have keyboards, but three guys are
    the same: Davi Moraes, guitars; Dadi, the bass player; and Peu on percussion. The
    group is a little bit different, but this is normal. It’s always a matter of
    sonority.

    Brazzil—Marisa, is there anything special that you want to convey to
    your fans or anything important that I haven’t asked you about?

    M.M.—Well, the only thing I’d like to mention is my web site. I think
    it’s cool. It’s a brand new one, completely renewed. And there, people can find all
    the information about the tours and about the recordings. They can get Tudo Azul
    and also listen to music that I’ve programmed there. So for people who are far
    away, I think it’s the best channel to me.

    Brazzil—Marisa, it’s been a pleasure speaking with you.

    M.M.—Thank you, Bruce. I hope to see you there.

    Brazzil—I’ll be there.

    M.M.—Beijo (kiss).

    Marisa Monte Official Web Site:

    http://www.uol.com.br/marisamonte/index-d.htm
     

    1. Cavaquinho player Mauro Diniz is the son and musical partner of
    the great Monarco (Hildemar Diniz)—singer, composer, director, and cavaquinho
    player of the Velha Guarda da Portela.

    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

    Gentileza
    (Marisa Monte)

    Apagaram tudo
    Pintaram tudo de cinza
    A palavra no muro
    Ficou coberta de tinta

    Apagaram tudo
    Pintaram tudo de cinza
    Só ficou no muro
    Tristeza e tinta fresca

    Nós que passamos apressados
    Pelas ruas da cidade
    Merecemos ler as letras
    E as palavras de gentileza

    Por isso eu pergunto
    A vocês no mundo
    Se é mais inteligente
    O livro ou a sabedoria

    O mundo é uma escola
    A vida é o circo
    Amor palavra que liberta
    Já dizia o profeta

    Kindness

    Everything was erased
    They painted everything gray
    The word on the wall
    Was covered with paint

    Everything was erased
    They painted everything gray
    Only the wall was left
    Sadness and fresh paint

    We who hurry through
    The streets of the city
    Are entitled to read the letters
    And the words of kindness

    That’s why I ask
    You in the world
    Which is more intelligent
    The book or the wisdom

    The world is a school
    Life is a canvas
    Love is a word that liberates
    The prophet said

     

    Para Ver as Meninas
    (Paulinho da Viola)

    Silêncio por favor
    Enquanto esqueço um pouco
    a dor no peito
    Não diga nada sobre meus defeitos
    E não me lembro mais
    quem me deixou assim

    Hoje eu quero apenas
    Uma pausa de mil compassos
    Para ver as meninas
    E nada mais nos braços

    Só este amor assim descontraído
    Quem sabe de tudo não fale
    Quem não sabe de nada se cale
    Se for preciso eu repito
    Porque hoje eu vou fazer
    Ao meu jeito eu vou fazer
    Um samba sobre o infinito

    To See the Girls

    Silence please
    While I forget, a little, the pain in
    my breast
    Don’t say anything about my flaws
    I don’t remember any more
    who left me this way

    Today I only want
    The pause of a thousand beats
    To see the girls
    And nothing else in my arms

    Only love so relaxed
    Who knows everything, don’t talk
    Who knows nothing, be quiet
    If it’s necessary, I’ll repeat
    Because today I’m doing
    Things my way. I’m going to write
    A samba about the infinite

     

    Gotas de Luar
    (Nelson Cavaquinho/
    Guilherme de Brito)

    Se eu pudesse roubar
    as gotas de luar
    Que vi brilhar nos olhos teus
    Guardava aquele encanto
    Para enfeitar meu pranto
    Na hora do adeus

    Sei que muito breve
    Tu irás me esquecer
    Eu sei que vou sofrer
    Por culpa da minha paixão

    Eu devia te deixar
    Mas vou continuar
    Para castigar meu pobre coração

    Drops of Moonlight

    If I could steal the
    drops of moonlight
    That I saw shining in your eyes
    I would keep that wonder
    To grace my weeping
    At our goodbye

    I know that soon
    You will forget me
    I know that I’m going to suffer
    For my passion

    I should let you go
    But I will continue
    Punishing my poor heart

     

    Cinco Minutos
    (Jorge Benjor)

    Pedi você
    Prá esperar cinco minutos só
    Você foi embora sem me atender
    Não sabe o que perdeu
    Pois você não viu, você não viu . . .
    Como eu fiquei

    Pedi você
    Prá esperar cinco minutos só
    Você foi embora
    Sem me atender . . .
    Pois você não viu
    Não sabe o que perdeu
    Pois você não viu, não viu,
    não viu
    Como eu fiquei

    Dizem que foi chorando,
    sorrindo, cantando
    Os meus amigos, até disseram
    Que foi amando, amando

    Pois você não sabe,
    você não sabe
    E nunca, e nunca,
    E nunca, e nunca,
    Vai saber porque
    Pois você não sabe quanto vale
    cinco minutos, cinco minutos
    Na vida

    Five Minutes

    I asked you
    To wait only five minutes
    You left without listening
    You don’t know what you missed
    Since you didn’t see, you didn’t see . . .
    How I was left

    I asked you
    To wait only five minutes
    You left
    Without listening . . .
    Since you didn’t see
    You don’t know what you missed
    Since you didn’t see, you didn’t see,
    you didn’t see
    How I was left

    They say I was crying,
    smiling, singing
    Even my friends said
    I was loving, loving

    Since you don’t know,
    you don’t know
    And never, and never,
    And never, and never,
    Will you know
    How much five minutes is worth,
    five minutes
    In life

     

    U.S. Tour Dates:

    Sept. 22 Los Angeles, CA UCLA—Royce Hall
    Sept. 23 Escondido, CA Escondido Center for the Arts
    Sept. 25 Berkeley, CA UC Berkeley—Zelerbach Hall
    Sept. 28 Washington DC Georgetown University—Lisner Auditorium
    Sept. 30 New York, NY Beacon Theatre
    Oct. 1 Boston, MA Berkelee Theatre
    Oct. 4 Miami, FL Jackie Gleason Theatre

    Selected Discography:

    Artist(s) Title Label Date
    Marisa Monte M M World Pacific/EMI-Odeon 1988
    Marisa Monte Mais World Pacific/EMI-Odeon 1991
    Cassiano Cedo ou Tarde Columbia 1991
    Monarco A Voz do Samba Kuarup 1991
    Marisa Monte Rose and Charcoal (Verde, Anil, Amarelo, Azul, Cor-de-Rosa e
    Carvão)
    Metro Blue/EMI 1994
    Marisa Monte A Great Noise (Barulhinho Bom) Metro Blue/EMI 1996
    Various Red Hot+Rio Antilles/Verve 1996
    Titãs Acústico WEA 1997
    Timbalada Vamos Dar a Volta no Guetho Polydor 1998
    Carlinhos Brown Omelete Man Virgin/EMI 1998
    Marisa Monte Memórias, Crônicas e Declarações de Amor Phonomotor/EMI 1999
    Velha Guarda da Portela Tudo Azul Phonomotor/EMI 2000
    Paulinho da Viola Série Dois Momentos Vol. 10 WEA 2000

     

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