Sem asma e nem bronquite …sanfonite!

Dominguinhos, Sivuca & Oswaldinho
Cada um Belisca um Pouco

1 - Feira de Mangaio (Sivuca; Glória Gadelha)
2 - A Dança de Moda/Qui Nem Jiló/Fuga de África (Luiz Gonzaga; Zédantas / Luiz Gonzaga; Humberto Teixeira / Luiz Gonzaga)
3 - Eu Só Quero Um Xodó (Dominguinhos; Anastácia)
4 - Baião (Luiz Gonzaga; Humberto Teixeita)
5 - Feijoada/Pagode Russo/O Sanfoneiro Só Tocava Isso (Sivuca / Luiz Gonzaga; João Silva / Geraldo Medeiros; Haroldo Lobo)
6 - Cada Um Belisca Um Pouco (Sivuca; Dominguinhos; Oswaldinho)
7 - Nilopolitano (Dominguinhos)
8 - Sabiá/Numa Sala de Reboco/Xote das Meninas (Luiz Gonzaga; Zédantas / Luiz Gonzaga; José Marcolino / Luiz Gonzaga; Zédantas)
9 - Adeus Maria Fuiô (Sivuca; Humberto Teixeira)
10 - Isso Aqui Tá Born Demais/Quero Chá/Pedras Que Cantam (Dominguinhos; Chico Buarque / Luiz Gonzaga; José Marcolino / Dominguinhos; Fausto Nilo)
11 - Roseira de Norte (Pedro Sertanejo; Zé Gonzaga)
12 - Asa Branca (Luiz Gonzaga; Humberto Teixeira)

Músicos especialmente convidados:

João Lyra - violão e viola
Toni 7 Cordas - violão 7
Alceu Maia - cavaco
Durval - percussão
Mingo Araújo - percussão
Waldonys - sanfona nas músicas Nilopolitano, Sabiá, Numa Sala de Reboco e Xote das Meninas.

The encounter of Dominguinhos, Sivuca and Oswaldinho on the CD, Cada um Belisca um Pouco is one of those magic moments that makes our music one of the richest in the world. While Luiz Gonzaga and Jackson do Pandeiro introduced Brazil to the Northeastern rhythms as the "baião" and the "xaxado" in the 40s and 50s, the three accordionists are responsible for giving the main instrument of this music an aura of "universitality".

Dominguinhos, from Pernambuco, Sivuca, from Paraíba and the Oswaldinho, son of the mythical Pedro Sertanejo, from Rio (author of the beautiful Roseira do Norte, remembered in this work) bring the sounds of the rural Northeast. The roads they followed looking for their musical dreams gave them other notes up their sleeves as well. That is why, in bringing the three masters to a studio, the producer, José Milton, performs a remarkable service to our music.

Luiz Gonzaga brought in his mixture of "xote, maracatu and baião" (rhythms of the Northeast), and the golden trio of national accordions understood that in the wind of the bellows more than just a regional lament of the suffering Northeastern soul breathed. When they play the same instrument all together, the sound that comes out is also improvised as American jazz or choro from Rio.

Before this, the three had played together only one time, in a trilogy performed in 1994 with José Milton in honor of Gonzaga, Jackson and João do Vale. From that time, this project filled the dreams of the producer. Intimately linked by roots, instruments and talent, Dominguinhos, Sivuca and Oswaldinho made the CD in one go only, as if they had met at some dance in Garanhuns, Campina Grande or Juazeiro. They chose the repertoire together and, when ready, went into the studio. "It was impressive. They went through the songs at the time of the recording, harmonized and knew when to solo by just looking at each other," tells José Milton.

To give more freedom to the trio, a first rate group was formed by musicians that follow the same musical line. The guitarists, João Lyra and Tony Sete Cordas, the ukulele player, Alceu Maia, and the percussionists, Durval and Minto Araújo, gave still more harmony to the work. The disciple, Waldonys, added to the choir of accordions on the beautiful, Nilopolitano, by Dominguinhos, and on the pot-pourri that brought together Sabiá, Xote das Meninas (both by Luiz Gonzaga and Zé Dantas) and Numa Sala de Reboco (by Gonzagão and Zé Marcolino). By the way, because the songs for the CD were chosen using the sole criterion of emotional memory, Gonzagão, master and friend of all, was spontaneously honored. Well-known songs as Asa Branca and Baião (by "Velho Lua" with Humberto Teixeira) were given sophisticated arrangements, with the three alternating in solos and backup. Other less known songs as Dança da Moda and Fuga da África came together thanks to the memory of the musicians.

The composer side of each musician is also seen in an interesting way. From Sivuca, the classics Feira de Mangaio (written with his wife, Glorinha Gadelha) and Adeus Maria Fulô are here, as well as Feijoada, only recorded before on a 78 record. It is put together here with another tasty pot-pourri with Pagode Russo, one more by Gonzaga, and O Sanfoneiro só Tacava by Geraldo Medeiros. From Dominguinhos are Eu só Quero um Xodó, Isso Aqui Tá Bom Demais and Pedras que Cantam (with the partners Anastácia, Nando Cordel and Fausto Nilo, respectively).

It was Oswaldinho, the guy who, to the desperation of the purists, dared to mix the Northeastern rhythms with rock, who wrote the song that gives the CD its name and synthesizes the soul of the CD: Cada um Belisca um Pouco. In other words, it is a CD that was born ready for that special place on the shelf of each lover of Brazilian music, and, why not say, universal.

Muito “roots” … virtuosidades ao extremo!
Sem asma e nem bronquite …sanfonite!
Vinicius Ribeiro
Bom dia Tiago!


kokolo said...

Thank you for making my little family dance this evening:)!

Miguel said...