Moraes Moreira: Meu Nome É Brasil

Moraes’ Brazil

One of the very best friends of Moraes Moreira (1947; Ituaçú, Bahia) is the good old acoustic guitar. On this release, the instrument plays the featuring role. The songs were recorded first with only the guitar accompanying his master’s voice. Later the other (acoustic) instruments were recorded, according to their desired presence.

On the opening “Violão Cidadão,” Moreira describes his adoration for the guitar, the instrument that never lets him down. His son Davi Moraes (guitar) and percussionist Ramiro Musotto complete the instrumentation on this typical Moraes Moreira song. On this cd Moreira does his very own thing, playing the music he knows best, thus leaving little surprise. Which isn’t a bad thing, because in this modest set-up Moraes Moreira sounds at his best. On “Minha Pérola” he’s accompanied by strings and percussion, echoing his album O Brasil tem Concerto (1994), but sounding much lighter. “Choro Novo” features guest Armandinho, whose playful style makes him the right choice. His guitar solo is a delight. Ramiro Musotto’s tambourine does the rest.

Moraes Moreira loves Brazil and is concerned about the country’s problems. Like Brazil’s 20 million illiterates. During his shows, Moreira draws attention to the problem by singing “Indagações de um Analfabeto.” He presented the song to Brazil’s minister of education, Cristovam Buarque, to help him in his campaign “Brasil Alfabetizado” against illiteracy. The song is also included on this album. The repertoire on Meu Nome É Brasil contains mainly Moraes’ own compositions (with partnerships). But there are also four classics, arranged by Moreira in a way that suits him best. “Gente Humilde,” by Chico Buarque, Vinícius de Moraes and Garoto, is a perfect example. The voice and guitar are only accompanied by violins and cello, and the arrangement is not too far away from the original. But it’s Moreira’s voice that conquers the song in a friendly way. “Respeita Januário,” by Luiz Gonzaga and Humberto Teixeira, got an accurate violin (rabeca) in the accompaniment. On “Trem das Onze” things sound a bit odd, due to the low register voices Moreira and guest vocalist Arnaldo Antunes use. Although it is fun to hear Antunes sing this Adoniran Barbosa composition. Obviously Moreira adjusts to Antunes key. But this arrangement is not an addition to the wide variety of renditions we know of this classic. The bossa “Aos Pés da Cruz” (Marino Pinto – Zé da Zilda) features the soprano sax of Roberto Stepheson and percussionist Zero, who gently confirms the beat. It’s a nice concept to have the guitar and vocals basis accompanied by only a few other instruments. Sometimes it’s an accordion (“Me Azara Meu Amor”), then it’s a trumpet (“Mais que Palavras”) or the above mentioned instruments. And always some modest percussion. On “Eu Sou o Caso Deles” (about the relationship between fathers and sons), Moraes Moreira invited his two sons Ari and Davi to accompany him, emphasizing the personal character of this album. It’s not Moraes Moreira singing songs, but Moraes Moreira singing Moraes Moreira. The album closes with a samba, “Tô Fazendo”, complete with a samba choir and sambista Anderson Leonardo (from Grupo de Pagode Molejo). Completing an album that not only Moraes Moreira’s fans will treasure.

ALBUM INFORMATION

Moraes Moreira
Meu Nome É Brasil
MZA Universal 3259120059024 (2003)
Time: 40’49”

Tracks: