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Coisa da antiga

Família Roitman
Discos: Samba

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Ficha técnica Discos

Sello	Rob Digital
Estilo	Samba
Año de Edición Original	1998

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Família Roitman: Leo Tomassini (voz), Felipe Trotta (guitarra acústica, arreglos), Di Lutgardest (batería, pandeiro).

Juliano Barbosa (fagot), Leandro Braga o Cristóvão Bastos o João Rebouças (piano), Jayme Vignoli (cavaquinho, João Mário Macedo (contrabajo, bajo eléctrico), Carlos Pontual (bajo eléctrico), Alisson Lima "Trambiquinho" (percusión) y cuarteto de cuerdas (Maurício Takeda y André Cunha (violín), Rúbia Mara Siqueira (viola) y Fábio Almeida (cello)).

Participación especial de: Arranco (Rita Peixoto, Eveline Hecker, Soraya Ravenle, Muri Costa y Paulo Malaguti) (coros) y Saxofonia (Idriss Boudrioua y Renato Buscacio (saxo alto), Daniel Garcia (saxo tenor y, Sueli Faria ( saxo barítono)).

Excelente segundo álbum del grupo carioca nacido en la Zona Sul de la ciudad en la segunda mitad de los 80 y que empezó a actuar profesionalmente en 1991.

"In 1997 came an invitation to participate in the Projeto Pixinguinha, touring central-eastern and northern Brazil along with the sambista Nelson Sargento. It was a not-to-be-missed trip, but it required being away from Rio for two weeks, and Decourt couldn't go. So we needed a substitute drummer for the tour and called Di Lutgardes. I met Di a year ealier, when I was asked to play guitar and write arrangements for a beginning singer, Tatiana Dauster, in whose band he was playing. After this, we worked again together with another singer and playing at a hotel in Rio. I decided to call him because I knew that he liked the sound and the idea of our music.
When we returned, Decourt announced his official departure from the group. Once again we were three, the same three as in the beginning (Léo, André, and Felipe). But this didn't last, for, André began to work as an art director in films and had to abandon ship as well. This was the worst crisis: Família Roitman had been reduced to just Léo and myself. But we resolved to continue and record our second CD, for which we'd already selected all the tracks and prepared the musical arrangements. So we invited Di to turn himself into a Roitman. He hesitated, fearing a financial drain (unfortunately, the work still doesn't produce income), but ended up accepting.
The recording was a big party. We invited the best musicians of Rio to participate, and they all came and contributed to making a mature, elaborate disc with a good technical level from all points of view. It's a work of which we're very proud and for which we feel a lot of love. The CD was launched at the end of 1998 by Rob Digital, a label that puts an emphasis on high quality and in which it is a pleasure to participate.
Coisa da Antiga is our true launch in the music market. The maturing we've undergone is almost unbelievable. This second disc manages to inaugurate the most important value in all our work: the search for a new sound for samba. The tracks "Coração da Gente," "Hora do Adeus," and "Habeas Corpus" are the best realizations of our esthetic ideal and are the moments when we're most radical. The principle behind the repertoire selection in this album is almost the opposite of what it had been in the first one. Earlier, we were oriented toward the past, whereas now there's a clear attempt to express the continuity of tradition from the Golden Age to the present. With the exception of "Habeas Corpus," a previously unrecorded song by Noel Rosa & Orestes Barbosa, all the tracks are the creations of modern composers who advance the musical and poetic language of samba.
- "Coração da Gente: This song was recorded by Paulinho da Viola on his 1981 album Paulinho da Viola, a title shared by most of Paulinho's discs. The song talks of the high spirit and informality of rodas de samba [samba circles]; the musical instruments; people arriving and improvising; the day rising... We were fortunate to have the talent of Leandro Braga on piano in this track. His entrance is mesmerizing. Léo says that there should be a plaque in front of Leandro's house, saying, "Beware! Vicious Piano!" The sax quartet Saxofonia added sophistication to the composition (Felipe arranged). Percussion was played by Alisson, son of Trambique, excellent percussionist who played with Beth Carvalho and Ney Matogrosso. On bass, our old friend João Mário.
- "Hora do Adeus": A marvelous partnership between two great composers, both lyricists and melodists, in this previously unrecorded samba. Délcio Carvalho is the most frequent songwriting partner of Dona Ivone Lara, with whom he composed such pearls as "Acreditar" and "Sonho Meu." Elton Medeiros is one of the most respected sambistas around, songwriting partner of Cartola ("O Sol Nascerá"), Zé Keti ("Mascarada"), and Paulinho da Viola ("Recomeçar") and an outstanding matchbox player. "Hora do Adeus" talks of love and separation. Leandro Braga contributed brilliantly again. The arrangement is distinguished by the participation of the vocal group Arranco.
- "Cabrochinha": Another new composition, a jocose samba in the style of Geraldo Pereira. We tried to give this version a bossa nova language: voice, piano, acoustic guitar, acoustic bass, and drums. João Rebouças, a pianist who plays with Chico Buarque and with Gal Costa, honored us with his presence. We didn't even know him; we called and said that we were his fans and would like him to participate in the disc. He agreed on the spot—a great guy. The music is by the superb guitarist Maurício Carrilho and the lyrics by Paulo César Pinheiro.
- "Habeas Corpus": João Máximo, the music critic and author of Noel Rosa's biography, knew a former guitar student of Noel's who had several unrecorded songs by his illustrious teacher. One day João (who's our fan) said there was one song in that bunch that was just right for us and asked if we wanted to record it. You can guess our response. This song is a partnership between Noel and Orestes Barbosa, composer (with Sílvio Caldas) of the masterpiece "Chão de Estrelas." "Habeas Corpus" describes romantic disillusion in legalistic terms. Felipe's arrangement for two guitars is a tribute to the instrument most intimately tied to the history of samba since the days of Noel.
- "A Cabeça": This song was never recorded on disc, although it's on the soundtrack of a short film with Nelson Sargento. "A Cabeça" is very well known in the rodas de samba of Rio de Janeiro. Its composer, Paulinho de Castro, is a teacher of Portuguese and the author of several songs that are marvelous but little known. It's a surrealistic story in which the body argues with its own head and reaches the conclusion that the head has always been the bane of its existence. We begin with incidental music from Chico Buarque's "Pelas Tabelas," a song with similar lyrics, although we don't sing them here. Among the guest artists we have Jayme Vignoli of the choro group Água de Moringa on cavaquinho and the vocal group Arranco. The percussionist Alisson plays (among other instruments) his best instrument, repique. Saxofonia plays Felipe's arrangement in the introduction.
- "Eu Vivia Isolado do Mundo": This samba is a partido alto representing the Velhas Guardas of the Escolas de Samba. The composer is Alcides "Malandro Histórico" da Portela, whose real name is Alcides Dias Lopes. The song was first recorded by Candeia and Manacéa, then [under the title "Vivo Isolado do Mundo"] by Zeca Pagodinho in Deixa Clarear and by Vinícius Cantuária in Tucumã. Our version is graced by the bassoon of Juliano Barbosa, whose father, Aírton Barbosa (founding member of Quinteto Villa-Lobos), played it on Cartola's legendary 1976 recording of Candeia's "Preciso me Encontrar," introducing a new instrument to samba. History repeated itself with Família Roitman. Here, too, we have Arranco's chorus, plus Carlos Pontual's bass and Alisson's percussion.
- "Falsa Euforia": An unrecorded pearl from the talented pair Walter Alfaiate and Mauro Duarte (the latter was Paulo César Pinheiro's partner in innumerable classics made famous by Clara Nunes). The theme couldn't be anything but lost love—the hallmark of these two, who represent the traditional samba of Botafogo. The instrumental novelty here is my use of a moringa for the percussion, substituting it for a ganzá in the high notes and for a surdo in the low notes. João Mário joins on acoustic bass.
- "Corrente": This samba by Chico Buarque hides an ingenious surprise: during the first round the song has one meaning, and when it comes around the second time, the meaning is totally different, although the lyrics remain the same. In the first round, the person singing is submissive to the rules imposed on him, while in the second he's completely opposed to them. The first recording was made by Chico himself on the 1976 LP Meus Caros Amigos. Joining us in our version are João Rebouças on piano and João Mário on bass.
- "A Europa Curvou-se Ante o Brasil": An atonal samba proves yet again that samba knows no borders. Its authors are avant-garde composer Arrigo Barnabé, Carlos Rennó, and Bozo Barretti, who played keyboards with the rock group Capital Inicial. Arrigo recorded the song with Paulinho da Viola's participation on his LP Tubarões Voadores. Cristóvão Bastos enhances our version with his unmistakable piano playing, and João Mário is on bass.
- "Caminho da Existência": During a celebration of Carlos Cachaça's 90th birthday, several of the master's poems were presented, including an autobiographical one that prompted Délcio Carvalho to say, "This marvel needs music, and I'll provide it." That's how this gem was born. First to record it was Délcio in his excellent CD Afinal. In our recording, Cristóvão Bastos tailored the music in a way that makes him soloist as well as accompanist. The string quartet was created especially for this recording and consists of Maurício Takeda of Jazz Sinfônica de São Paulo; Fábio Almeida, who was one of the members of David Chew's Cello Ensemble; and Rubia Mara Siqueira & André Cunha, both from UNI-RIO. Felipe Trotta arranged.
- "Mastruço e Catuaba": This song is full of carioca irreverence and good humor. It's already been recorded in the CD Aldir Blanc 50 Anos by Aldir, Walter Alfaiate, Wilson Moreira & Nei Lopes. In our version the chorus is sung by Arranco, Jayme Vignoli plays cavaquinho, Alisson is on pandeiro, and I play tumbadora to give the flavor of a partido de terreiro [samba as it is performed in the morro].
- "Coisa da Antiga": The title song is one of the most elaborate partidos in Brazilian music. This is our tribute to Clara Nunes and Clementina de Jesus (both recorded it), who were and still are two queens and great influences. Again we have Saxofonia's and Arranco's expert participation. Here, too, I used tumbadoras, this time with agogô, augmenting the feel of samba de terreiro. The authors, Wilson Moreira and Nei Lopes, need no introduction, as they are the composers of so many great sambas recorded by a long list of artists.(...) (Extracto de la entrevista que el grupo concedió a la escritora, historiadora y fotógrafa estadounidense Daniella Thompson, publicada en la revista Brazzil en julio de 1999)

Temas

CD 1

Coração da gente
Paulinho da Viola