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|Año de grabación||1970|
|Año de Edición Original||2021|
José Mauro (voz, guitarra acústica, viola nordestina)
Altamiro Carrilho (flauta), Paulo Moura (saxo alto), Maurilio (trompeta), Rildo Hora (armónica), Dom Salvador (órgano, piano, clavecín), Geraldo Vespar (guitarra acústica), Sebastião Marinho (contrabajo), Wilson Das Neves (batería), Juquinha y Mamão (percusión), Ana Maria Bahiana (voz), Lindolfo Gaya (arreglos, dirección).
Primera edición en CD, de 2021, del disco lanzado originalmente en Brasil en 1976 por el sello Forma. Incluye los temas “Rua Dois”, “Moenda'' y “Variação sobre um antigo tema”, pertenecientes a la misma sesión de grabación, pero inéditos hasta este momento.
Segundo álbum del poco conocido cantante y compositor carioca José Mauro. Igual que el primero, fue brillantemente producido por Roberto Quartin, todas la letras son de la periodista Ana Maria Bahiana y los arreglos de Lindolfo Gaya, con la participación de algunos de los mejores musicos de aquellos años en Brasil.
Desgraciadamente, problemas de salud cortaron la prometedora carrera musical de este excelente artista cuyo estilo recuerda mucho al de su contemporaneo Edu Lobo.
"For years it was believed that José Mauro was dead. Rumours on blogs and comment sections circulated that the mysterious Brazilian genius had either been killed in a road accident, or been ‘disappeared’ by Brazil’s military junta in the 1970s. But following Far Out’s 2016 reissue of José Mauro’s debut album Obnoxius, the label heard word that José Mauro is in fact alive and well, living a quiet life on the outskirts of Rio (...)
Recorded in 1970 at Odeon studios in Rio de Janeiro: the same time and place as all the music he ever recorded, José Mauro’s A Viagem Das Horas wasn’t released until six years later, curiously with several tracks already released on Obnoxius. Finally, over half a century on, A Viagem Das Horas will be released with three never before heard tracks, “Rua Dois”, “Moenda'' and “Variação Sobre Um Antigo Tema”, as Mauro and Quartin had originally intended.
Conceived under the gloom of Brazil’s military authoritarianism, from which many artists had either fled or been exiled, José Mauro and his songwriting partner Ana Maria Bahiana, combined their shared interest in Candomblé - a syncretism of traditional West African religions and Roman Catholicism - with MPB, psychedelic folk and orchestral music. Expressing a spiritual response to the world they found themselves in, the result was a sacrosanct, post-tropical music of pure transcendence. “Finding our place in a country under a brutal dictatorship, and not believing in either civil war or fascism, we were part of a generation in transit, searching for another option.”
This sense of searching and longing is present throughout the music, and the ‘Viagem’ (Journey) is a deeply profound one. With apparitional vocals and propulsive, open-tuning acoustic guitar, and Lindolfo Gaya’s spine-tingling orchestrations soaring overhead, the music has the power to inspire in the listener an almost trance-like state of ecstasy.
Understanding Mauro’s musical vision, Quartin pulled together the best team available. For an independent label at that time in Brazil, the quality of the recording and production is exceptional. Having already recorded some of the great Brazilian albums of the sixties with Deodato, Baden Powell, Quarteto Em Cy and Moacir Santos, all of whom he saw success with on his Forma Label, Quartin’s friendships with some of the best musicians in Rio, as well as his access to the top studios, engineers and state of the art recording techniques, gave Mauro’s idiosyncratic compositions a dazzling clarity and intimacy.
Many of the musicians who played with José Mauro would go on to become some of Brazil’s most important and prolific, including Wilson Das Neves, Dom Salvador, and Ivan ‘Mamao’ Conti, and their raw talent in these early days is palpable throughout A Viagem Das Horas (...)
It’s too tempting to think of what could have been, had José Mauro been able to continue making music. But what he achieved in those few sessions in 1970, with the help of Roberto Quartin, Ana Maria Bahiana, Lindolfo Gaya and the musicians and studio engineers, stands alongside some of the great works by Brazil’s most celebrated artists. Over half a century since it was created, José Mauro’s music has lost none of its power to totally mesmerise and bewitch." (Extraido del texto de presentación del sello discográfico)