Lurdez Of Light And Kiko Dinucci - b Side - Full - Compact Petrobras

I’ll get it. I’ll do it easier. - It is close. - Yes. Wow, I remember! Do you recall when it was you heard the other guy’s music for the first time? What did you think? So, I remember perfectly. I went to the “Ó do Borogodó,” to see you play. Mauricio Takara had said: "Hey, there’s a guy who plays there, I’m sure you will like it a lot." I went there and then became a frequent goer. I think it was a... Oh, I don’t know, it was one of the... Like, you have a great influence. True influence. Then, when we started exchanging ideas at Ó, and talk, then I went after it, and started listening to a few things. Then I called you so you would sing for my record. I became addicted to Pastiche Nagô for a long time, on the Padê for a long time. It was like, I had not lost my IPod yet. So I would come from ABC, listening to this. I know all the songs by heart, if I need, I just can’t sing the melodies very well. But to me, that is it. I’m a great fan. And I still am, of what is going on now too. Idem. Me too, idem. Wow! One, two, tree... Let’s go. Wow, isn’t there a: "Kiko, whatever"... Oh, yes there is! What is the influence of the African rhythms in your music? - A workshop now, huh? OK. - Almost none, I don’t know. - No longer! - None. I don’t know. Because this Africa thing was not something I chose, you know? I used to like samba and started investigating what came before. And in a certain period, I started thinking samba was missing swing. No, I’m not talking about the masters, OK? Samba today, made by young people. This wave of resumption of samba done by young people. It is a little "square." All the guys do is copy the records of the 1970’s, of Cartola. And I started thinking: "Man, this samba is too stiff." I started thinking it was missing swing. And I started researching, not researching, I hate that word, but I started investigating: what came before that? If João da Baiana is singing, is that black magic? I’m going to take a look. And I started investigating, but it was not programmed. "I am going to research African music." But I think the African influence ends up filtering in a lot through religion too. "You bet." Because I got caught up with candomblé and one thing led to the other. A lot of music in candomblé, a lot of dance, a lot of culture. That starts spreading in the imagination. In the “sambauba” samba Where okra drools “Imbaúba” stick Holds the “sabal-de-cuba” by the tail A rotten fruit that fertilizes The guava tree roots It goes without “tumba” or “mastaba,” It incarnates the “carnaúba” “Jurubeba” knocks one over And whoever drinks it falls If the drink is strong, All I ask that it will not go up “Jurubeba” knocks one over And whoever drinks it falls If the drink is strong, All I ask that it will not go up One gets sick in Aruba And is cured in Uberaba Goes crazy in Piracicaba If one looks for Ubatuba A foot that fits in a trunk, Will beat boots on a door lock Not even “Bacongo” boasts On the side of the “Luba” I pass the crushed bunch That you offer me I’m a mass, I want this piece That the mass deserves I pass the crushed bunch That you offer me I’m a mass, I want this piece That the mass deserves There are those who suck on the “manjuba” And those who suck on the “mangaba” “Jabuticaba, though Never ends in “jujuba” A good hat covers your head And the lion strikes the rim Nor will one pick the “catuaba” If they have a cat in the tuba “Jurubeba” knocks one over And whoever drinks it falls If the drink is strong, All I ask that it will not go up “Jurubeba” knocks one over And whoever drinks it falls If the drink is strong, All I ask that it will not go up “Cachaça” with cataia Here in Cananeia Where the epic stops And the “piúba” rows Too little trough for the olive oil Of this azalea A lot of abed thighs Brew tea with “cutuba” I pass the crushed bunch That you offer me I’m a mass, I want this piece That the mass deserves I pass the crushed bunch That you offer me I’m a mass, I want this piece That the mass deserves That the mass deserves When people talk about Brazilian music today, I always think about rap. It is what gives me a scent of something new, you know? There is Lurdez and there are these kids coming around. - Flora Mattos, Homicide. - I like it too. I like these rap folks a lot. I like a kid called Ogi a lot. - Have you ever heard about this kid? - Yes. Ogi is great, man. He is a storyteller too. There are a few composers that... It is strange because they are partners, they are people who are close, it is hard to say: "Oh, something new I heard." I end up saying that because of the closeness and I know the work a little better, you know? This is the case of Rodrigo Campos, of Alessandra Leão. These are the people who enthused me the most lately. I agree that he, in these two cases too. I’ve heard a lot of records, both of Alessandra and of Rodrigo. She hasn’t even launched a record yet, but Luisa Maita’s MySpace I always considered great, of Tulipa Ruiz, the concert is amazing. Well, I wanted to get one that is way up on the top, but then I would have to climb up, so... What part of the city do you live in? Is São Paulo an influence on your music? It is inevitable, you know? I’ve already lived in several areas of São Paulo. Now I live on the Pompéia Avenue. São Paulo is what influenced me the most to start writing, in fact. I now am trying to talk about other things, about other types of feelings, but in the beginning it was only a description of the actual city. Well, I... I am a native of São Paulo, but do not consider myself as a “paulistano.” My family moved to Guarulhos when I was six months old. So I don’t consider myself “paulistano.” With regard to music, the São Paulo thing in my city. Of having this city thing in music, I’ve been increasingly more trying to play, to make the city swallow the character, always. Which is a thing Adoniran already used to do. Adoniran can tell any story. But there is some scene of the city there that swallows history. It might be a love story, a deception in love, but there is a detail there that it talks about such and such street, or... - Yes, yes. - You know? In nearly all the work of Adoniran, he talks about it. I think that is why he is the composer of São Paulo.