“…and he said have a party. obedient, perhaps out of overzealousness, we made several. expelled from our native land, where almost all fruits were forbidden and mangoes with milk were offensive, we occupied other people’s land. That’s where we danced. it looked like no man’s land of so many different people and dances. Migrant people God knows where from. Galega giving umbigada and Japanese guaranteeing themselves in a thigh bump that I only see to believe. expelled from paradise (which is not a place for street vendors), we spread out from jabaquara to tucuruvi, from barra funda to itaquera. there were immigrants who ended up in sumaré and came to command drag-foot and beat the bass drum through the village of Madalena. not to mention those that appeared on the left bank of the seine, in paris, on the ramblas of barcelona or under the burning skies of new york. Woe to you, Copacabana. Woe to you, superquadras, lagoon da joaquina, wire opera. sprouted from the ground, like mata-pasto and berduégua after the first rain. the subway sewers, the shallow and unmeasured graves, the maid’s quarters, the service entrances.
from building janitors used to the multidisciplinarity of piloting the intercom and lending a hand with the Madame’s Fair, at the same time, the evolution to djs and mcs was not difficult. with the kids kicking ass in the mixes of hip hop with xaxado and in the mix of the intended kinship findings in the raw materials of rap and suddenly. I don’t know if he has a good eye (so he, who sees everything) this business of a Jewish boy taking off with a maloqueiro and favelado’s cap sampling the ravila naga to fit in the morals of the Anjos y Marmanjos da Guarda.
but who am I to know? when he made light and breathed life into his creatures, including man in his image and likeness, he contemplated his work and was satisfied with what he saw, he left a gap for us to seek our own satisfaction. happiness even. knee was not made just for genuflection. well used in a frevo steps it has its value. It’s okay that there are people wanting to freak out the calendar: if forty days after every out-of-season carnival there’s a holy week, with crucifixion and everything, then the house falls apart. there is no knee that can withstand it and most do not even go through purgatory. I only know that, whether the harvest is good or bad, for many the June festival is also sacred (ops!). …because there is forró and frevo.” (francisco, it’s me)
Singer and songwriter Chico César immerses two main popular festivals in the Northeast (Carnival and June festivities) in the spirit to create a joyful record in which the focus is on the strength of the rhythms that animate these parties: frevo and forró. And yet in the dialogue that these rhythms naturally have with universal bits. For example: xote with reggae, frevo and drag-foot with ska. With regard specifically to frevo, a novelty: the combination of the language of the brass orchestras of Pernambuco with the Bahian guitar of the 70s Salvador electric trios, in which the folia was under the command of Dodô and Osmar. In order to seek a universal sound, he called producer Bid (the same producer of Chico Science and Nação Zumbi’s second album), with whom he shares the production of the album. The mixing is by Mário Caldato Jr. The Northeastern flavor is due to the presence of musicians from Paraíba, Bahia and Pernambuco. Among them, the great Armandinho and his electric stick (honored on the record) and Spock and his orchestra (representing the renewal of the Pernambuco genre). old days of the Rozemblit label. Dominguinhos lends his voice and accordion in the song “Deus me Proteja” and Seu Jorge is the guest in “Dentro”. The album is basically composed of unreleased songs by Chico César himself. With just one re-recording: the “Marcha da Cueca”, by the late Livardo Alves, also from Paraíba (“I kill, I kill whoever stole my underwear to make a dish towel…). In short, a light record to play in the streets. and on the slopes, with a strong regional and international appeal. To lift the dust and the spirits, inspired by the healthy state of mind with which the Northeastern people face and celebrate their parties.
Produced by bid and chico césar for cheetah discs
mixed by mario caldato jr. at the studio ar (rio de janeiro/rj) with assistance from bruno stheling and igor ferreira mastered by ricardo garcia (magic master) with assistance from Luciano Tarta executive production: maristela garcia (chita disco) and airton valadão jr (production agency) recorded by evaldo luna and bid in the ethereal studio of remembrances de chita with assistance from william “zulu” gil. except: “pelado” – drums, bass and guitars (by ivan huol, at huol criações studio, salvador/ba) and brass (by albérico jr, at carranca studio, reef/pe). “marcha da cueca” – voice by claudionor germano (by albérico jr, at studio carranca, reef/pe) and bass (by lautaro wlasenkov, at zen studio, brasilia/df) edits and post-production: bid (soulcity:studios) illustrations and graphic design: Adams Carvalho
What was said
“After spending the last three years walking through a more intimate area, Chico looked for another type of musical communication. “I wanted something more connected to the body than to the intellect”, He looked for BiD, who has already produced Chico Science & Nação Zumbi (Afrociberdelia) and mundolivresa, who, in turn, indicated Mario Caldato Jr. for mixing. The result is 14 fun songs to listen to any day of the week , at any time of the year, but obligatorily when there is a party.” Lívia Deodato, The State of Sao Paulo.
“Chico César happily resumes his popular appeal with the album Francisco forró y frevo, produced by him and BiD (Chico Science & Nação Zumbi, Marcelo D2, Otto ), responsible for the effects and electronic elements, and mixed by Brazilian-American Mario Caldato Jr. (Marisa Monte, Beastie Boys, Beck, Moby, Blur). Nordeste, Carnaval and São João. For this, it uses the rhythms of frevo (which applies to the streets of Recife and Olinda as well as to the Bahian guitar of the electric trios in Salvador in the 1970s) and forró and variables (in addition to of his dialogues with reggae and ska).” Hagamemnon Brito, Correio da Bahia.
“In stores this week, the album impresses with the excellent quality of Chico’s unreleased crop, which emphasizes reggae’s rhythmic affinity with xote in tracks like ‘Comer na Mão’ and ‘Ociosa’. The album has a festive tone. In the opening track, the frevo ‘Girassol’, Fernando Catatau’s guitars signal the intention of the artist – who produced the CD alongside BiD – to seek other sounds for the genre .” Mauro Ferreira, The Day.