Moreno Veloso, photo by Caroline Bittencourt_4

Moreno Veloso interviewed by Adrian Simon

What’s up man? In Brazil makin’ music? Rehearsing a lot? Hanging out?

Yeah I’m producing a lot in the studio. I’m helping people in France make some records. I’m quite busy right now.

Who are you working with?

Well right now I’m doing a new Gilberto Gil album. It’s really great to work with him. He’s such a fantastic singer, and guitar player, and composer. He’s amazing. But I’m also helping two other singers in France to make records, they’re not very well known but I’m working with them also. I just finished a new live DVD of my father’s concert, which was good also.

Man you’re keeping busy

Yeah I’m working a lot, but I miss performing and being on stage with friends, making music together.

Do you still play with the members of the +2s when you perform?

No we ended the +2 name in 2008/2009, because we spent 10 years in this formation (Me, Domenico (Lancelotti), and (Alexandre) Kassin), and everything we did we had to do together and that was becoming more difficult with time. Kassin was producing much more than I was, but I was working a lot too, and Domenico was working on theater. We were getting very busy outside the band, but we also play with many other talented friends so we just stopped the +2 thing and kept it open to play with our other friends. The difficult thing was, every time someone would ask me to play somewhere I had to bring Domenico and Kassin with me, and vise versa for both of them. I would get a call from Kassin saying he had a show offer and that Domenico and I had to be there with him. But we’re still close friends and still play on each other’s records occasionally.

What mindset were you in making this record, and was it different than how you thought about making records in the past? Was there something new you wanted to accomplish?

There are many similarities between this record and records we made 10 years or so ago. The spirit, the concentration, how we work on the sounds is very delicate. We’re always having fun but at the same time it’s not a crazy party, it’s still very intimate, and we hoped the result would convey that care. And the spirit of it, the way we like to make music together, and the good feeling we had while we were making music; we tried to imprint it onto the tracks. I don’t know if we’ve succeeded but we have always worked in that way.

But there are also differences. On the first album, we worked on a specific sound for that band, with Domenico playing the electronic stuff, in hopes of mixing the traditional Brazilian way of singing and guitar playing with a weird, electronic, new sound. Now, we’re not thinking of that as much, just trying to make something we like and that’s a new way of doing things for us. Before, we wanted to make it sound very new, but now we’re not trying to do that, just trying to do music. I also went back to the place where I was born in Bahia; I was living there during the recording process with my family and my wife, and my kids. We spent a great time with my family there, and it was great to spend a few years in the city I was born in. It was very nice to be in Bahia, in Salvador. The recordings were mostly done in Rio, but in total there were 9 different studios, some in Japan, some in Salvador, some in New York. We just worked with friends, there were like 50 people involved in the record, and more than 30 musicians contribute some sound to it.

Is it important to you to have other people with you during the process?

It’s not just important. Without my friends I could not make anything. I’m very shy, I’m very lazy, I get insecure about how people feel when they hear our music. My friends are like fuel, they just make me work. On this record I worked with Pedro Sa, another friend, he’s a guitar player that works with my father right now. The last three albums my father made, he and I produced them. We formed this partnership very easily. He came to me and said, “let’s do another album, your album.” I said I don’t know, but he said, “No no let’s do it! This is the time!” I was just living in Bahia when he came to me and he just drove me to make it. I cannot say I did everything. We made it together, we produced the album together and that was amazing–A gift from my friends. I’ve had a lot of fun with this album. Of course it’s very emotional sometimes, but I still like it when I listen to it so I think, “Well that’s ok, let’s put it out.”

Will you play many shows?

Right now I don’t have a band together. I spoke to some other people who are drummers and bassists, and they were ready to do it but we haven’t really rehearsed yet. We plan to start playing in February or January.

I have to ask, because we’re in somewhat similar situations, what was it like to grow up with Caetano as your dad?

For me it was very nice to have him as my family. Not only because my parents and their parents are great people, but also because of the musical environment. I appreciated it a lot to grow up in such a musical environment. There were always friends of my parents, and friends of friends who were musicians who would play music at home, and I took part in those nights, trying to sing and compose. I wrote my first song at age 9 with my father. He recorded it and released it on his first album in the US. In fact, David [Byrne] put it on the first Brazil Classics compilation.

When I wrote that song, I just wanted to illustrate the energy I had at home. It was so nice to be at home with my parents, but of course, my father would travel a lot sometimes. I survived though. The worst thing was the press. When I was a kid I had nothing to say. I was doing nothing but studying in school and they kept trying to have an interview and take pictures and stuff. That was the only thing that was slightly annoying.

It’s annoying when you can tell someone is talking to you with an agenda.

Yes exactly. I’ve spoken some to Sean Lennon about it also.

It’s a crazy way to grow up, but pretty wonderful. I definitely relate to growing up in a perpetual state of making and listening to music, but I think for me the main thing that I didn’t realize was that being a musician was not a common professional choice. The thing is though, I’ve pretty much never had a second thought. When I was in high school people would ask me what I wanted to do, and I would say that I knew I would be a musician, and they would ask, “Aren’t you going to try and get a real job?” It took me a while to understand what they meant; I just always thought there was basically no other option.

I had a second thought. I went to University and studied physics. I worked in a lab on atomic physics. The musical part of my life is intense and deep. I breathe and live in it, music is something I really love and I’ve been happy to be around it my whole life, but math kind of came easily to me and I grew to love it. My mom said she was good at math when she was younger too. My musician friends had such a bad time in school, but it always made me happy. Not only math, but physics and chemistry too. When school finished, I couldn’t stop doing that stuff, I just love science.

That’s kind of a surprising other passion to have. I feel like most musicians discover weed before getting too deep into physics.

My father would always ask me what I was doing. He didn’t quite get why I was interested in University, but he was happy I was studious. In a way, I always think of it when I’m in the studio. It helps with repairing old stuff, and fine-tuning equipment. I’ve always tinkered around with stuff.

Do you think there’s a connection between physics and your music for you?

I don’t know if there’s that much of a connection, but I do think it helps to keep your mind open and in good shape. The day to day of physics is pretty different from music in almost every way though. However, life in the laboratory isn’t too far from life in the studio, you need partners and teamwork to get stuff done. Domenico and Kassin literally took me out of the University thing to go tour, but honestly I missed doing that stuff. In high school, my physics teacher was also a musician. He was a mentor to me, a figure that I was following because he also paired together these two disparate things I loved. He was doing both, but then chose science. I guess I was the opposite. I’m still in touch with him actually. My son is actually in the same class as his granddaughter, and his daughter is a singer and a musician too, and she teaches music to my daughter in a different school. AND the leader of my physics teacher’s band was my first music teacher in my life.

When I was 9 I started thinking about playing guitar. One time I was in my uncle’s house and my cousin was getting a guitar lesson, and I thought, “Oh my god I have to study that.” I talked to the teacher, and he started coming to my house and became friends with my father, and went on to become pretty successful writing music books.

Finally, what are you listening to these days?

Man, Sly and the Family Stone this morning. I have some friends in Brazil though who are about to put out their records, and I’m really impressed with them. One of Gilberto Gil’s sons, he had 8 children, and three of them are my cousins, but one of the youngest is helping me to produce the new Gilberto Gil album. He has a band called Tono which just put out a record and it’s amazing. I also like experimental stuff, there’s a band called Balea that I like. A lot of people are putting out good records in Brazil right now, so just feeling some pride for my country.

 

LYRICS

01. Lá e cá

Rodrigo Bartolo, Moreno Veloso e Quito Ribeiro

Vez em quando eu me pego sozinho a cantar
Uma melodia pra me ninar
É que nunca me cansei de sentir e de lembrar
dessas ondas que caminham no ar

E da minha voz se faz um poema pra guardar
dentro de uma concha branca do mar

E o destino dela foi revelado desde lá
por um vento vindo de outro lugar
Quem ouviu os seus segredos não esquece e quer cantar
essa melodia pra me ninar

E a água doce vem sorrindo bonita pra dançar
com quem junto à sua margem cantou

Em cada canção sou cego e sou guia
lá e cá
procurando o sossego e o amor

02. Um passo à frente
Moreno Veloso e Quito Ribeiro

Samba em dia de chuva
exagera alguma coisa
faz da dupla muito mais

Passa um frio na espinha
pelo calor da palmada
move a moça e o rapaz

Ela sorri com a barriga
ele corteja a preferida
amor a gente é muito mais

O samba é roda sem medida
a chuva agora é colorida
e a harmonia se refaz

Quando vão pela avenida
levam qualquer incerteza
é um passo à frente um passo atrás

Pega na barra da saia
tomara que caia
a barra da saia
tomara que saia
sambando eu vou

Minha imperfeição é a
voz da vez

03. Em todo lugar
Moreno Veloso

Levei as minhas roupas embora
levei algumas suas também
passei a chave em baixo da porta
na rua não passava ninguém

Deixei ficar um tempo distante
deixei minha saudade pra lá
mas mesmo sem ouvir o seu nome
seu rosto estava em todo lugar

Pra me ver chorar
ou só pra me ver partir
hoje
hoje
Hoje eu aprendi

não dá pra fugir

04. Verso simples

Domenico Lancellotti, Dudu Falcão
e Moreno Veloso

Se eu mandar meu coração
pra te buscar numa canção

Um verso simples bastaria
para te encontrar

A luz da lua mostraria
o caminho de voltar

Nela estanza del cuore
dentro questa oficina

Aspeto ancora
la Fata Turchina

Vieni a cantare
la mia canzone
te fa parlare
come una persona

05. Coisa boa
Domenico Lancellotti e Moreno Veloso

Tanta coisa boa
Nada é de ninguém
Fica aí à toa
Vou ficar também

E se a noite tem segredos
Eu não vou sair daqui
Nossa brincadeira agora
Pode ser também dormir

Tanta coisa boa
Nada é de ninguém
Fica aí à toa
Vou ficar também

E se precisar de um beijo
E se precisar de mim
Fico aqui a noite toda
Eu não vou sair daqui

06. Jacaré coruja

Moreno Veloso e Quito Ribeiro

Jacaré Coruja
mora em cima da árvore no meio da lagoa

Jacaré Coruja
de dia come milho
à noite bebe chuva
mas desapareceu
Desapareceu

Comprou um telefone para a Dona Coisa
De quem gostava tanto desde quando conheceu

Saiu pela janela atravessou o parque
Pra se encontrar com um pequeno grande amigo seu

Jacaré Coruja
por que você não sai dessa água suja?
Jacaré Coruja
por que você não sai dessa água suja?

07. Num galho de acácias
Un Peu D’amour
L. Silesu e A. Nilson Fysher
vers.: J. Carlos

Num galho de acácias amarelas
uma aranha fez a sua teia
E um besouro grande amigo delas
embarafustou na casa alheia

Tu és uma aranha cor-de-rosa
Por um beijo teu minh’alma anseia
Eu vivo uma vida dolorosa
preso nos fios da tua teia

Por “un peu d’amour “ uma agonia
A mão do destino nos apanha
Nos galhos da nossa fantasia
cada um de nós tem sua aranha

08. De tentar voltar
Domenico Lancellotti e Moreno Veloso

Um sorriso meu
troco por um beijo seu
Água que vai rolar
pelo meu olhar

Tarde pra chegar
Tarde pra deixar entrar
Nuvem que vai deitar sobre
esse lugar

Uma se perdeu no ar
Terra noite está
Cadê o mar?

Nada vai chegar
Tendo que tentar voltar
Longe do céu de lá
Esse seu olhar

09. Não acorde o neném
Domenico Lancellotti e Moreno Veloso

A lembrança minha que passa
é a saudade que te abraça

É uma tristezinha que cansa
a saudade que te balança

É do tempo da vovó
eu ficava muito só
quando olhava pra você

Paciência de filó
procurava seu amor
era vidro e se quebrou

Dê a mão pra menina
ela dorme tão bem

A saudade que passa
não acorda o neném

Foi foi só saudade
Só só só saudade

10. Hoje

Moreno Veloso

Eu posso esquecer
para ser mais feliz

Mas não vou
mudar nada
de tudo que eu fiz

É só não pensar
em nós
como a melhor parte de mim

Eu quero chegar
a um dia dizer

De tanto ficar só
vivo bem sem você

11. 同じ空 Onaji sora
モレノと嶺川貴子
Moreno Veloso e Takako Minekawa

同じ空だけど見てるものは違うの
同じ空なのに見えるものは違うよ

人は同じに見えるけど違うの
空も同じに見えるでも変わり続けて今を

同じ空の下見えるものは違った
同じ空の下見てるものは違った

人は同じで今をいきてるから
空も同じでずっと変わり続けてくの
今を

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