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Arthur Verocai - Arthur Verocai
CD Album
£12.99
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Vinyl LP
£17.99
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Arthur Verocai

Arthur Verocai

Luv N Haight

Released: 6th May 2013 | 10 track brazil album

In 1972 a repressive Brazilian military dictatorship frowned on artistic impression that might influence the youth of the country. However, producer, arranger and guitar player Arthur Verocai released a self-titled album on Brazilian based Continental Records that challenged the musical conventions of the day. His subtle protest experimented with new musical directions, and used figurative language to sneak under the censorship radar.

Luv N'Haight records is honored to release its first full-length Brazilian album. It's super rare and will appeal to fans of the folksy soul and lo-fi electronic experimentations of American artists like Shuggie Otis or the orchestration of producer Charles Stepney. Closest Brazilian comparisons would be to Tim Maia and Jorge Ben. This unique recording has a touch of folk, more than a hint of funk, jazz style soloing, amazing 20 piece string arrangements, blending of electronics and keyboards with organic sounds,
and superb soundtrack style music.

I used to listen to Blood Sweat and Tears, Chicago, Stan Kenton, Wes Montgomery, Jimmy Web, Frank Zappa, Herbie Hancock, Bill Evans and Miles Davis, Milton Nascimento, Bossa Nova, among others, explains Arthur Verocai. In Brazil we had many musical influences, and by that time there wasn't a hegemonic one in the market. In this way my album reflected a search and musical experimentation. I was in an adventurous mood on this album and that led me to explore new melodic, harmonic and rhythmic paths.

Verocai arrived at the 1972 album with a number of accomplishments under his belt. He'd produced the Ivan Lins 1971 album Agora which was influenced heavily by the sound of North American soul. He had contributed string arrangements to Jorge Ben releases, too. I also produced two albums by a singer named Célia for Continental and the president of the company was delighted with the results. He invited me to produce an album using my own compositions and I agreed as long as I was able to choose the musicians to perform with me. All the strings sessions featured 12 violins, 4 violas and 4 cellos, always with one or two percussionists. The idea of mixing strings with contemporary sounds came from my desire of searching for new paths. I think this album was very rich in terms of both quantity and quality of musicians!

Verocai wasn't messing around with his line-up of musicians, which included Brazilian legends like Robertinho Silva, Pascoal Meireles, Luiz Alves, Paulo Moura, Edson Maciel, Oberdan Magalhães (Banda Black Rio), Nivaldo Ornelas (Milton Nascimento band) and Toninho Horta.

Born Arthur Cortes Verocai in Rio de Janeiro, Brazil on 17/6/1945, he studied music with Léo Soares, Darci Villaverde, Nair Barbosa da Silva, Roberto Menescal and Vilma Graça. In 1966 Leny Andrade included his song Olhando o Mar (Looking at the Sea) on her We Are There album. Two years later Verocai participated in Musicanossa an event that brought together composers, musicians and singers in presentations to play live in the Santa Rosa Theater in Rio de Janeiro, for which he wrote his first arrangements. The live recording of the event included the songs Madrugada and Nova Manhã