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Descalços Sobre A Terra

by FLÁVIA MUNIZ

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1.
De onde vem toda essa sua calmaria Vem do Nepal ou da Bahia? Tempero de Angola O samba tem cheiro Do Brasil onde a gente mora
2.
Catavento 01:54
Catavento, parabólica Cocar, canafístula São palavras arredondadas Veja do meu ponto de vista Catavento gira Catavento gira Catavento gira Vendaval de flores pra ele
3.
Quando eu faço um poema Eu descanso da vida Boto a minha cantiga pra girar Esse parque tem coisas divertidas Eu vou caminhando paralelamente ao mar Carolina toma sol Enche meu coração Com sua alegria Boia nas ondas Parece mais uma pintura
4.
Cocorocô 02:59
Na roda de samba que eu vou Só fica parado quem está cansado Ou então não aprendeu Que o samba é sincopado E acaba indo embora por pensar Que está sambando errado Mas eu que fiquei no terreiro Até às seis da manhã Fui acordar o galo E disse pra ele A alvorada já tá pra chegar Acorda galo dorminhoco O samba não pode parar Afina o gogó Pra mandar o seu recado Cocorocô Cocorocô o galo cantou Cocorocô o galo cantou
5.
Curumim 01:59
Vem menino vem Vem menino vem cantar Vem menino vem cantar essa cantiga Essa cantiga de ninar Pra dizer que è domingo e um passarinho Vai pousar sobre a mata atlântica Lá do alto vai ver Todos seres da terra Com o menino a cantar Yauretê yauretê o mama
6.
Comment tu t'appelles? Je m'appelle Flávia Comment tu t'appelles? Je m'appelle Flowers Wait a minute I want to talk to you Shawadawa quer dizer arara Baniwá ticum traz meu tucumã Quero ver iandé Quero ver iandé Quero ver iandé No Japão Ra-ri-ra-ri-rê-rá-rá´rá-rá-ri-rá-ri-rá
7.
Índio Pé na terra Yawanawá, Tupi e Fulni-ô Tento entender como era Antes do colonizador Hê hê hê Descalços sobre a Terra Hê hê hê Repartir o chão
8.
As flores caídas na água Perfumam a rainha do mar Elas recebem o brilho das estrelas Que iluminam a sereia do mar Ela é a soberana das águas E tem seu trono no fundo do mar Ela é a iara dos rios Ela comanda a corrente do mar
9.
Tamuia 03:36
Zagundá undêraia, zagundá undêraia, Zagundá undêraia Achei uma peça rara dos Marajoaras Numa foto da coleção de postais do meu avô Naquela carta vinha escrita uma reza Muito parecida com a que ele me ensinou Eu vou jogar flores pra Iemanjá no mar Vixe Maria, vê se me acerta com um pouco de sorte! Já peguei meu patuá Dei pro pai abençoar Com aquelas palavras que vem lá de Belém do Pará Ô ô ô ô ô ô ô ô Xangô mandou acender uma vela No meio da clareira E pra matar minha sede Eu quero um balanço de rede Em Feira de Santana!
10.
Rebujo de Igarapé Onde a Cigarra canta Passa o dia encantando a noite Passa pelo ambé no escuro Desviando as arapucas Passa a ponte dos meninos que pulam Passa carro passa caminhão Eu vou é fincar esse ensejo E catucar pra não acabar Buscar rosas que avistei Para findar o nosso pousar
11.
Tomate vermelho, melancia vermelha O sangue corre na veia, eu não sou marciana Tô viva na Terra! Língua bate no céu na boca E provoca desejo Se eu rimar com beijo Denuncio o óbvio E se eu grito fogo Chamo o bombeiro Uaha Sinal vermelho, pare Sinal vermelho pare Sinal vermelho pare Dionísio sabe onde isso vai dar
12.
Oxalá meu pai Meu rei xangô Quando eu venho cantar É festa em Aruanda Quando eu venho cantar É festa em Aruanda
13.
Tamborim sincopado é estrada da vida Se há uma que vai, há uma outra que fica Vou cantar por aí meus brasões As histórias e ritos de mim Que essa brasilidade me explode como um rio São tantas heranças do samba deixadas pelo negro Num passo ritmado batuque de bamba agora sei A cultura é um caldo fervente, somatório de temperos E enquanto balanço na rede penetro o mistério Das raízes brasileiras
14.
Tengo Suerte 02:37
Luis envió una carta escrita con tinta amarilla Diciendo que traigo en los ojos el mar Respondí que tengo suerte Yo vivo mi vida cantando En el calor del verano Serpientes encanto Mi voz tiene un Pasaredo Balanceo de tu danza

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FORMATS: CD Digipak / Digital Album

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► Watch the official video-clip of "Brasil Onde A Gente Mora": bit.ly/2IappnQ
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Once again showing our passion for all the imaginable ways of understanding pop and also for Brazilian music, Elefant Records is releasing the debut album of one of Brazil’s most promising artists, Flávia Muniz. She is one of those characters who breathes life into everything around her; when you know about her life and you know her, it confirms the beauty that her songs transmit even more, if that’s even possible. Her first album, “Descalços Sobre A Terra”, is a marvelous and clear example of Música Popular Brasileña, rich in rhythms, harmonies, and arrangements, which pays its debt to the great classics of Rio.

Born in 1976, she got her degree in Unirio in Música Popular Brasileña, where she developed her music under teachers like Luis Otávio Braga,Roberto Gnattali,Rick Ventura,Avelino Romero,Maria Haro andMirna Rubin. In 2007, she was in a coma from which she emerged unharmed, but which forced her to “relearn how to breathe, to speak, to walk, to eat, and to sing”, as she herself says. A nature lover and always inspired by nature, she got her strength back by writing books (“Quero ver verdejar”, “Vilarejo”, “Bárbara e a baleia”, “A história da menina que chorava letras”, “Joana e Altamira”, “Menino, grande menino” and “Verde Maduro”) which garner a certain amount of acclaim and are even held as examples for children’s activities. The other thing that helped her recover was continuing to work with her Brazilian indie-pop band, LUISA MANDOU UM BEIJO. She recorded three albums with them as the lead singer, even writing many of the songs, but she slowly began to surround herself with other musicians who connected to her life philosophy. This gave way to the band with which she released her first album. O OLHO MÁGICO - Bruno Reis(Brazilian guitar), Felipe Rodrigues (guitar), Rodrigo Sebastian (double bass), Rômulo Frazão (flute) y Thiago Kobe (drums) – have been key figures in the recording process of “Descalços Sobre A Terra”, which was done in an absolutely acoustic format that connects Brazilian tradition and roots to samba and bossa, and even to pop music.

The album is light and colorful as few that have come out in recent years, and it’s easy to see Flávia’s exquisite musical training, mixed with classical styles, the strength of Elis Regina, the elegance of Gal Costa, the amazing imagination of tropicalism and the unbridled creativity of Caetano Veloso, the cheerfulness of Evinha, and the universal qualities of Vinicius de Moraes. “Brasil Onde A Gente Mora” is a trip with theQUARTETO EM CY to Veloso’s “Estrangeiro”, with a chorus that in and of itself is like a hymn, and it’s an absolutely incredible opening track for the album. “Catavento” has a complex instrumentation that wouldn’t have sounded out of place at all on the album that defined tropicalism. “Cocorocô” is another of the album’s greatest gems, and it has the vivacious ability to make a rainbow out of every note, like Toquinho and Baden Pow did in their most samba-heavy eras. With that typical Brazilian ability to jump from one language to another, “Comment Tu T'appelles” switches from French to Ingles and back to Portuguese as if it were a children’s game. “Mãe D'água” and “Tamuia” return to samba with rich poetry and rhythms, with the class of Nara Leao and the performative power of Marisa Monte. “Rebujo De Igarapé” builds a bridge from the Bahia to the Adriatic Sea. “To Viva Na Terra” proves that reggae went through Brazil on its way to Jamaica, and once again shows Flávia Muniz’s passion for life – strong and powerful, delicious and delicate. “Festa Em Aruanda” lets Brazil’s popular roots grow again through the great female voices of the Brazilian samba. “Raízes Brasileiras” is the song that explains it all, the music and where it came from, with musical origins that are unique in all the world, and exuberantly rich, like when she says, “Que esa esencia brasileña me explote como un río (…) La cultura es un caldo de ebullición, suma de especias” (Let this Brazilian essence run through me like a river… The culture is a boiling pot, a sum of spices). And the album closes with that “Tengo Suerte”, which is 100% homage, somewhere between the Charleston and a memory from Bizet’s “Carmen” and that line, “Tengo suerte. Yo vivo mi vida cantando” (I’m lucky. I live my life singing).

The album is full of personality, a great homage to the roots of Brazilian music, to the country’s classics, sifted through Flávia Muniz’s palette with joy, letting it soak in other, diverse influences, but above all it has that sing-songy voice that is slippery and playful, so typical of her and so delicious. She is releasing her first and wonderful album on Elefant Records, but, since it couldn’t be any other way, with her heart looking towards Rio.

credits

released September 24, 2012

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