In the early 1970s, the Beatles had hung up their cleats and left a giant void in the soul of the young people who were their fans, then, we began to listen to imported progressive music. It was cool, but to me, something was missing.
One day, my brother and neighbor from across the street, Duda Neves, appeared with a record, “The Maestro”, by Moacir Santos. We began to listen, again, and again, and then it became a habit, almost an addiction. It was as if that emptiness was being filled.
That song was a whole new universe for us, but with a very familiar root. It was the Afro-Brazilian genetics that had begun to manifest itself in the soul of the people, the poor youth of a colonized country under a military dictatorship.
The delicacy of the main melodies, the sophisticated rhythm, and the very inspired counter-arrangements were fused into a marvelous and colorful ensemble unlike anything we had ever heard.
I thought, “will I one day have the pleasure of knowing this Maestro and, who knows, have a lesson with him? It would be great !!! “
Well, time went on, things happening, until we went to LA in 1982 to record the album “Luz” with Djavan, and we insisted, Zé Nogueira (saxophonist of Sururu de Capote), and I – both big fans of Maestro – , so that he, Djavan, invited him to make one of the arrangements of the album. It worked! Maestro wrote a jewel, a masterpiece on the already recorded basis of “Capim”, Djavan’s composition.
I invite you to enjoy the genius of this maestro who was and has been my greatest inspiration and guru since those times!