At 80 years old, Dori Caymmi flirts with lightness in the album ‘Prosa & papo’ without moving away from the artist’s ‘inside world’

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With eight new songs on 11 tracks, the album is an ode to the city of Rio de Janeiro in a composition recorded with Joyce Moreno, MPB4 and Zé Renato. Dori Caymmi launches tomorrow, April 12th, the album ‘Prosa & papo’ with eight new songs among the eleven tracks Nana Moraes / Disclosure Cover of the album ‘Prosa & papo’, by Dori Caymmi Nana Moraes Album review Title: Prosa & papo Artist: Dori Caymmi Edition: Biscoito Fino Rating: ★ ★ ★ 1/2 ♪ Album that Dori Caymmi releases tomorrow, April 12th, Prosa & papo presents a less inspired crop of songs in comparison with the repertoires of the previous albums by the Rio composer from the 80s years. However, Prosa & papo lacks great attractions and subtle differences in relation to the five dense last albums – Inner world / Mundo de Dentro (2009 / 2010), Poesia musicalada (2011), Seventy years (2014), Voz de mágoa – Música do Brasil (2017) and Sentimental Sonnets for guitar and orchestra (2022) – from the Rio artist’s solo discography. The subtle difference lies in the fact that there is a certain lightness in songs such as the samba Chato (recorded by Dori with João Cavalcanti), the samba-canção Um carioca vive dying de amor – ode made by Dori to his hometown of Rio de Janeiro in recording with Joyce Moreno (perfect translation of bossa carioca), MPB4 and Zé Renato – and in the composition that names the album, Prosa & papo, written by Paulo César Pinheiro with the motto (‘Carrapixo é mato, carrapato é bicho’) coined by Dorival Caymmi (1914 – 2008), Dori’s father and owner of a matrix songbook that left Bahia and ended up in Rio. Because it has a certain dose of urbanity, the album Prosa & papo is less immersed in the forests, seas and rivers that bathe the poetry set to music by Paulo César Pinheiro, author of the lyrics of nine of the 11 songs on the album, but it does not stray far from this poetic universe. The two exceptions are the lyrics written by Roberto Didio for Evoé, Nação! – celebration of the musical Brazil of Ary Barroso (1903 – 1964), festival, Geraldo Vandré, Pelé (1940 – 2022) and Tom Jobim (1927 – 1994), among many other great names mentioned in the verses of the lyrics that evoke Paratodos (1993) by Chico Buarque – and for Canto para Mercedes Sosa, a tribute to the Argentine singer Mercedes Sosa (1935 – 2009), voice of resistance from Latin America. Both tracks are backed by imposing voices. Guest at the requiem for the Argentine artist, Renato Braz carries in his voice the warm blood mentioned in the lyrics in honor of Mercedes. Now Evoé, Nation! it combines Dori’s singing with the clear voices of Joyce Moreno and Mônica Salmaso, with whom Dori recorded an album released two years ago, Canto sedutor (2022). By the way, three songs from this album with Salmaso – Aágua do rio doce, Raça morena and the title composition Canto sedutor – are individually recorded by Dori in Prosa & papo, joining eight new songs in the repertoire. From the unprecedented authorial vintage of Dori with Pinheiro, the baião Três Moças moves the album to the northeastern universe. Skirt of Lace revolves in the rhythm of beach festivals with Brazilianness naturally embedded in the songbook of Dori Caymmi and Paulo César Pinheiro. At the end of the album, Canção parte – recorded with contributions from Ana Rabello on cavaquinho and Julião Pinheiro on seven-string guitar – embodies the sadness and density that permeate Dori Caymmi’s musical world – an inside world that has nothing to do with the artist’s surly humor in social life. “Every singer who sings wants to cry”, states Dori in the track, with the hurt voice underlined by the serene touch of Julião’s guitar. Yes, Dori Caymmi’s singing seems like she wants to cry and becomes more seductive when she enters the rich inner world of the great octogenarian singer, composer and arranger.

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