Cacaso’s poetry emerges in the waters of tribute to the 80th birthday of the lyricist who spoke about calms and storms of the human soul

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The track by Carlinhos Vergueiro is the highlight of the album that also highlights recordings by Joyce Moreno, Ney Matogrosso, Edu Lobo, Luísa Lacerda, Filó Machado and Alaíde Costa. Cacaso (1944 – 1987), a great MPB lyricist revealed in the 1970s, receives a tribute on an album that celebrates the poet and composer’s 80th birthday Personal collection of Rosa Emilia Dias and Pedro Landim Cover of the album ‘Cacaso 80 anos’ Personal collection of Rosa Emilia Dias and Pedro Landim with graphic art by Leandro Arraes Album review Title: Cacaso 80 anos Artist: Alaíde Costa, Camilla Faustino, Carlinhos Vergueiro, Claudio Nucci, Edu Lobo, Eduardo Gudin, Filó Machado, Joyce Moreno, Leila Pinheiro, Luísa Lacerda, Ney Matogrosso, Rosa Emilia Dias, Toquinho and Zé Renato Edition: Kuarup Rating: ★ ★ ★ ★ “When the sea has more secrets / It’s not when it’s agitated / It’s not even when it’s stormy / It’s not even when it’s windy / When the sea has more secrets / That’s when it’s… calm.” ♪ Presented by the singer Marília Barbosa in 1975 and amplified the following year by the deep voice of Maria Bethânia, in a recording made for the album Pássaro prohibited (1976), the verses of Amor amor exemplify the skill of the Minas Gerais composer Antônio Carlos Ferreira de Brito (13 March 1944 – December 27, 1987), Cacaso, to combine simplicity and depth in song lyrics bathed in poetry. Cacaso’s partnership with Sueli Costa (1943 – 2023), author of the beautiful melody, the song Amor amor is unfortunately absent from the repertoire of the phonographic tribute designed and produced by Renato Vieira to celebrate Cacaso’s 80th birthday on the 13th. record label Kuarup, with a cover that shows the poet looking at the calm of the sea in a photo from Rosa Emilia Dias’ personal collection, the album Cacaso 80 anos arrives on the digital world on Friday, March 8, with 12 other songs by this lyricist composer who emerged in MPB in the 1970s and left the scene prematurely, at the age of 43, at the end of 1987. Without inventing fashion to “update” Cacaso’s work, the album flows well in a traditional way. The opening is in samba rhythm with Joyce Moreno giving voice to the hitherto unreleased original lyrics of Gente seria, a partnership between Cacaso and Joyce created between 1976 and 1977. With verses that touch on mordacity, Cacaso shapes a portrait of the contradictions of Brazil, a country that there are “starry skies, idle talk, debacle and deputies”. With voice and guitar, in addition to the tambourine and caxixi played by drummer Tutty Moreno, Joyce recovers both the original lyrics of Gente seria and sings, in another track, the lyrics altered by Cacaso himself to be presented by Emílio Santiago (1946 – 2013) on the album Ensaio de amor (1982). Afterwards, also equipped with voice and guitar, Zé Renato dives back into Fonte da vida (1982), a partnership with Cacaso that gave birth to the singer’s first solo album released in 1979 as lead singer of the group Boca Livre. Recorded between April and December 2023, the album gains importance when it introduces singers into the poetic universe of Cacaso. This is the case of Ney Matogrosso, who recorded the lyricist for the first time, giving his (good) 82-year-old voice to the poet’s partnership with Djavan, Lambada de cobra (1980), in a recording made with piano, arrangement and musical direction by Alexandre Vianna. Camilla Faustino also debuts in the Cacaso songbook, with correction, but without an extra touch, when she sings Francamente (1980) in a duet with Toquinho, Cacaso’s partner in the song rehearsed in a recording conducted by Toquinho’s own guitar. The track lacks the shine of Perfume de onion (1984), a samba seasoned with the jazzy aroma of Filó Machado, singer and guitarist of the re-recording of this song that the artist composed with Cacaso and released 40 years ago. Filó falls into a swing that evokes the swings of Joyce Moreno and João Bosco. In a more chamber-like universe, Alaíde Costa shows class in Dentro de mim mora um angel (1975), a partnership between Cacaso and Sueli Costa, the original interpreter of this great song amplified in the voice of Fafá de Belém in a recording of the album Banho de smell (1978). The tribute’s approach combines Alaíde’s singing with Alexandre Vianna’s piano playing. In addition to the providential financial savings, the option for minimalist arrangements – generally based on one or two instruments – contributed to highlighting the poetry of Cacaso’s lyrics. This is what happens in the recording of Refém (1981), the album’s highest point. “I never loved anyone / I never owed a penny / Nor did I find my trail / I lost myself far beyond / Being my own hostage / In the solitude of an island”, reevaluates Carlinhos Vergueiro when redoing Cacaso’s existential balance in what was the only partnership between the poet and Vergueiro, recorded by the singer on the album Passagem (1981). In the poignant re-recording of Refém, the performer’s singing is in tune with the refined weave of the guitars played by Luiz Maranhão and Vergueiro himself. Also from 1981 is the samba-canção Alma, one of Eduardo Gudin’s three partnerships with Cacaso. Gudin revives Alma with voice, guitars and the melancholy embedded in the verses of one of the lyrics with the least poetic content in Cacaso’s songbook. Afterwards, with voice and guitars, Claudio Nucci lightens the mood with the memory of Things (1984), a theme in whose lyrics Cacaso – owner of poetry that is almost always dense – allowed himself to be funny with verses like serelepes like “A vaca avacalhou / The banana went crazy / The shadow haunted / The lightning struck / The freak went crazy.” With the touch of her own keyboards, Leila Pinheiro once again thickens the album by revisiting Triste Baía da Guanabara (Novelli and Cacaso, 1980) with the usual correction. In a luminous and sophisticated moment, Edu Lobo and Luísa Lacerda make sadness a lady in the recording of the song O Don do Place (1976), a partnership between Lobo and Cacaso revived with piano, arrangement and musical direction by Cristovão Bastos. Another high point. Completing the repertoire of the album Cacaso 80 anos is a pre-existing recording of Árvore da vida by singer and composer Rosa Emilia Dias, Cacaso’s partner in music and life. Tree of life was released by Rosa on the album Ultraleve (1988) and re-recorded by the artist, 30 years later, on the album Madrigal (2018). It is this phonogram from 2018 that is rewound in the welcome tribute to the octogenarian Cacaso, a lyricist who bathed Brazilian music in poetry, exposing in verse the calms and storms of the human soul.

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