Moraes Moreira is Carnival in an album in which Orquestra Frevo do Mundo revives party-loving hits that broke the border between Bahia and Pernambuco

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The album revives the artist’s hits with a cast that brings together Maria Rita, Lenine, Criolo, Otto, Céu and Luiz Caldas in recordings valued by the wind arrangements of maestros from Pernambuco. Cover of the album ‘Moraes é frevo’, by Orquestra Frevo do Mundo Illustration by Magoo Felix Album review Title: Moraes é frevo Artist: Orquestra Frevo do Mundo – with Agnes Nunes, Céu, Criolo, Davi Moraes, Lenine, Luiz Caldas, Maria Rita, Moraes Moreira (1947 – 2020), Moreno Veloso, Otto and Uana Edition: Muzak Music Rating: ★ ★ ★ ★ 1/2 ♪ Eight years before Gerônimo and Luiz Caldas launched in 1985 fundamental stones of music that would be labeled and industrialized with the axé music label, Antonio Carlos Moreira Pires (July 8, 1947 – April 13, 2020) – Moraes Moreira – electrified the Bahia Carnival and, in a way, anticipated the era of axé by writing Double morse ( 1975), instrumental theme by Trio Elétrico Dodô & Osmar. Homing Pigeon, the title of the version with lyrics, took flight in 1977 and paved the way for the solo career started by the new Bahian in 1975. Since then, Moraes Moreira broke the carnival borders of Bahia and Pernambuco by composing frevos that followed in the footsteps of the musical genre Pernambuco with the Bahian flavor of electric trios. Third album by Orquestra Frevo do Mundo, a big band formed in 2007 and created by Marcelo Soares and Pupillo to reintroduce frevo in other steps, Moraes is frevo! is the best title in the series for reviving Moraes Moreira’s revelry hits with arrangers’ songs celebrated during the Pernambuco Carnival. The winds orchestrated by maestros Duda (José Ursicino da Silva), Henrique Albino, Nilsinho Amarante and Spok pay homage to the Bahian composer without inventing fashion and guarantee the energetic pulse of the album created by Pupillo and Marcelo Soares with Davi Moraes, Moreira’s son. In the illustration by Magoo Felix displayed on the cover of the album, scheduled to be released on Friday, January 19, the image of Moraes Moreira appears between an umbrella – symbol of the frevo that rocks the Carnivals of Olinda (PE) and Recife (PE ) – and an electric trio, placing the singer and composer on the revelry map of Brazil in transit exposed in the descriptive verses of Vassourinhaelectrica (1980), heard in the voice of the pioneer Luiz Caldas, who plays the Bahian guitar, harmonized on the track with orchestrated winds by maestro Henrique Albino. On the foundations laid by Davi Moraes (guitar), Kassin (bass) and Pupillo (drums), the arrangers breathe heat in vibrant orchestrations that make the bed for the team of performers to hit the frevo rhythm. The aforementioned Carrier Pigeon, for example, has the lively voice of Otto from Pernambuco. Maestros Duda (top left), Henrique Albino (top right), Nilsinho Amarante (bottom left) and Spok are the arrangers of the album ‘Moraes é frevo’ Disclosure / Montage g1 Lenine is also at home giving voice Pernambuco “my”, Moraes Moreira’s leap-year partnership with Paulo Leminski (1944 – 1989) presented by the artist on the album Coisa acesa (1982) and since then never re-recorded. Henrique Albino’s arrangement asks the voices to reproduce the phrases of the wind instruments, trying to echo the atmosphere of street Carnival. Next comes the most difficult track on the album. Frevo march created in a June square dance atmosphere, Festa do interior (Moraes Moreira and Abel Silva, 1981) marked Brazil so much in the matrix voice of Gal Costa (1945 – 2022) and in the referential arrangement of Lincoln Olivetti (1954 – 2015) that Not even a singer of Maria Rita’s stature, putting her voice on a good recording arranged by Nilsinho Amarante, can make the listener dissociate Festa do Interior from Gal’s singing and Lincoln’s arrangement. Criolo impresses by clearly evoking Moraes Moreira’s singing in the frevo version of the song Preta pretinha (Moraes Moreira and Luiz Galvão, 1972). After the astonishment generated by the initial impression that it is Moraes who sings on the track, the recording flows very well with an arrangement in which maestro Spok references the lesser-known re-recording of Preta pretinha made by Novos Baianos in the frevo step for the album Vamos pro mundo (1974), the first of the group without Moraes in the lineup. Another highlight is Coisa acesa (Moraes Moreira and Fausto Nilo, 1982) for the contrast between the fervor of Nilsinho Amarante’s arrangement and the soft singing of Agnes Nunes, a young artist from Bahia who rekindles frevo with the delicious accent from Moraes’ land. The track is the only one recorded with a synthesizer, in allusion to the Minimoog solo done by Robson Jorge (1954 – 1992) on the original recording of the album Coisa acesa (1982). Romantic ballad presented by Moraes Moreira on the album Mestiço é Isso (recorded in 1986 and released in January 1987) with a radio pop feel that won over FM listeners, Sintonia becomes a vintage frevo-song in the voice of Céu. The recording moves when the Arrangement by Henrique Albino opens space for the voices of the singers from Bloco da Saudade, reminiscent of the Carnivals of old Recife. Next, the album re-presents one of the most unknown frevos from Moraes’ songbook, Todo mundo quer, released by the author on the album Pintando o octa (1983) and until then never re-recorded. Davi Moraes and Moreno Veloso come together to revive, with an arrangement by Henrique Albino, a Frevo pioneer in preaching gender freedom. Presented in 1979 in the rhythm of ijexá, Eu sou o Carnaval (Moraes Moreira and Antonio Risério) tries to follow the frevo rhythm in Uana’s voice and the frenzy of Nilsinho Amarante’s wind arrangement. At the end of the album, Moraes Moreira celebrates in Guitarra baiana (1975). The singer’s voice is that of the recording made for the artist’s first solo album, but in Moraes é frevo, Davi Moraes plays the guitar on the track with a Bahian atmosphere – in a posthumous meeting between father and son – in an arrangement without woodwinds that encompasses Pupillo’s deafness. More than frevo, the Orquestra Frevo do Mundo album reminds us that Moraes Moreira was – and still is – Carnival itself. Team of performers from the album ‘Moraes é frevo’, by Orquestra Frevo do Mundo, includes Lenine (top, left) and Luiz Caldas (bottom, right) Publicity photos / Publicity montage

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