Brazil knew how to develop so well and is so proud of us. The song is the music and it is the words. It is not just music, which in itself is an art of immense value. And it's not just the verses, as we find them delicious in the poets' lyric. <\/p>\n\n\n\n
It can even be said that there is a specific musical activity for the song, just as there is also a very particular way of writing its words. However, we do not have a suitable word in our language to designate those who make songs. <\/p>\n<\/div><\/div>\n\n\n\n
We say composer, but that term originally refers to those who \u201ccompose or write music\u201d. In English, a songwriter is called a songwriter, as in French he is said to be a chansonnier, both of which are derived from \u201csong\u201d (ie, song and chanson, respectively). Song Portuguese, as well as Italian canzoniere and Spanish song, refer to a collection of songs (this is how we say, for example, \u201cDorival Caymmi's songbook\u201d), and not to those who make them. But in Italian and Spanish there is the word cantautore and cantautor, respectively, a term that refers to those who sing their own songs and which, in Portuguese, we do not know.<\/p>\n\n\n\n
It will look like a trifle. Perhaps. But it does not cease to intrigue us\nthere should be a suitable name for an art of such relevance to the\nBrazilian culture. It is an art of the highest complexity. After all, as if\nmakes a song? It is necessary to find the new melody, to cover it with the\nappropriate and insinuating harmony, seek, in addition, the words whose sonority\nand sense fit precisely to the melody. That's when it's not music before\nthat adapts to the words, because the composer can also work on\nprevious text, yours or others.<\/p>\n\n\n\n
It is in this sense that Jaime Santos is an artist of the song, a genuine Brazilian \u201ccomposer\u201d. And \u201ccantautor\u201d (let us accept the necessary foreignness) of excellent quality. In Jaime we have the authentic Brazilian popular song. He does not use specific poem forms, such as the sonnet, nor does he work with certain metrics, such as the decyllable verse. Nothing like that. His poetics are entirely free, dictated only by the melody of the music with which he adjusts and harmonizes. And the themes all come from his own daily life. \u201cJaime Santos\u201d, writes correctly * Guinga on the back cover of the CD Pomegranate<\/em>, \u201cretrata a realidade da sua vida com toda a honestidade, e \u00e9 isto que um compositor deve fazer\u201d.<\/p>* Testimony by Guinga (guitarist and composer of Brazilian music, on the back cover of the CD Pomegranate by Jaime Santos.<\/cite><\/blockquote>\n\n\n\nBut where does this come from? That is, how do you learn to make songs? Certainly\nit's not at school. In fact, Jaime, a boy from the periphery, only entered school\nbelatedly. It happened that a neighbor named Sila one day introduced him to what,\nfor Jaime, then nine years old, he represented his \u201ccat jump\u201d (expression\npopular and tasty with which we can perhaps translate what academics\nname a Epiphany).<\/em>Indeed,\nSila showed him vinyl from the generation immediately heir to Bossa Nova: Chico\nBuarque de Holanda and the tropicalistas, among other artists of that always very\nprestigious gold generation of our MPB. Now, it is understood that it was not easy\nfor a poor kid to have access to vinyl records. That's how Jaime got ready\nworking for Sila's father, which always allowed him to hear those precious\ndiscs.<\/p>\n\n\n\nA few years later, one of his brothers came home with a guitar, a\n\u201cStick came\u201d, as Jaime likes to say jokingly. With the support of your friend\nEverton, Passarinho, Jaime not only understood how that\ninstrument, as well as learned his first two chords. Few though,\nthese already served him to compose his first song, with which he reached the\nsecond place in a talent festival at La Salle school, in Canoas.<\/p>\n\n\n\n
In fact, music was in Jaime forever: in his mother's voice\nwho liked to sing radio hits (it would have been with him that he\nlearned to sing) and the pride of the indigenous father, who put him as a boy on\nthe table to sing some samba or bolero for your guests.<\/p>\n\n\n\n
However, talent just won't be worth much if it doesn't\nthere is also persistence and discipline. In fact, in this Brazil so\nfew opportunities, how many talents do not fall halfway,\npotentialities that are never realized! <\/p>\n\n\n\n
It turns out that with Jaime it was different. The boy who grew up\nlistening to the mother sing, that the father raised on the table to sing to his friends,\nthe boy who, having only learned a few chords, wrote alone a\nsong to represent the school class, classifying it in an artistic competition,\nthe young man who, some clothes in the suitcase and the guitar in the bag, boldly decided\n\u201cSet foot in the profession\u201d, the man who crossed the Atlantic, taking the song\nBrazilian with you to the world, Jaime Santos never gave up. And never gave up\nbecause I knew, I always knew, since I heard those vinyls with Sila, the one that came\nin this world.<\/p>\n\n\n\n
The CD Pomegranate<\/em>.your opera cousin<\/em>, is thus the result of years of learning. It is, therefore, the moment\ndefinitive and decisive when the apprentice proves to be a master for all who have\nears to hear. They say you have to travel to tell stories. Because\nJaime traveled around Brazil, and in Pomegranate<\/em>\npresents us with a good part of the sounds and themes that cross the country: from\ncoast to the interior, from northeastern intent to urban south, passing through the\nsoutheast, transversality is undoubtedly the hallmark of this work. Pomegranate<\/em> recognizes, inventes, sublimates and\npresents in sounds and words the Brazil we love.<\/p>\n\n\n\nWith elaborate harmonies and contagious melodies, the songs follow the\ntrack of the best strain of our magnificent MPB, while the lyrics (from the\nJaime or his partners) delight us and surprise us every moment with the\nsonority and the meaning that words take in the unique context of the song. <\/p>\n\n\n\n
Much can be said about this flow inspired by sound words,\nbut some representative verses will be sufficient for us at the moment: \u201cThe\nstreet movement \/ It is already visible \/ And the silence outside wants to die \u201d(The color of\nday); \u201cGood and tasty fruit \/ Who looking at me wants\u201d (Pomegranate); \u201cIf loving is part\nfrom me \/ The sea is the beginning and the end \u201d(Cais do porto); \u201cThe heart beats, for \/\nThen listen to bull talk \/ The Cala-Boca bull complains about the boss \/ The man\nit was never stronger than the ox (Conversation of oxen); \u201cAligned our headlights\n\/ I expect a signal from you \/ The ships, our ports \/ The storm is over\n(Headlights); \u201cWe weave light and shadow \/ paths to get lost\u201d (Oil on\nscreen). <\/p>\n\n\n\n
These verses (and there are others of equal value), already in themselves of great\nartistic expressiveness, gain a sublime sense when sung - and it is precisely\nthis, we have already said, the art of song.<\/p>\n\n\n\n
We could go on talking about Jaime and his work for hours, but, as\nwrote Caetano Veloso, \u201cthe song has to end\u201d. We cannot, however, finish it\nnot to mention one of the poetic passages that we think is of great prominence on the CD Pomegranate. Pomegranate<\/em>:<\/p>\n\n\n\nShe waits for me, her unrest<\/em><\/p>\n\n\n\nI don't have time<\/em><\/p>\n\n\n\nSeasoning the yearning<\/em><\/p>\n\n\n\nWhen I arrive in the middle<\/em><\/p>\n\n\n\n \n(Who are you)<\/p>\n\n\n\n
It is understood that the restless, restless wait\nby someone who, for reasons not specified, has no time to return, this\nanxious waiting is tempered (understand: it is modeled, adjusted or, if desired,\n\u201cTuned\u201d as if it were an instrument) by the lyrical self, who, after all,\nit arrives in the middle, that is, when, although they expected it, they did not know that it arrived just\nthat moment. <\/p>\n\n\n\n
We were waiting for you, Jaime, and very restless. Without the right time to come and having therefore tempered our yearning, you finally arrive with CD Pomegranate Pomegranate <\/em>and you hit us right in the middle. Right in!<\/p>\n\n\n\n<\/p>\n\n\n\n
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