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MP3 Pedro Moraes - Claroescuro

Brazilian singer/guitarist/composer weaves erudite lyrics into surprising melodies accented by lovely flute and horn arrangements and electric guitar soundscapes supported by traditional Brazilian percussion & rhythms like Samba, Bossa Nova, Forro, etc.

14 MP3 Songs in this album (51:45) !
Related styles: Latin: Brazilian Pop, Latin: Brazilian Jazz, Mood: Upbeat

People who are interested in Edu Lobo Joao Bosco Milton Nascimento should consider this download.

Carnival of Transcendence: The Hot Muses and Soulful Samba of Brazilian Singer Songwriter Pedro Moraes
If Pedro Moraes had a muse, she’d shake up sweaty samba bars, hips swaying, and turn heads dancing in the street, snaking her way from Rio’s bohemian quarter to Bahia and Recife (and on to Mexico City and Liverpool). She’d boogie between the earthy and the erudite, with heady tropicalismo and brainy modernism.

She’d embody the smart samba, lusophone lyricism, and folk funk captured on Moraes’s lush album Claroescuro (Independant) and now in full force for the singer songwriter’s first U.S. tour in September, backed by a coterie of premier musicians who have performed with everyone from Amy Winehouse and Angelique Kidjo (bassist Patrice Blanchard) to Hiromi, Esperanza Spalding and Toninho Horta (drummer Mauricio Zottarelli). With samba and other Brazilian and Latin American sounds as inspiration, Moraes is bringing back the brilliance of Brazil’s 1970s pop heyday, with his literary bents and a passion for traditional beats.

When Moraes was growing up, samba was distinctly uncool. But it had already started to shape his life: His part Eastern European Jewish father met his Afro-Brazilian mother at a samba gathering in Bahia. “She was singing traditional sambas there and saw this handsome gringo, my father. He seduced her playing percussion,” Moraes recounts with a smile.
With the advent of forró, a northeastern Brazilian dance style that became big all over southeastern Brazil’s big cities in the 1990s, samba also found a new audience, with college kids and young musicians embracing and rethinking songs that stretched back decades. Moraes, found in this scenario his gateway to his musical roots, playing at bars and watching women like the larger-than-life babe of the salsa-samba anthem “Marcela” heat up the room.
“You don’t have a set list before the concert. You just sing and play whatever comes to your mind, whatever has to do with the mood and the couples on the dance floor,” Moraes explains. “Every once in a while, a guest singer comes up and starts singing a song you’ve never heard before, and you have to guess the chords and follow along. It was a real musical education for me!”
This education was about more than musical chops, however; samba was a new way to discover old roots. “Listening and dancing to samba,” recalls Moraes, “we all felt a sense of belonging that reached far back into our African and Portuguese forefathers.” A sense of timing, and what Moraes calls “a peculiar shade of sadness and heartache” that he invokes on “Canção da despedida,” based on the sensual yet sorrowful “slow sambas” of Rio.
This longing can spring from the literary, and Moraes draws inspiration from great Portuguese and Spanish poets, to Catalan fishing shanties. It can also jump out of street parties and carnival incantations, like the Ash Wednesday prayers for Carnival to go on forever that Moraes channels on “Samba da Quarta-Feira.” Where carnival and samba meet the poetic and spiritual is where Moraes thrives, and he evokes that intersection, imagined as the overlapping of two great cities, on “Coroa e Cara.”
“The juxtaposition of Rio Capibaribe, the river that crosses Recife, which is often called the Brazilian Venice, and so-called Rio da Guanabara. The city of Rio got its name from Portuguese explorers who mistook the Guanabara Bay’s entrance to the mouth of a gigantic river,” Moraes recounts. “It felt like an homage I really needed to pay to Recife, the city that, years earlier, had taught me the deeper meaning of Carnival.”
Moraes comes honestly by his love of transcendent images and lusty poetry nestled into popular and folk music. Brazilian songwriters—from Milton Nascimento and Jobim (“Samblefe”) to Carmen Miranda’s favorite songwriter Dorival Caymmi (“Dora”)—have long perfected the art of crafting simple songs that pack a powerful literary punch while keeping dance floors hopping.
This approach—tied to a long history of intellectual movements and pop evolution—has sadly fallen by the wayside recently, for both commercial and cultural reasons. “Over the last thirty years, this possibility for negotiating links between different places in our culture has shrunk,” opines Moraes. “I’m not a complex composer. I like fun and I like pop, but I don’t think it’s divorced from subtlety and richness.”
Moraes adds another layer of richness by incorporating other Latin dance genres like salsa and tango, another neglected trick of the tropicalist trade. “Playing with salsa is like opening a gift box and trying to learn how to play with a new toy,” Moraes smiles. “You don’t do exactly what is supposed to be done with it, but rather create your own new games.” Such as playing around with the Beatles classic “With a Little Help From My Friends,” by setting it to an Afro-Brazilian ijexá rhythm.
This simple playfulness had big goals, however: “I want to be natural and simple, and at the same time, I want to open new windows to the soul,” Moraes reflects. “It’s about finding a place of transcendence.”

Pedro Moraes
Considered one of the most important composers and singers in the new Brazilian Popular Music scenario, Pedro Moraes´ career officially began 10 years ago with an unforseen episode of international acknowledgement. Mexican rising jazz star Magos Herrera, deeply influenced by brazilian classics, brought to wide audiences two songs by Pedro, which led him to a short and successfull tour to Mexico City and New York. Upon returning to Brazil, Pedro became one of the leaders of a generation that´s been breaking grounds in brazilian songwriting, organizing and taking part in several collective projects, such as the “Brotherhood of Free Music”.

Never losing sight of his opus as a composer, Pedro started, in 2003, a very successful parallel career as a samba interpreter, springing from the traditional bohemian neighborhood of Lapa, Rio de Janeiro, to nation-wide touring, mostly with the ensemble “É com esse que eu vou”, with whom he recorded the acclaimed album “Samba do Baú” (the “Treasure-Chest Samba”), dedicated to previously unreleased songs by the greatest masters in the history of this most brazilian genre (Paulinho da Viola, Cartola, Nelson Sargento and others).

Since 2007, after recording his first solo album, Claroescuro, Pedro Moraes has been dedicating fully to promoting his music, with an intense schedule of concerts that has included Europe (England, Germany and Spain), Asia (India - Pedro is the first brazilian artist to have his CD released by an Indian label - and Sri Lanka), USA (2010 SXSW and NY concerts) and some successful touring around Brazil, with outstanding response from audiences and press.

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