Arthur Verocai

Luckman Theatre- Los Angeles, CA
Live Review: 03/15/09
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In a perilous time, when political unrest was active and the military dictatorship was feared, the working class of Brazil used music as a form of subtle resistance. Struggle and opposition went hand in hand, accompanying the exploration of music and the arts which served as a popular front of expression. However, the military of the mid ‘ 60s and early ‘ 70s used pop culture as a means to promote political ideologies, resulting in the polarization between the elite and the middle and urban class.

During this transformative period, social stratification was apparent and the censorship of music was a reflection of political restraint. With military restrictions, music became subject to scrutiny. It was filtered through draconian methods and most artists were either forced into exile or used metaphorical references as a means of protest. Interestingly, music persevered, culminating in vibrant bodies of Música Popular Brasileira (MPB). The African and indigenous rhythms of samba and baião were utilized in modern music. The second implosion of bossa nova was now characterized by a cultural shift, one that criticized the government. And the Tropicália movement manifested from an amalgamation of various literary, artistic, and musical references. Its caustic and “countercultural” messages were complex, yet swept the nation with its figurative tales of Brazilian life.

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It was a climatic period, yet a pivotal one, where diverse styles merged, traditional and non- traditional, Bahian folk and rock, and African and American jazz, each of which attributed to Brazil’s rich culture. A hybrid of old and new sounds rippled through the streets, the homes and the hearts of Brazil.

Some musicians flourished, gaining recognition amongst contemporaries within Brazil and abroad. Artists such as Airto Moreira and Milton Nascimento made an impressive impact on American jazz cohorts and contributed to some of the most coveted albums to date. Others, such as composer-arranger Arthur Verocai, found the government’s stringent methods too abrasive and confining to his creative process. Although Verocai took a stint from his solo career, his passion and contributions towards music were undeniably present throughout the years. Verocai’s marriage to music stems from his adoration for Brazil and its rich and diasporic background.

At the tender age of fourteen, Verocai was introduced to the guitar and was taught the phonics of music from Roberto Menescal and Nair Barbosa da Silva. He later picked up the piano and began arranging music and delving into song-writing. As a youth, his musical taste was shaped by the likes of sweet guitarist Wes Montgomery, penetrating rock sensationalist Frank Zappa and classical composer Heitor Villa-Lobos. With a growing palette for music, Verocai began performing at festivals where he built a reputation for himself. Soon thereafter, Verocai was scoring music for Brazilian TV programs and the theater. He contributed arrangements for the inimitable Jorge Ben and Gal Costa and continued, lending his production skills to singers Ivan Lins and Celia, to name a few. By ‘71, Verocai already worked with a bevy of esteemed artists.

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Continental Records acknowledged Verocai’s extensive oeuvre, granting him full reign to father his own album. His self-titled LP was measured by unconventional standards, fusing together North American soul, Latin jazz ballads, classical melodies, and electronic instrumentation. A welcoming cast of burgeoning artists contributed to the album, including Toninho Horta and Robertinho Silva, who later became notable figures within the music sphere. However, upon release, Arthur Verocai gained little applause. Although his album was poorly received, it later became known as an emblematic body of work, one that represented his pure talent and fearless restraint to compose raw, yet delicate threads of music. His innovative use of funk, jazz and bossa nova rhythms spawned a new generation of music, diverging from the pop sounds of Tropicália. Receiving its final recognition, Ubiquity Records re-issued Arthur Verocai in 2003. Music admirers from around the world were finally introduced to the artistic luminary.

Since his first release, Verocai dedicated much of his career towards advertising, where he continued to write and produce. However, it was not until decades later that he returned to his musical calling. In 2002, he self-released Saudade Demais and in 2007, Encore was distributed.

madlib Fortunately, for Los Angelenos, last Sunday marked the third installment of the Timeless: Composer/Arranger Series featuring Verocai, performing his ‘72 debut album along with a 36- piece orchestra. With crowded anticipation, DJ Madlib and DJ Nuts kept the audience entertained as they waited for the headline performance to begin.

In pure reverence, spectators gave Verocai a eulogizing response as he and the orchestra graced the stage. Verocai, a lean man poised with great stature, took lead. The concert began with a soft bossa nova-style balladry that ascended into a striking and powerful piece. A pastiche of traditional Brazilian music wove in and out of more contemporary compositions, highlighting Verocai’s unique blend of genres. In an antiquated setting, Verocai and friends were shown live against a black and white backdrop as they embarked on a timeless, musical journey.

With a full piece orchestra, it was difficult not to get lost in the maze of instruments, but surprisingly, each pitch was amplified. The silky rhythms of “Caboclo” resonated with a psychedelic melancholy. Vocalists Carlos Dafé, an original singer on the first album, and Clarisse Grova, an original on the second, flirted with syncopated measures, resulting in beautiful harmonies such as “Seriado.” In true jazz fashion, “Pela Sombras” reverberated with the sensual tone of the saxaphone. The horn and keys section took heed in songs such as “Presente Grego” where a funky, synthesized vibration was achieved. Legendary percussionist, Airto Moreira and Azymuth’s very own, Ivan “Mamao” Conti on drums, played with a youthful enthusiasm. Their unblemished performance exemplified their maturation and knowledge of music. Following the intermission, members of the orchestra showcased their talents individually, creating a magnetic synergy. The audience was compelled to laughter and tears which was exerted by shouts of excitement and nods of approval. Through it all, Verocai oscillated, taking on many roles, synchronizing the orchestra, singing and even playing the samba guitar. In true definition, it was a sublime experience.

A deeply moved crowd beckoned for an encore. Verocai was humbled by the request, but willfully agreed. He stood composed underneath the spotlights, arms gazing over the effulgent faces of tomorrow’s past; Verocai’s accomplishments were finally greeted with due praise. As known throughout history, where there is struggle, there is survival, and Brazil’s musical contribution, Arthur Verocai, is one example.

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