Sonorities between rest and movement

Cacá Machado


Antonio Loureiro has an unmistakable voice. I say not only in relation to its timbre but in something bigger, much bigger, something that we could call sonority. Sonority that is constructed in multiple layers: from the one that comes out properly from the intimacy of its voice, sometimes sweet, kind of smoked or in fluid falsetes, to those that are configured in their expansive, precise and free way to compose play the piano his own way, the vibraphone and the drums. All under the sign of invention. Sempre. The song "Algum Lugar" (Somewhere), in partnership with the excellent composer and lyricist Makely Ka, the fourth track of Antonio's new album Livre, gives a good clue to the work. The blind movement of departure towards the "somewhere" ("the universe") points, in fact, to "a no place", because, as the subject sings, "I do not recognize myself". What seems to drive the movement is, contrary to expectations, the desire for recollection ("a pause" and a "silence.") A paradox, therefore, between movement and rest feeds an endless spin. But if there is a clear bodily dimension in this device, we also perceive, on the other hand, a certain dystopian sensation, and criticism of the ecological and social imbalances of the contemporary world, which permeates the ecosystem of the album as a whole - more evident in songs like "Jequitibá", "Resistência" and, above all, in Mad Man. Exception, in part, for the opening track: "My son was born!" Is, as it could not fail to be, a solar and affirmative song. But in the manner of Minas Gerais: enigmatic, half melancholy, half tortuous, but always precise in intentions. A way that translates to a unique and recognizable sound in both Milton Nascimento, Toninho Horta and Lô Borges as well as Kristoff Silva, Makely Ka and Pablo Castro, to stay in only a few. An expanded sonority melodically and harmonically based on vigorous and asymmetrical rhythmic streams. Precise and precious place where Antonio Loureiro is deeply rooted.

But, as in the lyric voice of the song, from the recollection Antonio seeks to launch himself into the universe. And then the expert multi-instrumentalist and composer meets Jazz. Not any Jazz, but the one that crossed with the Minas music by the bridge created between Milton Nascimento and Wayne Shorter or the guitarists Toninho Horta and Pat Metheny, for example. Perhaps, come from the use of the keyboards that cross the disc and bring some vintage atmosphere that remember, for example, the sound of Lyle Mays, keyboardist Pat Metheny Group, or the asymmetric rythms and ostinates of the album First circle (1984 ) of the same group. The fifth track of Livre, "Caipira", is an instrumental theme that dialogues intensely with this environment, mainly by the remarkable presence of the American guitarist Kurt Rosenwinkel. World icon of his instrument. More than that, the presence of Kurt is indicative of the consolidation of a creative nucleus, base of the album Livre, formed by Antonio, the bassist Frederico Heliodoro and the guitarist Pedro Martins and that has in Kurt a kind of magical eye with concave lens which welcomes and projects the sonority of the nucleus to the world. Parentheses: Kurt's latest album, Caipi has this creative core both on recordings and on the world tour with Antonio as band member and writing lyrics to some songs.

Livre still has other layers of sonorities. The choice of certain timbres, grooves and formal arrangements procedures dialogues with the scene of contemporary electronic music. The result has a very high level of inventiveness because it creates an original sonority built under the oscillation between the jazzy flow and the interruptions and discontinuities of the electronic world. The song "Mad Man", in partnership and performed by Genevieve Artadi, is the best example: "there's no scape / no scape / from his game". Song hard and interrupted, something like a short circuit in itself.

Its difficult for the listener who did not live the process of creating an album to concretely understand the role of the music producer. But here the work of Tó Brandileone leaps to the eye (and ears!) By the coherence and the talent in balancing the different complex layers that form the sonority of this work. And in the end, in "Livre", the ninth track that gives title to the album, remains the voice of Antonio: "and I could be me / and I wanted to be me / and I could be". He could. HE IS. Antonio is the author and definitive voice of new sonorities: Livre inaugurates this place.