Artist
Brazil
Influences:
Latin American
, North American
, Mediterranean
Genres:
ballad,
samba,
candomble,
baiao,
fado,
ijexa,
jazz,
bossa nova,
chorinho,
choro
IN THE CHARTS
by Túlio Borges
ABOUT
Brazilian translator Túlio Borges worships the muse like in the time of daintiness. “I
never wanted to work with music fretting to lose the pleasure in playing,” he confesses,
now premiering, at the age of 29, with his beautiful, multifaceted album Eu venho
vagando no ar [I come wandering in the air], which came out after a long, close
relationship with the art. Borges studied piano in the Music School of Brasília, recorded
jingles, took part in a jazz band and in a school choir when he lived in the US—where
he toured and won prizes in music festivals. Even though he wrote music since his
childhood, only when he was 23 and living in London did he start compiling his work
(he had nigh 40 songs), which he would record once back to Brazil. In his homeland,
he started to take part in festivals. Among other prizes, he was awarded first place in
Brasília’s most important social/cultural private institution, Sesc. He was also awarded
second place in the Brazilian Song Week, a very important music festival in São
Paulo’s state, which had two important musicians of the Brazilian musical scenario—
Dante Ozzetti and Alice Ruiz—as judges.
In one of these festivals he met a singer from Rio de Janeiro called Vytória Rudan, with
whom he became stage partners. In the album, she participates both in the seducing
samba Paraty (Ela tem algo mais/ coisa que nada no mundo faz/ trazer paz pra um
coração [She’s got something more/ something that nothing in the world does/ she
brings peace to a heart]), filled with cuíca, tamborim and acoustic guitar, and in the
fado/tango Zorro (Eu quero amar você e vou/ mas tenho que aprender quem sou/
achar dentro de mim o mapa [I want to love you and I will/ but I’ve got to learn who I
am/ to find within me the map]), where the vocal duo is performed with great intensity.
Also sharing the microphones with Túlio comes Ms Inácia, who raised him and has
worked for his family for 35 years. “It’s her that maybe has influenced me the most,” he
analyzes. “She was the one who brought home black music, popular music, music from
the Northeast, and the stories,” he tells. She opens the album with Túlio in Pontos,
which is a song that is in public domain; “songs that I caught her singing while working,
songs that she hadn’t even realized she knew by heart, so sweet and melodious.” Ms
Inácia Maria da Conceição, born in Piauí, solos in the last part of the song. “The idea
was to record the parts with accompaniment that would add value to them, and that
the recording was a thanks in life for the support that Ms Inácia gives me, as simply as
with a hug and a kiss that cleanse the soul, so sincere and pure they are,” defines the
soloist.
Eu venho vagando no ar (name taken from one of the songs’ title) bets on this purity
primed by talented Túlio’s urbanity. Like in the song resembling a baião Trem [Train],
opened by a percussion emulating this means of transport, and has a passage with
projected vocal, versed like in a repente (o fogão dos meus desejos fala/ é tão linda
que a lindeza estala [the stove of my desires speaks/ she’s so beautiful that the beauty
crackles]). From regional Túlio skips to universal in the jazzy Shirley, a profusion of
sensual images brought out by the very singer’s guitar and by Geni Castro’s. From this
mood, he leaps to the not less involving Birosca, a samba with cuíca, cavaco, clarinet,
acoustic guitars, and Leandro braga’s piano. Não pode essa princesa/ da sandália
e dos pés lindos demais/ da blusa tomara que caia/ repare o tamanho da saia/ e o
estrago que ela faz [This princess is too much/ with sandals and feet too pretty/ with a
strapless blouse/ notice the size of her skirt/ and how much damage is done].
The samba, the urbanity, and the mysticism are the Brazilian-typical qualities in Altar,
showered with fluid images (Tantos morros e só um Redentor [So many hills and only
one Redeemer]), which is also a duet with Fred Martins, a songwriter from Rio de
Janeiro. Há muito choro em mim/ por mil razões que eu sei/ e mais dez mil que herdei
[There is much cry in me/ for a thousand reason that I know/ and ten thousand more
that I‘ve inherited] adds Toca aí, an ethereal song in Túlio’s gentle vocal sewn together
by Rafael dos Anjos’s acoustic guitars. Now the song Sua, paved by the keyboards
of the songwriter himself in a dialogue with the digressions of Toninho Ferragutti’s
accordion, is among the most breath-taking songs in the album. The web of words in
Cicatriz (que saudade me dói, devora/ as lembranças do outono outrora [I miss them
so much it hurts, it devours me/ the memories from a fall foregone]), bound together
by Leandro Braga’s piano, underscores the communion of the singer/songwriter with
his art (as lembranças enramam raízes/ por toda parte [the memories embower roots/
everywhere]). The insinuating cry Ói – Morro de rir, where unexpectedly a horn (Yuri
Zuvanov) and a clarinet (Ademir Junior) dialogue with Amoy Ribas’s pandeiro (the
same musician who established the percussion in Pontos), prepares the devastating
impact of the title track, which closes the record. Prefaced by a suspended fife, the
lyrics shine as a sparkling jewel, a manifest of this unique artist.
Deixo que a brisa toque
o sino em mim no tempo
o vento sabe quando é tempo
e quando é silêncio entendo
Tárik de Souza
never wanted to work with music fretting to lose the pleasure in playing,” he confesses,
now premiering, at the age of 29, with his beautiful, multifaceted album Eu venho
vagando no ar [I come wandering in the air], which came out after a long, close
relationship with the art. Borges studied piano in the Music School of Brasília, recorded
jingles, took part in a jazz band and in a school choir when he lived in the US—where
he toured and won prizes in music festivals. Even though he wrote music since his
childhood, only when he was 23 and living in London did he start compiling his work
(he had nigh 40 songs), which he would record once back to Brazil. In his homeland,
he started to take part in festivals. Among other prizes, he was awarded first place in
Brasília’s most important social/cultural private institution, Sesc. He was also awarded
second place in the Brazilian Song Week, a very important music festival in São
Paulo’s state, which had two important musicians of the Brazilian musical scenario—
Dante Ozzetti and Alice Ruiz—as judges.
In one of these festivals he met a singer from Rio de Janeiro called Vytória Rudan, with
whom he became stage partners. In the album, she participates both in the seducing
samba Paraty (Ela tem algo mais/ coisa que nada no mundo faz/ trazer paz pra um
coração [She’s got something more/ something that nothing in the world does/ she
brings peace to a heart]), filled with cuíca, tamborim and acoustic guitar, and in the
fado/tango Zorro (Eu quero amar você e vou/ mas tenho que aprender quem sou/
achar dentro de mim o mapa [I want to love you and I will/ but I’ve got to learn who I
am/ to find within me the map]), where the vocal duo is performed with great intensity.
Also sharing the microphones with Túlio comes Ms Inácia, who raised him and has
worked for his family for 35 years. “It’s her that maybe has influenced me the most,” he
analyzes. “She was the one who brought home black music, popular music, music from
the Northeast, and the stories,” he tells. She opens the album with Túlio in Pontos,
which is a song that is in public domain; “songs that I caught her singing while working,
songs that she hadn’t even realized she knew by heart, so sweet and melodious.” Ms
Inácia Maria da Conceição, born in Piauí, solos in the last part of the song. “The idea
was to record the parts with accompaniment that would add value to them, and that
the recording was a thanks in life for the support that Ms Inácia gives me, as simply as
with a hug and a kiss that cleanse the soul, so sincere and pure they are,” defines the
soloist.
Eu venho vagando no ar (name taken from one of the songs’ title) bets on this purity
primed by talented Túlio’s urbanity. Like in the song resembling a baião Trem [Train],
opened by a percussion emulating this means of transport, and has a passage with
projected vocal, versed like in a repente (o fogão dos meus desejos fala/ é tão linda
que a lindeza estala [the stove of my desires speaks/ she’s so beautiful that the beauty
crackles]). From regional Túlio skips to universal in the jazzy Shirley, a profusion of
sensual images brought out by the very singer’s guitar and by Geni Castro’s. From this
mood, he leaps to the not less involving Birosca, a samba with cuíca, cavaco, clarinet,
acoustic guitars, and Leandro braga’s piano. Não pode essa princesa/ da sandália
e dos pés lindos demais/ da blusa tomara que caia/ repare o tamanho da saia/ e o
estrago que ela faz [This princess is too much/ with sandals and feet too pretty/ with a
strapless blouse/ notice the size of her skirt/ and how much damage is done].
The samba, the urbanity, and the mysticism are the Brazilian-typical qualities in Altar,
showered with fluid images (Tantos morros e só um Redentor [So many hills and only
one Redeemer]), which is also a duet with Fred Martins, a songwriter from Rio de
Janeiro. Há muito choro em mim/ por mil razões que eu sei/ e mais dez mil que herdei
[There is much cry in me/ for a thousand reason that I know/ and ten thousand more
that I‘ve inherited] adds Toca aí, an ethereal song in Túlio’s gentle vocal sewn together
by Rafael dos Anjos’s acoustic guitars. Now the song Sua, paved by the keyboards
of the songwriter himself in a dialogue with the digressions of Toninho Ferragutti’s
accordion, is among the most breath-taking songs in the album. The web of words in
Cicatriz (que saudade me dói, devora/ as lembranças do outono outrora [I miss them
so much it hurts, it devours me/ the memories from a fall foregone]), bound together
by Leandro Braga’s piano, underscores the communion of the singer/songwriter with
his art (as lembranças enramam raízes/ por toda parte [the memories embower roots/
everywhere]). The insinuating cry Ói – Morro de rir, where unexpectedly a horn (Yuri
Zuvanov) and a clarinet (Ademir Junior) dialogue with Amoy Ribas’s pandeiro (the
same musician who established the percussion in Pontos), prepares the devastating
impact of the title track, which closes the record. Prefaced by a suspended fife, the
lyrics shine as a sparkling jewel, a manifest of this unique artist.
Deixo que a brisa toque
o sino em mim no tempo
o vento sabe quando é tempo
e quando é silêncio entendo
Tárik de Souza