By 1968 his main gig was working in Civil Engineering in Rio de Janeiro. He still managed to perform and participate as a composer at many of Brazilian famous Music Festivals. He was working with artists like Paulinho Tapajós, Elis Regina, Creuza Maria, the Golden Boys, and Evinha. In 1969 Arthur Verocai began his professional career as musician and arranger. He scored the music for the theater show "Is The Greater", and wrote his first arrangements for orchestra. He arranged records by the Terço, Jorge Benjor, Elizeth Cardoso, Gal Costa, Quarteto em Cy, MPB 4, Célia, Guilherme Lamounier, Nelson Gonçalves, Marcos Valle, and others. His music also appeared in the musical "The Life of Braguinha", alongside Elizeth Cardoso, Quarteto em Cy, MPB4 and Sidney Magal. By 1970 he was writing for other groups and regularly composing music for multiple TV shows and incidental music for TV series.
The 1972 self-titled album allowed Verocai to take his interest in instrumental music even further. "I always wanted to compose soundtracks in great style, as in the cinema, but this wasn't possible with television work," he says. "My opportunity came when I was recording this album. I created a rhythmic cell in the acoustic guitar with the harmonic line. I added bass and the non-conventional drums and the percussion with a very smooth orchestration in blocks (four trumpets and a flute) plus the delicate touch of the strings (12 violins, 4 violas and 4 cellos). At the end of the song, Oberdan Magalhães played and sang with his flute." The resulting track is "Sílvia".
"Presente Grego" is perhaps the funkiest track on the album. "This song was influenced by American soul and funk," says Verocai. "By 1972 many of the musicians of my generation were feeling the same influences. Because of our exposure to all many musical influences, we put a distance between us and the conventional recording styles. "Presente Grego" means "Greek gift." It is an expression that comes from the horse of Troy, a gift from the Greeks that hid the warriors that defeated the Troyans. Likewise, the military dictatorship, under the appearance of a good government, practiced censorship and oppression", he explains.
In addition to the funky soul elements the album features many solos from artists obviously well schooled in Jazz. Check the soloing in "Pelas Sombras" or "Karina", where saxes blow hard and true against the backdrop of Brazilian rhythms. "My musical preferences go from J.S. Bach and Villa-Lobos, to jazz musicians like Tom Jobim, Milton Nascimento, Miles Davis, Herbie Hancock, Oscar Peterson, Wes Montgomery and Bill Evans," explains Verocai. "I remember Edson Maciel, was invited to a studio session at 9 AM and was to perform a solo on "Karina." He asked us to wait for a while because he wanted to be inspired by some Cachaça (a Brazilian liquor made from distilled sugar cane juice). While rehearsing, he asked for a little more Cachaça to bring on some more inspiration. This happened twice until he found his inspiration and performed a tremendous solo!" remembers Verocai.
In the years after the album release Arthur Verocai became a music advertising executive, creating and producing albums for customers like Brahma, Fanta, Petrobra's, South America, Souza Cruz and was even honored with the Colunistas Prize in Advertising. Since 1983 he is the main proprietor of Studio "V" - House of the Sound and in 2002 he released a solo album "Arthur Verocai - "Saudade Demais" featuring a collection of his work as composer, including some unreleased songs.
Arthur Verocai's musical peer Ivan Lins has this to say about his great friend, "Arthur is a very dedicated musician. He has always been. Not only dedicated but very talented also. He made this record years ago just for the fun of it without much publicity. And now will strike back. That's great!"
Dona das Meninas
Arthur Verocai Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Das duas contas bailarinas prontas pra dançar
Elas têm um verde que não tem no mar
Nem sequer nas folhas do maracujá
Nem nas aquarelas dos quintais
Das telas dos jardins de Alá
Quero a dona das meninas de se admirar
Espalha espelhos
Meninas lamparinas, gotas de cristal
Brilhante real, a luz natural
É irmã da luz do teu olhar.
Quero a dona das meninas desse teu olhar
Das esmeraldas dançarinas prontas pra bailar
Elas têm um verde que não tem no mar
Nem sequer nas matas virgens do Pará
Nem nas aquarelas dos quintais
Das telas de algum marajá
Que mistério tem o verde desse teu olhar
The lyrics of Arthur Verocai's song "Dona das Meninas" are about the desire for a woman who possesses a unique beauty and charm. The singer longs for this "dona" (lady) who captivates people's attention with the way she looks and moves. He describes her beauty as having a green color that cannot be found in nature, not even in the sea or the leaves of the passionfruit plant.
The imagery used in the lyrics is vivid and poetic, suggesting a sense of admiration and reverence for this woman. The singer mentions "bailarinas" (dancers) and "telas dos jardins de Alá" (paintings from Allah's gardens), which highlight the gracefulness and otherworldly quality of the woman's beauty. The lyrics also have a romantic undertone, with the singer comparing the natural light of the stars to the radiance of the woman's eyes.
Overall, "Dona das Meninas" is a song that celebrates the beauty and mystery of a woman, emphasizing the power that such a person can hold over others with just their presence.
Line by Line Meaning
Quero a dona das meninas de se admirar
I desire the lady of the girls to be admired
Das duas contas bailarinas prontas pra dançar
Of the two dancing beads ready to dance
Elas têm um verde que não tem no mar
They have a green that is not in the sea
Nem sequer nas folhas do maracujá
Not even in the leaves of the passionfruit
Nem nas aquarelas dos quintais
Nor in the watercolors of the backyards
Das telas dos jardins de Alá
Of the screens of Allah's gardens
E quando a noite acende as estrelas
And when the night lights up the stars
Espalha espelhos
Scatters mirrors
Meninas lamparinas, gotas de cristal
Girls lanterns, crystal drops
Brilhante real, a luz natural
Real brilliant, the natural light
É irmã da luz do teu olhar.
Is sister of the light of your gaze.
Quero a dona das meninas desse teu olhar
I want the lady of the girls of your gaze
Das esmeraldas dançarinas prontas pra bailar
Of the dancing emeralds ready to dance
Nem sequer nas matas virgens do Pará
Not even in the virgin forests of Pará
Nem nas aquarelas dos quintais
Nor in the watercolors of the backyards
Das telas de algum marajá
Of the screens of some Maharaja
Que mistério tem o verde desse teu olhar
What mystery does the green of your gaze have
Writer(s): PAULO FILHO, ARTHUR VEROCAI
Contributed by Jonathan F. Suggest a correction in the comments below.
@jamfera2
Uma música linda dessa e tão pouco conhecida...
@larapwfkjsk
Acredito que seja mais conhecida no exterior...
@lb1823
@@larapwfkjskLove for this genius from Italy. He's one of those artists that are not that famous but are universally recognised and well-known in the "musicophile" ambience.
@jazzbass5479
All I have listening to recently is the various great music out of Brazil !
@isaiahmalcolm
Arthur and Azymuth together is such a treat. The vinyl sounds great.
@lamenight
Obra de arte❤️
@drjanedoe
que mistério tem o verde desse teu olhar ❤
@user-pg7ff9mj4j
Idk what saying in Portuguese but this always makes me calm down....
@benji.B-side
Wonderful and sweet!!
@maazvdo
Beleza pura ! Grato pela postagem, Far Out Recordings .