Born Arthur Cortes Verocai in Rio de Janeiro, Brazil on 17/6/1945, he studi… Read Full Bio ↴Born Arthur Cortes Verocai in Rio de Janeiro, Brazil on 17/6/1945, he studied music with Lô Soares, Darci Villaverde, Nair Barbosa da Silva, Roberto Menescal and Vilma Graça. In 1966 Leny Andrade included his song "Olhando o Mar" ("Looking at the Sea") on her "We Are There" album. Two years later Verocai participated in Musicanossa an event that brought together composers, musicians and singers in presentations to play live in the Santa Rosa Theater in Rio de Janeiro, for which he wrote his first arrangements. The live recording of the event included the songs "Madrugada" and "Nova Manhã", composed in partnership with Paulinho Tapajós.
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!"

Filhos
Arthur Verocai Lyrics

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Quando eu olho vocês
Apressando as manhãs
Semeando sonhos
Como fossem laranjais
Eu me enxergo em vocês
Nesses olhos de espelhos

Como se eu fosse vocês

Viajando também
Vendo os mesmos trilhos
Carregando o mesmo trem
Que a estação da vida tem
E os seus sábios conselhos

Quando eu partir
Vocês vão ficar
Sabendo sonhar
Velhos sonhos que eu sonhei
Feito espelhos da vida
Feito alguém
Pra lembrar de mim também
Amanhã.

Quando eu vejo vocês
Afagando as maçãs
Acendendo estrelas
Amansando temporais
Eu me enxergo outra vez
Nesses olhos de espelhos

Quando eu partir
Vocês vão ficar
Sabendo sonhar
Velhos sonhos que eu sonhei
Feito espelhos da vida

Feito alguém pra lembrar de mim também
Amanhã, outra vez terei vocês

Overall Meaning

The song "Filhos" by Arthur Verocai reflects on the beauty of watching one's own children grow up and follow in their footsteps. The lyrics are reflective and introspective, as the singer watches his children sowing dreams like orange groves and shining like stars. He sees himself in them, as if he were traveling with them and carrying the same train of life’s journey. He hopes that they will continue to dream and reminisce on his old dreams, much like mirrors reflecting the past into the future. The song touches upon the themes of nostalgia and the passage of time, as the singer knows that eventually he will have to say goodbye to his children, but hopes that they will always remember the beautiful moments they shared together.

The lyrics of "Filhos" are beautifully written to depict the emotion of a parent watching their children grow up. The use of the orange grove and star imagery is a beautiful metaphor for the dreams that children have, and the continuity of life. The reference to the “same train” is a reflection on the idea of family legacy, and the ways in which children continue the traditions of their ancestors. The reflective mood of the lyrics is enhanced by the use of the mirror metaphor, which suggests that the singer's children are an extension of himself, and will continue to reflect his image into the future.

Line by Line Meaning

Quando eu olho vocês
When I look at you all

Apressando as manhãs
Hastening the mornings

Semeando sonhos
Planting dreams

Como fossem laranjais
Like they were orange groves

Eu me enxergo em vocês
I see myself in you

Nesses olhos de espelhos
In those mirror-like eyes

Como se eu fosse vocês
As if I were you all

Viajando também
Traveling as well

Vendo os mesmos trilhos
Seeing the same tracks

Carregando o mesmo trem
Carrying the same train

Que a estação da vida tem
That the station of life has