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!"
Que Mapa?
Arthur Verocai Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Pescar minhas contas sem fim
Se nada vai bem ou vai mal
Que mapa estão os meus pés?
A praça, o povo, a fé
O campo, a bola, o café
E nada vai bem ou vai mal
A gente, o porto, o cais
O medo, a vida, o revés
E nada vai bem ou vai mal
Que mapa estão os meus pés?
A gente, o porto, o cais
O medo, a vida, o revés
E nada vai bem ou vai mal
Que mapa estão os meus pés?
Meus pés...
The lyrics of the song O Mapa by Arthur Verocai are an introspective reflection on the singer's current state of being. He starts by saying that he has been daydreaming on the couch and counting his endless worries. He then questions himself about the current state of his life and where he is headed. The singer wonders where his feet are headed and what direction he should take in life.
The chorus talks about different elements that make up life. He mentions the plaza, the people, and faith, representing community and spirituality. Then he mentions the field, the ball, and coffee, which represent work and pleasure. Finally, the singer mentions the harbor, the fear of life's uncertainties, and the setbacks one faces in life. All of this describes the different aspects of life and how they relate to one's journey.
Overall, the song is a reflective piece about the singer's personal journey, the choices he has made, and where his life is headed. The lyrics are introspective, thoughtful, and capture the essence of searching for direction in life.
Line by Line Meaning
Depois de sonhar no sofá
Once I finish dreaming on the sofa
Pescar minhas contas sem fim
Fishing for my endless bills
Se nada vai bem ou vai mal
If everything is neither good nor bad
Que mapa estão os meus pés?
What map are my feet following?
A praça, o povo, a fé
The square, the people, the faith
O campo, a bola, o café
The countryside, the ball, the coffee
E nada vai bem ou vai mal
And everything is neither good nor bad
Que mapa estão os meus pés?
What map are my feet following?
A gente, o porto, o cais
The people, the port, the docks
O medo, a vida, o revés
The fear, the life, the setback
E nada vai bem ou vai mal
And everything is neither good nor bad
Que mapa estão os meus pés?
What map are my feet following?
Meus pés...
My feet...
Writer(s): Vitor Martins, Arthur Cortes Verocai
Contributed by David Y. Suggest a correction in the comments below.