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!"
Tupã Tupi
Arthur Verocai Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Picê Tolori, Rudá
Caramuru
Tambatiá
Ajuricaba
Boinê Ubaí, Runá
Coari, Mandu
Tibiriçá
Da terra do Tupi
Tupã criou os índios
Que nunca mais eu vi
Parece que foi lenda
De um Deus Tupã Tupi
Piracanjuba,
Piranha, Xaru, Cará,
Xerê, Pacu
Pirarucu
Ubirajara
Maué, Cariró, Guará
Tupiniquim
Tupinambá
Tupã criou os deuses
Da terra de Tupi
Tupã criou os índios
Que nunca mais eu vi
Parece que foi lenda
De um Deus Tupã Tupi
The lyrics to Arthur Verocai's "Tupã Tupi" speak to the rich cultural history of Brazil, specifically the indigenous Tupi people who roamed the land long before colonialism took hold. The song mentions several Tupi tribes, such as Urubuquara, Rudá, and Tibiriçá, as well as various indigenous animals like Pirarucu and Pacu. The chorus, which repeats throughout the song, speaks of Tupã, the great god who created both the indigenous people and the gods themselves. The lyrics express a sense of nostalgia for a time and people long past, as the singer acknowledges that he will never see the Tupi again.
The lyrics of "Tupã Tupi" speak to themes of cultural memory and loss, and the importance of acknowledging and honoring the traditions of one's ancestors. The song is a nod to the pre-colonial history of Brazil, a time when the land was populated by various indigenous tribes, each with their own unique customs and beliefs. By invoking the names of these tribes, Verocai is reminding listeners of the rich cultural diversity of Brazil, and the importance of maintaining and celebrating that diversity.
Line by Line Meaning
Urubuquara
Referring to the indigenous people of the Urubuquara tribe.
Picê Tolori, Rudá
These are names of indigenous people, most likely chiefs or leaders.
Caramuru
Referring to the Portuguese explorer and diplomat Diogo Álvares Correia, also known as Caramuru, who lived amongst the Tupinambá people in the 16th century.
Tambatiá
Referring to the indigenous people of the Tambatiá tribe.
Ajuricaba
Referring to the indigenous people of the Ajuricaba tribe.
Boinê Ubaí, Runá
These are names of indigenous people, most likely chiefs or leaders.
Coari, Mandu
Referring to the indigenous people of the Coari and Mandu tribes.
Tibiriçá
Referring to Tibiriçá, a Tupi war chief who fought against the Portuguese in the early 16th century.
Tupã criou os deuses
Translated as 'Tupã created the gods,' this line refers to the Tupi belief in a creator god, Tupã, who was responsible for the creation of all things.
Da terra do Tupi
Means 'from the land of the Tupi,' referring to the indigenous people of the Tupi tribe.
Tupã criou os índios
Translated as 'Tupã created the indigenous people,' this line reflects the Tupi belief in their own origins and creation story.
Que nunca mais eu vi
Means 'that I never saw again,' implying that these tribes and people mentioned no longer exist.
Parece que foi lenda
Translated as 'it seems like a legend,' suggesting that these indigenous peoples' existence and creation story may be seen as just a myth to some.
De um Deus Tupã Tupi
Means 'of a god named Tupã Tupi,' referring to the creator god of the Tupi people.
Piracanjuba, Piranha, Xaru, Cará, Xerê, Pacu, Pirarucu
These are names of various types of fish found in the Amazon region.
Ubirajara, Maué, Cariró, Guará, Tupiniquim, Tupinambá
Referring to various indigenous tribes from Brazilian history.
Contributed by Declan W. Suggest a correction in the comments below.
Patchi
Hermosura!! Grande Verocai!
Debinha Souza
Maestro Arthur Verocai, como enriquece a Música Brasileira!
lisboa 333
otima muscia brasileira!
Marinus Visser
❤️
J San
Adventures in Stereo brought me here!