MPB-4 (aka MPB4), is an important Brazilian vocal / instrumental group, whi… Read Full Bio ↴MPB-4 (aka MPB4), is an important Brazilian vocal / instrumental group, which devoted its activities to MPB (where commercial aspects were subordinate to the group's artistic standards). They reinvented the Brazilian vocal groups with their jazz free style focused on samba and also launched the careers of several soon-to-be masters of Brazilian music, such as Aldir Blanc (with his "Amigo É Pra Essas Coisas" with Sílvio da Silva Jr.). Having recorded more than 30 albums since 1964, many of them of utmost historical and artistic significance, they had a considerable part of this production released in countries like the U.S., Norway, Canada, Japan, Portugal, Mexico, Argentina, and others. The group was awarded with the Sharp prize as the best MPB group in 1987, 1989, and 1995. In 2001, MPB-4 completed a 36-year career with the same formation (registered in the Brazilian edition of the Guinness Book of Records of 1996).
In 1963, a trio formed by Rui Alexandre Faria (Rui, the lead vocalist), Aquiles Rique Reis (Aquiles), and Milton Lima dos Santos (Miltinho) in Niterói (Rio de Janeiro) started to perform at the Popular Center of Culture (CPC) of the National Student League (UNE). The CPC of Niterói was founded in Aquiles' home. At the same time, Magro (Antônio José Waghabi Filho) had a bossa nova group with Miltinho and a flutist, bassist, and drummer, called MPB-5. With Magro (the group's lifelong musical director) invited to join the original vocal trio, the quartet became known as Quarteto do CPC. With the extinction of the CPC (and of the UNE) after the military coup in 1964, the group adopted the name of MPB-4, playing in local bars and doing a double single with the first recording of Zé Kéti/Elton Medeiros' "Mascarada" with "Samba Bem" (Luís José) and other songs.
With all of them as college students, they took a period of vacations in 1965 to go to São Paulo, where they did their professional debut at the Pontifícia Universidade Católica's Theater (Tuca). They met producer Chico de Assis and were invited by him for a season with Quarteto em Cy (which was already professional), on the condition that they abandon other aspirations to devote themselves full-time to their group. Deciding for the music, they opened with Quarteto em Cy at the show No Samba Que Eu Vou, when they met Chico Buarque, also introduced to them by de Assis. From 1969 to 1974, Buarque was almost the fifth member of MPB-4 as all of his shows were with the quartet. Together they toured several countries and were deeply influential on the Brazilian youth. de Assis also introduced them to Manoel Carlos, who was one of the directors of the O Fino da Bossa TV Record show hosted by Elis Regina. MPB-4 participated right on the first show singing together with Regina, which was their definitive consecration.
Back in Rio, they participated in the show Contraponto, together with Quarteto em Cy, Oscar Castro-Neves, and Rosinha de Valença. At the Opinião theater, MPB-4 participated in the historic show O Samba Pede Passagem with Aracy de Almeida, Baden Powell, Ismael Silva, and others. The show was recorded live and released in June 1966 as O Samba Pede Passagem. Also in 1966, they released their first LP, which had the first recording for Buarque's "Olê Olá." Having participated in Nara Leão's show Quem Tem Medo de Nara Leão?, in the same year they defended "Canção de Não Cantar" (Sérgio Bittencourt) at the II Festival de Música Popular Brasileira (Festival of Brazilian Popular Music, FMPB, TV Record of São Paulo), which won fourth place. In the next year's edition of the same festival, the group was consecrated definitively with "Gabriela" (Maranhão) and "Roda Viva" (Buarque), achieving, respectively, sixth and third places. Also in 1967, they participated in the II FIC (International Song Festival, TV Globo, Rio) with "O Sim Pelo Não" (Alcivando Luz/Carlos Coquejo) and "Cantiga" (Nelson Motta/Dori Caymmi), which reached sixth and ninth places. In 1968, they opened a show shared with Buarque at the Teatro Toneleros, and also had a season in São Paulo. Three years later, they did the historic show Construção at the Canecão with Buarque, Jacques Klein, and the Orquestra Sinfônica Brasileira (Brazilian Symphony Orchestra) conducted by Isaac Karabtchevski. In the next year, MPB-4 toured Portugal and in 1973, Buenos Aires, Argentina, both with Buarque. In 1975, they participated, with Buarque, in the show República de Ugunga. In 1980, the group released, together with Quarteto em Cy, the children's LP Flicts/de Ziraldo e Sérgio Ricardo. Recording another children's LP in the next year with "O Pato" (Toquinho/Vinicius de Moraes), they had the song presented in the TV Globo musical A Arca de Noé. The LP Caminhos Livres (1983) had another of their hits with an Aldir Blanc song, "A Nível De..." (with João Bosco). In 1991, the quartet launched another of their themed albums, the CD Sambas da Minha Terra, dedicated to the works of Dorival Caymmi, Toquinho/Vinícius, Zé Kéti, and Ary Barroso, among others. Always doing shows and recording frequently, the group commemorated their 30-year career in 1995 with the show Arte de Cantar and the eponymous album. ~ Alvaro Neder, Rovi
Sites: MusicBrainz & Discogs.
In 1963, a trio formed by Rui Alexandre Faria (Rui, the lead vocalist), Aquiles Rique Reis (Aquiles), and Milton Lima dos Santos (Miltinho) in Niterói (Rio de Janeiro) started to perform at the Popular Center of Culture (CPC) of the National Student League (UNE). The CPC of Niterói was founded in Aquiles' home. At the same time, Magro (Antônio José Waghabi Filho) had a bossa nova group with Miltinho and a flutist, bassist, and drummer, called MPB-5. With Magro (the group's lifelong musical director) invited to join the original vocal trio, the quartet became known as Quarteto do CPC. With the extinction of the CPC (and of the UNE) after the military coup in 1964, the group adopted the name of MPB-4, playing in local bars and doing a double single with the first recording of Zé Kéti/Elton Medeiros' "Mascarada" with "Samba Bem" (Luís José) and other songs.
With all of them as college students, they took a period of vacations in 1965 to go to São Paulo, where they did their professional debut at the Pontifícia Universidade Católica's Theater (Tuca). They met producer Chico de Assis and were invited by him for a season with Quarteto em Cy (which was already professional), on the condition that they abandon other aspirations to devote themselves full-time to their group. Deciding for the music, they opened with Quarteto em Cy at the show No Samba Que Eu Vou, when they met Chico Buarque, also introduced to them by de Assis. From 1969 to 1974, Buarque was almost the fifth member of MPB-4 as all of his shows were with the quartet. Together they toured several countries and were deeply influential on the Brazilian youth. de Assis also introduced them to Manoel Carlos, who was one of the directors of the O Fino da Bossa TV Record show hosted by Elis Regina. MPB-4 participated right on the first show singing together with Regina, which was their definitive consecration.
Back in Rio, they participated in the show Contraponto, together with Quarteto em Cy, Oscar Castro-Neves, and Rosinha de Valença. At the Opinião theater, MPB-4 participated in the historic show O Samba Pede Passagem with Aracy de Almeida, Baden Powell, Ismael Silva, and others. The show was recorded live and released in June 1966 as O Samba Pede Passagem. Also in 1966, they released their first LP, which had the first recording for Buarque's "Olê Olá." Having participated in Nara Leão's show Quem Tem Medo de Nara Leão?, in the same year they defended "Canção de Não Cantar" (Sérgio Bittencourt) at the II Festival de Música Popular Brasileira (Festival of Brazilian Popular Music, FMPB, TV Record of São Paulo), which won fourth place. In the next year's edition of the same festival, the group was consecrated definitively with "Gabriela" (Maranhão) and "Roda Viva" (Buarque), achieving, respectively, sixth and third places. Also in 1967, they participated in the II FIC (International Song Festival, TV Globo, Rio) with "O Sim Pelo Não" (Alcivando Luz/Carlos Coquejo) and "Cantiga" (Nelson Motta/Dori Caymmi), which reached sixth and ninth places. In 1968, they opened a show shared with Buarque at the Teatro Toneleros, and also had a season in São Paulo. Three years later, they did the historic show Construção at the Canecão with Buarque, Jacques Klein, and the Orquestra Sinfônica Brasileira (Brazilian Symphony Orchestra) conducted by Isaac Karabtchevski. In the next year, MPB-4 toured Portugal and in 1973, Buenos Aires, Argentina, both with Buarque. In 1975, they participated, with Buarque, in the show República de Ugunga. In 1980, the group released, together with Quarteto em Cy, the children's LP Flicts/de Ziraldo e Sérgio Ricardo. Recording another children's LP in the next year with "O Pato" (Toquinho/Vinicius de Moraes), they had the song presented in the TV Globo musical A Arca de Noé. The LP Caminhos Livres (1983) had another of their hits with an Aldir Blanc song, "A Nível De..." (with João Bosco). In 1991, the quartet launched another of their themed albums, the CD Sambas da Minha Terra, dedicated to the works of Dorival Caymmi, Toquinho/Vinícius, Zé Kéti, and Ary Barroso, among others. Always doing shows and recording frequently, the group commemorated their 30-year career in 1995 with the show Arte de Cantar and the eponymous album. ~ Alvaro Neder, Rovi
Sites: MusicBrainz & Discogs.
Última Forma
MPB-4 Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Maria Amélia eu passe
Toda noite sonhando
Maria Amélia eu passei
Toda noite pensando
Lindas palavras que eu preparei
Pra lhe dizer
Mas me esqueci
Mas me esqueci
Eu cheguei lá
Mas me esqueci
Do que ia dizer
Do que ia falar
Eu cheguei lá
Eu cheguei lá
Toda noite sonhando
Maria Amélia eu passei
Toda noite pensando
Lindas palavras que eu preparei
Pra lhe dizer
Mas me esqueci
Mas me esqueci
Eu cheguei lá
Mas me esqueci
Do que ia dizer
Do que ia falar
Eu cheguei lá
Eu cheguei lá
The lyrics to MPB-4's "Última Forma" tell the tale of a man, possibly a lover, who dreams of Maria Amélia every night. He has prepared beautiful and wonderful words to say to her, but every time he gets to her, he forgets what he wanted to say. The song is full of regret and longing, as the singer wishes he could find the right words to say to the woman of his dreams.
The repetition of "eu cheguei lá" (I got there) at the end of the song emphasizes the singer's frustration with himself. He reached his goal of speaking to Maria Amélia, but he failed to communicate what he truly wanted to say. The lyrics are simple but relatable, as many people have experienced the feeling of not being able to express themselves properly in a moment that mattered.
Overall, "Última Forma" is a beautiful and melancholic song about missed opportunities and unspoken words.
Line by Line Meaning
Maria Amélia eu passe
Every night, I pass through Maria Amélia’s house in my dreams.
Toda noite sonhando
I dream every night.
Maria Amélia eu passei
I pass through Maria Amélia’s house every night in my dreams.
Toda noite pensando
Every night I think about Maria Amélia.
Lindas palavras que eu preparei
I have prepared beautiful words to say to her.
Pra lhe dizer
To tell her.
Mas me esqueci
But I forgot.
Mas me esqueci
But I forgot.
Eu cheguei lá
I have arrived.
Mas me esqueci
But I forgot.
Do que ia dizer
What I was going to say.
Do que ia falar
What I was going to speak.
Eu cheguei lá
I have arrived.
Eu cheguei lá
I have arrived.
Contributed by John D. Suggest a correction in the comments below.
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Carlos Smith
Paulo Cesar Pinheiro, pelo MPB4...demais....
"...E sabendo com quem eu lidei
Não vou me prejudicar
Nem sofrer, nem chorar
Nem vou voltar atrás
Estou no meu lugar
Não há razão pra se ter paz
Com quem só quis rasgar o meu cartaz
Agora pra mim você não é nada mais....."
Forte essa estrofe....
Carlos Smith
Paulo Cesar Pinheiro, pelo MPB4...demais....
"...E sabendo com quem eu lidei
Não vou me prejudicar
Nem sofrer, nem chorar
Nem vou voltar atrás
Estou no meu lugar
Não há razão pra se ter paz
Com quem só quis rasgar o meu cartaz
Agora pra mim você não é nada mais....."
Forte essa estrofe....
aluisio leal santos
Poesia carregada de emoção. D+++++
David Silva
Sublime. Definitiva mesmo
Paulo Xavier
Paulo Cesar Pinheiro e Baden Powel, dois gênios da nossa música interpretados pelo excelente MBP-4. Coisa linda!
Douglas Ferreira de Oliveira
Essas coisas precisavam voltar, e com extrema premência!
Heloisa Prado
Simplesmente MPB4!
A EXCELÊNCIA do MPB4!
BRAVO!!!!! 👏👏👏👏👏
Marcos Rufino de Melo
Paulo Cesar Pinheiro fez esta música por encomenda da Elis Regina. Quando ele mostrou pra ela ela não quiz gravar. Então ele perguntou assim: "Voce gostou, Elis" Ela respondeu "Até demais". Falava tudo de sua recente separação com o Boscolli... precisa dizer mais nada né!
Senhor Omar
Aumentando meu repertório de histórias da MPB... obrigado
Jose Antonio
Estou no meu lugar e nao ha razão pra se ter paz, com quem só quiz rasgar o meu cartaz.!!!!!!!!! - papo reto,,,,,
zek gulag
Boa informação.