With his new album, Djavan says that time has healed from criticism of his weirdness

With his new album, Djavan says that time has healed from criticism of his weirdness

“May we laugh at everything again, may life be long and everything,” Dagavan sings on “Num Mundo de Paz,” a song from his new album “D.” The music, a kind of R&B with harmonious lead and vocals typical of the singer’s aesthetics, heralds the end of an era of suffering, an image of the hope that exudes from the artist – an MPB entity with great action as strange and commonplace as special.

“My biggest problem with this record is that it had to be the opposite of what we were experiencing – and that’s what it is,” says the singer in the studio at his home in Rio de Janeiro. “The intent was to bring an aura of peace, to say ‘Wait a minute, the future is here, we need to build it, desire it,’ understand that life isn’t like that. It’s better than that, and it’s going to get better.”

In a way, “D” brings light that was absent from his previous album “Vesuvius” from 2018. “This ‘Vesuvius’ is more, shall we say, darker than this new one, that’s real,” he says. “But it is easy to notice this after all the obscurantism we have lived – with the epidemic, the situation in Brazil and the world, and the wars, something heavy. At that time, no one observed Vesuvius in this way.”

Pre-pandemic and pre-Bolsonaro, Djavan’s last record, in a way, ended up capturing feelings that only became evident in later years. “Intuition is something you don’t master,” says the singer. “It seems to herald something heavy.”

From Vesuvius to now, he says, “relationships—love, family, politics, social—have acquired an aura of weight and difference.” “The world has plunged into a process of deterioration of values ​​that you almost never think can be reversed. Go back to the value of kindness, elegance, honesty and stop so much lying. Social networks are troubling matters because, even to issue in my opinion, you have to be very careful. Everything is in destiny. Of negativity and oppression. That’s where the world collapsed. And I obviously can’t bet on it – I want the opposite.”

This is the opposite of what Dagavan dreamed of in the twelve tracks of the song “D”, which arrives on broadcast platforms on Thursday (11), as an offshoot of his exotic style of songwriting and melodies, from samba to jazz, and from soul to Latin. Music. , with a distinctive pop accent. “Cabeça Vazia” and “Nada Mais Sou” are songs depicting relationships that seem to stem just from Djavan’s guitar, while “Ridículo” and “Quase Fantasia” talk about playful love. “Você Pode Ser Atriz” evokes some flexibility and the samba “Êh, h” echoes the optimism that characterizes Djavan and co-writer on the track Zeca Pagodinho.

More than a search for inspiration in new aesthetics, “D” comes from the composer’s constant and insatiable need to exercise his creativity. “Without it I am nothing. I have to compose, I have to say things periodically to feel alive, to feel myself. I think I will always compose.”

This is nothing new for Alagoan – in fact, he has maintained the same tune since Maceo left in the early 1970s to experience life in Rio de Janeiro. In the nearly 50 years of his career, Djavan has hit his twenty-fifth album, an average of two per year, a productivity he maintains even with such a consolidated music book.

It’s as if Dagavan, throughout all these years, has been perfecting his own unique style, a result of a certain oddity that has accompanied him since he changed the accurate pass into the midfield of the youth classes at CSA, his heart’s football team – along with Flamengo – on guitar. In the late 1960s, when the Beatles opened their minds to the chords of perfection—as opposed to their bossa nova repulsion—he joined the band LSD (Luz, Som e Dimensão), who became famous in Maceió and toured in Alagoas.

“I really felt so uncomfortable having to live with that music, which I actually thought was less than I thought. I thought differently than most people and what’s left for me is really to come here,” he says.

In Rio, he showed the songs he was working on when he left LSD. “I went to [radialista] Addison Elvis, who said “Your music is weird, it’s not my music,” he says. [produtor da Som Livre] Joao Milo heard me, he thought it was weird. Another producer listened to me, and also found it strange, but said that this was my origins. Until it came to João Araújo, who was the president [da gravadora]. He said my voice wasn’t ready, but he was going to use me as a singer.”

He began his solo career with “Fato Consumado”, composed for the Apertura Festival, promoted by Globo in 1975 – without being “ordinary” at all. “The weirdness of my music has been polished for most of my life,” he says. “Later, over time, people began to understand what it was about. If I played differently, I sang differently, sang differently. I couldn’t write like everyone else. And it led to Homer’s criticism, that I was bullshit. That time would heal.” these distortions.”

Gavan has become a target of criticism, for songs such as “Açaí” and “Obi”, for poetry that seeks meaning through the clump of unfamiliar words and expressions, not always related to the way it can be immediately understood. For an artist, regardless of the immediate interpretation of his words, there is a strong aesthetic component in the way he writes, in how the words are pronounced together.

“It’s a challenge for you to change the look, you know? It’s not enough to write a letter, you want to play with new words, and understand what you don’t seem to have. It’s a way to challenge yourself,” he says. “This song, ‘Opie’, was criticized too at the time, but I was so happy to put these words together and give meaning that was just beauty. I didn’t want anything else – just beautiful, beautiful.”

Gavan ended up becoming one of the most famous Brazilian composers, even following a very unique path – he was in the soundtracks for the soap operas, but wasn’t part of any movement; He was a great record seller, but he wasn’t cast in a rock band in Rio, and he didn’t have the MTV Acoustic. In this wave, he also had a few and a rarity of partners – some of those are Chico Poark, Caetano Veloso, Stevie Wonder and Alder Blanc – but in “D” he made an exception for his own name.

“Milton Nascimento has been a huge influence. And the first thing I heard was ‘Travessia’,” says Degavan, who recorded “Beleza Destruída” with Bituca on the new album. “To the composer.” I thought everything he did was extraordinary. His musical idea, about harmony, I thought was very different.”

They met in the 70s, but never collaborated musically. “My partnerships in general only happened when other people approached me, because I was always shy about approaching and asking for something, fear of rejection,” he says. “Milton is also very shy. There’s even a photo that comes up online from time to time, sitting on the sofa looking at me. During this time.”

With this somewhat isolated path, Djavan also ended up feeding some legends, and became a target of lies. One of them is that Fleur de Lys, the blow of Djavan, was to compose to a wife and daughter who died. The other thing is that he would have endorsed Jair Bolsonaro, of the Liberal Party, in the last election, because he said he was optimistic about the country’s future at the time of the president’s election — in fact, he says, his hope was in the Brazilian people.

“I’ve always voted for Lula and will vote for him again. I’ve had a very close relationship with Lula for some time, and in short, I’ll continue to vote for him. He won’t campaign for Labour, as he did in the 1989 election. I want to make my contribution from where I am” .

Gavan’s Parkinson’s disease is also a lie. “What I had was something called idiopathic tremor, which is due to a lack of sleep. There was a time when I slept very little, and a lot of people thought I had Parkinson’s disease,” he says. “The neurologist gave me some medication and after a week I was completely free of the problem.”

With no health issues, Javan now feels more understood and sees on the Internet greater recognition of his work by new generations, and an immediate response to everything he produces. He’ll be performing for the first time in Rock in Rio and taking part in more festivals than he used to. He also follows an established lover – although a very small percentage of his love experiences, contrary to what many believe, turn out to be music.

He says, “The composer is an inventor, a creator. I don’t need to fall in love to talk about love. In fact, I say very little about myself in songs. From the past, about love.” “What moves everything is love, it is lived, felt and practiced by all. Therefore, it is surrounded by preconceived notions, it is common, vulgar. No – it is the opposite, it is necessary.”

For Djavan, one of our music’s most famous romantics, love is an “endless pit”. “You are able to compose ten love songs that bring up completely different issues in a person’s life. Love is everything in a person’s life. It is a tremendous challenge to talk about love, about relationships. Likewise, it is like a last resort, a last chance to say something. There is a song [‘Bailarina’] When I call the song “Twilight Season of Unrequited Love,” that’s how I feel.”

The journalist went to Rio de Janeiro at the invitation of Sony

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