Pendant une soirée chez le réalisateur TV Carlos Manga, João Donato et Paulo Moura ont décidé de travailler ensemble et de sortir un album sur lequel, pour la première fois, ils jouaient en duo.
C’était l’anniversaire de Manga, et, en buvant quelques verres, l’hôte leur a demandé de jouer quelques uns des thèmes qui avaient, à une époque, tant plu aux membres du Fan-Club Sinatra-Farney, mis en scène dans des auditions dans les années 50.
Les Murray Stores, à Rio, étaient alors le point de rendez-vous de la Samba et du Jazz.
Les buffs et ces réunions sont considérées par beaucoup comme les origines de la Bossa Nova. Pendant des heures, et inspirés par ces souvenirs, Donato et Moura ont présenté devant un groupe d’invités distingués certaines des chansons les plus demandées lors de ces rassemblements anthologiques.
C’est précisément le genre de répertoire que l’on retrouve dans Dois panos para Manga, une oeuvre inspirée des souvenirs sentimentaux de João et Paulo, avec des pistes données par Manga.
During a party at TV director Carlos Manga’s home, João Donato and Paulo Moura decided to work together and to issue a record in which they, for the first time, performed as a duo.
It was Manga´s birthday and, while having a few drinks, the host asked them to play some of the themes which had once delighted the members of the Sinatra-Farney Fan Club in the auditions that were performed during the decade of the 50ies.
The Murray Stores, in downtown Rio were then the meeting point for samba and jazz … buffs, and such meetings have been regarded by many as the origin of Bossa Nova.
During hours, and inspired by so many memories, Donato and Moura presented before a distinguished group of guests some of the songs mostly requested during those anthological auditions. And that is precisely the core of the repertory of “Dois panos para Manga”, based on the sentimental remembrances of João and Paulo, with some hints from Manga.
“He even sang a few tunes with his tenor voice and managed to improvise in certain passages while we were playing our favorite songs from that period”, remembers Donato. “Carlos Manga was the president of the Sinatra-Farney Fan Club and its driving force”, recalls Moura.
The interaction between performers and repertory was so intense that this album was recorded in less than a week, in February last, at the AR Studio, with the only presence of Paulo’s clarinet and Donato’s piano.
The repertory includes seven classics and two new songs composed by them expressly for this album: « Pixinguinha no Arpoador », and « Sopapo ». Among the jazz classics – favorites of the Fan Club members – are “In a slow boat to China”, (Frank Loesser); “Swanee” (George and Ira Gershwin); “That old black magic” (Harold Arlen and Johnny Mercer), as a tribute to Sinatra; and “Tenderly” (Walter Gross and Jack Lawrence), one of Nat King Cole’s greatest hits.
In the Brazilian repertory, there are two re-creations of songs composed by Braguinha (João de Barro) that were great hits during the 40ies: “A saudade mata a gente”, in partnership with Antonio Almeida, and “Copacabana”, written together with Alberto Ribeiro. Also included are “Minha saudade”, by Donato and João Gilberto, and that has a special meaning to Paulo: “This was the first song in Bossa Nova format that I came across. I included it in first record. It probably was that music’s first recording”, reports Paulo.
The new songs, composed after the party in Manga’s home (not by chance located in Dick Farney Street, in Barra da Tijuca), reflect the influence of this repertory’s earlier ones. « Pixinguinha no Arpoador », contains passages with themes recurrent in Brazilian and international songs. “My inspiration came after visiting Paulo at his home and having played a few chords. He asked what those chords were and I answered that they were nothing, but in reality they were the first notes of ‘Carinhoso’. We kept on playing until it turned out to be a samba canção (samba with lyrics) somewhat resembling also “La vie en rose”, explains Donato.
On that same day, “Sopapo” was written. Paulo gave it that name. “Sopapo is the name of a drum from the Pelotas region, state of Rio Grande do Sul, one of which was given to me as a present by percussionist Giba-Giba”. Coincidently or not, Pelotas is the native town of Ivone Belém, João’s wife, who together with Halina Grymberg, Paulo’s wife, is in charge of the executive production of this record. “Sopapo is a joyful theme that appeals to any child. Besides, joy is my favorite emotion”, concludes Donato.* “Dois panos para mangas” makes a pun with the Brazilian idiomatic expression “dar panos para a manga » (which means “a lot to be said”, « a lot to occur”,” a lot of things that may happen”, and / or similar meanings) and the family name of director Carlos Manga.
Foi numa festa na casa do diretor de TV, Carlos Manga, que João Donato e Paulo Moura decidiram se unir para gravar, pela primeira vez um disco, em duo. Inspirados por tantas lembranças, Donato e Moura desfilaram, durante horas, para um grupo de seletíssimos convidados, algumas das músicas mais marcantes daquelas audições antológicas.
É justamente esta a base do repertório de Dois Panos Para Manga, a partir da memória afetiva de João e Paulo, com uma mãozinha do diretor homenageado no título. Do repertório brasileiro, há duas recriações de Braguinha, o João de Barro, sucessos dos anos 40: « A Saudade Mata a Gente », em parceria com Antonio Almeida, e « Copacabana », feita com Alberto Ribeiro; além de « Minha Saudade », parceria de Donato com João Gilberto.
Não deixe de conferir!
1 – A Saudade Mata A Gente
2 – On A Slow Boat To China
3 – Swanee
4 – Copacabana
5 – Tenderly
6 – That Old Black Magic
7 – Minha Saudade
8 – Pixinguinha No Arpoador
9 – Sopapo