VIOLÃO DE DOIS
Mello / Ocougne
Preis / Price : 15.08 €
Bestell-Nr. / Purchase Order No. : om010202
  Warenkorb
 
Chico Mello guitar, vocals, clarinet, euphonium, matchbox
Silvia Ocougne guitar, vocals, euphonium, cavaquinho
 
01.
Bebê 05:28
02.
John Cage na praia n° 5 08:43
03.
Violão de dois after Garoto's 'Lamentos do morro' 05:11
04.
Dentro do Tubo n° 3 05:25
05.
Dentro do Tubo n° 4 06:34
06.
Novela de radio
after 'A mulher que ficou na Taça' by Francisco Alves and Orestes Barbosa
04:20
07.
Garota de Ipanema 02:45
08.
Introduction 02:03
09.
Yellow Dream after Noel Rosa's 'Fita amarela' 05:58
10.
Introduction 02:02
11.
Maria's Fumaça after Billy Staryhorn's 'Take the "A" Train' 06:14
12.
1 x 0 03:42
13.
Introduction 01:15
14.
Trem das onze 04:35
15.
BONUS TRACK: Novela de radio live in concert! 04:38
   
 
Total time:  70:31

All composed by Mello & Ocougne except (1) by Hermeto Paschoal, (7) by Antonio Carlos Jobim, (12) by Pixinguinha, (14) by Adorinan Barbosa
Recorded live on February 2, 2001, at oaksmus concerts in Berlin
Recording engineer: Hein Laabs
Produced by Dietrich Eichmann
Layout & graphic design: CK new media consulting
Photos: Birgit Cauer
Liner notes: Harald Borges

 
First published in June 2001
 
Excerpt from the booklet:
Silvia Ocougne and Chico Mello insert an intelligent quirkiness into the mainstream of what is generally understood by Brazilian popular music. For them the popular music of their homeland is the musical point of departure, out of which they create their own music. Their approach to tradition is sovereign, irreverent and playful-ironic, but never contemptuous. Silvia Ocougne and Chico Mello have their fun with this music to which they stand so close and yet as musicians and composers at a distance as well. Just as distanced as to the European-North American popular music tradition which they approach from their own musical background - as with Billy Strayhorn's 'Take the "A" Train'. Their means of making this distance clear are musical irony and the Brazilian joy in the unexpected, which does not occur as a long-planned and circled-off break as in European art music, but rather as a humorous, ironically commentated chaos which cuts through repeatedly like a bolt of lightning.
Harald Borges
Translation: Tim Florence 


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