Quintal De Clorofila (Brazil) for Prog Folk

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Quintal de Clorofila 

Quando se fala no rock
gaúcho, as primeiras bandas que vêm à cabeça de um cara que conhece um pouco
sobre rock são Engenheiros do Hawaii e Nenhum de Nós. Aquele que é mais eclético
ainda lembra do Bixo da Seda de Fughetti Luz (e que na verdade teve seu sucesso
quando foram morar no Rio de Janeiro), do TNT de Charles Master, dos Replicantes
de Wander Wildner ou dos Cascavelletes de Nei Van Soria. Na própria história
musical gaúcha, Lupicínio Rodrigues e Nelson Gonçalves são reis, e os mais
citados pela população em geral são Elis Regina e Nei Lisboa, entre outros que
fizeram do auditório Araújo Viana e do Parque Farrupilha (viva a Redenção!!!!)
um marco na cena porto alegrense. Porém, esses últimos, os quais faziam parte da
Turma do
Bonfim (bairro aqui de Porto Alegre), surgiram em meados dos
anos oitenta e tiveram seu auge exatamente no lançamento dos primeiros álbuns
das bandas já citadas.

Mas, durante a década de
setenta e o início dos oitenta, os patrões dos pampas gaúchos não estavam
sentados nos galpões da capital, mas sim espraiando sua musicalidade a partir de
duas cidades do interior. O mais famoso deles foi os Almôndegas, de Pelotas, que
revelou ao Brasil, entre 1974 e 1979, os irmãos Kleiton e Kledir Ramil e uma
sonoridade gauchesca com tempero carioca que abalou as rádios nacionais com
músicas como "Canção da Meia-Noite" e "Vento Negro", e que irá merecer uma
matéria especial para essa sessão.

O outro patrão em questão
também revelou dois irmãos, Dimitri e Negendre Arbo. Surgidos em 1978 e vindos
da cidade de Santa Maria, Dimitri e Negendre estudaram na Escola de Artes da
Universidade Federal de Santa Maria (UFSM) e, juntos, criaram o excepcional
Quintal de Clorofila. Em 1983 conseguiram lançar seu único registro, o qual
estraçalhou tudo o que já poderia ter se imaginado em termos de musicalidade,
misturando elementos do pampa gaúcho à uma sonoridade de diversos instrumentos
no mínimo curiosos, como telhas de zinco, galões de gasolina, serrotes, entre
outros criados especialmente pela dupla de irmãos.

Na época do início da banda,
outros grupos semeavam e colhiam suas sonoridades misturando folk rock com
elementos gaúchos, tais quais o Couro, Cordas e Cantos, Grupo Terra Viva e Os
Tápes, mas o Quintal foi um dos únicos a conseguir lançar um LP, o maravilhoso e
cobiçado O Mistério dos Quintais, de 1983. Lançado pelo selo
Bobby Som, o álbum é um achado na musicultura gaúcha. Contando com diversos
elementos tradicionais do pampa e com a participação de Paulo Soares tocando
violão em algumas faixas, O Mistérios dos Quintais está fortemente construído
em um clima emocional e musical criado pelos irmãos Arbo, acessorados por
diversos instrumentos acústicos como violões, banjo, bandolim, flauta, ocarina,
saxofone, além de uma parte percussiva bem elaborada e também pelas lindas
poesias do pai, Antônio Carlos Arbo.

O disco abre com a incrível
"As Alamedas" e os violões e bandolim introduzindo um clima totalmente medieval.
A levada dos violões acompanha os vocais feitos pela dupla, com acordes tristes
e narrando a história dos enormes pinheiros que cobrem alamedas em busca da luz
do sol e da lua. Quer algo mais progressivo que isso? A introdução é repetida,
com os vocais novamente apresentando a letra. Por fim, Dimitri ainda nos brinda
com uma intervenção de saxofone sobre efeitos percussivos de pratos e apitos,
terminando com um solo de flauta andina acompanhado por violões e por um
bumbo-leguero.

O bandolim introduz
"Jornada", bem como os violões que lembram as escalas do Gentle Giant nas
apresentações ao vivo entre Ray Schulman e Gary Green. Os vocais trazem mais uma
letra de Antônio Carlos, com a linha instrumental acompanhada pelo bandolim e
pelo violão. O tema central está em um duelo marcado de notas entre bandolim e
violão. A introdução é retomada, dando sequência à letra, que agora é
acompanhada, além do bandolim e do violão, por efeitos de um teclado Casio bem
primitivo, entrando em um belo conjunto de solos de flautas. Vocais ficam
sozinhos, trazendo o refrão da letra, com violão, teclados e bandolim trazendo
novamente o tema da introdução.

Galões de gasolina, bumbos e
muita percussão abrem a instrumental "Drakkars", a qual também conta com a
participação de uma flauta solando insanamente. O teclado Casio novamente volta
à ativa, executando um determinado tema. Harmônicos dos violões trazem uma parte
cheia de vocalizações, que lembram cantos indígenas, com destaque para Negendre
mandando ver no violão. A seguir, um engana-bobo aparece, já que temos um solo
de flauta que até Ian Anderson diria se tratar de si mesmo a solar. Violões e
flautas retomam o clima medieval. O lindo arranjo de Negendre e Dimitri é de
chorar, com o clima medieval ficando denso na adição do teclado e também pela
velocidade do violão. Por fim, o bumbo-leguero comanda o ritmo para o fantástico
encerramento com o solo de flauta e os dedilhados do violão.
Sensacional!

Duas homenagens encerram o
lado A. A bela "Liverpool", que homenageia o Fab Four, com uma linda introdução
de violão e flauta, bem como os solos de Negendre ao violão e Dimitri ao sax, e
"Gotas de Seresta", uma linda homenagem aos seresteiros dos anos 40/50, com um
belíssimo trabalho do bandolim de Negendre e da flauta de Dimitri que nos fazem
pensar em estar realmente ouvindo um 78 rpm. Além disso, a voz de Negendre é de
arrepiar, e o encerramento então, pra fazer até o mais sério "metaleiro" ir as
lágrimas.
http://baudomairon.blogspot.com/2009/06/quando-se-fala-no-rock-gaucho-as.html

(Google translate)

In the early days of the band, other groups sowed and harvested their sounds mixing folk rock with gauchos elements such that the leather, ropes and corners, Terra Viva Group and tapes, but the yard was one of the only ones to get launch an LP, the wonderful and coveted Mystery of Backyards, 1983. Released by the label Bobby sound, the album is a treat in gaucho musicultura. Featuring several traditional elements of the pampa and with the participation of Paulo Soares playing guitar on some tracks, The Mysteries of Backyards is strongly built on an emotional and musical atmosphere created by Arbo brothers, acessorados by several acoustic instruments like guitars, banjo, mandolin, flute, ocarina, saxophone, and an elaborate percussion part and also by the beautiful poetry of his father, Antonio Carlos Arbo.

The disc opens with the incredible "The Boulevards" and the guitars and mandolin introducing a totally medieval climate. The flow of the guitars accompanies the vocals made by the duo, with sad chords and telling the story of the huge pine trees that cover malls in search of sunshine and moon. Want something more progressive than that? The introduction is repeated, with the vocals again presenting the letter. Finally, Dimitri still treats us to a saxophone intervention on percussive effects of dishes and whistles, ending with a Andean flute solo accompanied by guitars and a bass drum-leguero.

Mandolin introduces "Journey" as well as the guitars that resemble the scales of Gentle Giant in live performances from Ray Schulman and Gary Green. The vocals add one more letter of Antonio Carlos, with the instrumental line accompanied by the mandolin and the guitar. The focus is on a marked duel of notes between mandolin and guitar. The introduction resumed, continuing the letter, which is now accompanied in addition to the mandolin and guitar, for the purposes of a very primitive Casio keyboard, entering a beautiful set of flutes solos. Vocals are alone, bringing the chorus of the letter, with guitar, keyboards and mandolin bringing the issue of introduction again.

Gallons of gasoline, bass drums and lots of percussion open the instrumental "Drakkars", which also includes the participation of a flute soloing insanely. The Casio keyboard again back in business, running a particular theme. Harmonics of the guitars bring a full part of vocalizations, which resemble indigenous songs, especially Negendre getting it on the guitar. Following is a fool-fool appears, as we have a solo flute by Ian Anderson would say it is yourself solar. Guitars and flutes resume medieval climate. The beautiful arrangement of Negendre and Dimitri is crying, with the medieval climate gets thick when adding up the keyboard and also the guitar speed. Finally, the kick-leguero controls the pace for the fantastic end to the flute solo and the guitar fingerings. Sensational!

Two tributes enclose the side A. The beautiful "Liverpool", which honors the Fab Four, with a lovely introduction of guitar and flute as well as Negendre solos on guitar and Dimitri to sax, and "Drops of Seresta", a beautiful tribute to seresteiros the years 40/50, with a good job of Negendre mandolin and Dimitri flute that make us think of being really listening to a 78 rpm. In addition, the voice Negendre is chilling, and the closure then, to make even the most serious "metalhead" go the tears.

Side B starts with the sound of Mary-Smoke (famous Brazilian train) completely recreated by the instruments of the duo, introducing "Live," which resembles "I've Seen All Good People" by Yes. The vocals here are Dimitri, especially the guitar with distortion used by Negendre and soil with Casio.

The flamenco "The Last Gypsy" recreates paths of Andalusia region. Built on the intricate piece of Negendre the guitar, it is impossible not to imagine beautiful brunettes with castanets dancing around us. Dimitri came with his brother on the guitar, and the vocals are accompanied by keyboard chords and guitar passages. This song, carried mainly by the guitar, shows how the state's music is influenced by Spanish music, whether as a milonga or especially when percurssiva part arises, making this beautiful song an almost chamamé (traditional gaucho rhythm).

"Garden of Delights", created only by the brothers, has a beginning on the keyboard to remember the albums of the German stage of Bowie. However, the flute and the guitar already give way to change that. The saxophone leads to a beautiful ballad with Negendre getting it on the mandolin. Vocalizations Negendre dueling with your guitar, bring the guitar with distortion again, very reminiscent of the sound of a guitar. Lindos fingerings guitar and sax in the dying lead to the end of this song with the flute accompanying the vocals, which take the words to "The Lanes", ending with a guitar and sax to MPB.

"Ballad of Absence" is another beautiful song built on the work on the guitar. With lots of percussion, the highlight goes to the flutes arrangement in the introduction, with sounds of birds and the ocarina being used abusively. A beautiful ballad with a beautiful poem by Antonio Carlos Arbo, always accompanied by Casio keyboard and the guitars.

Finally, "The Mystery of the Backyards" closes this magnificent and fantastic album. The entry with the ocarina, birds, percussion and a harp is divine. Antonio Carlos recites the poem on the melody of the harp and guitars, which command the song in the same notes. The guitar leads to closure, accompanied by flutes and an emotional climate of farewell. Again it is hard not to be moved by the talent and the sense employed by brothers Arbo.

The duo took part in several festivals around the Rio Grande, with some even have a song recorded in the rare Song Project, 1984 (namely, the name of the song was "The Wind and the Wheat"). The duo also continued his career in the cool scene of Porto Alegre of the eighties. At the opening of the famous Bar Review in 1985, the Yard was present, charming many people who passed by.

In 1988 the duo ended up dissolving, with Negendre up living in Paraná. The brothers eventually record another album in 1994, called Temporal and with the participation of Frank Cimino on guitars, but unfortunately was never released. In Paraná, Negendre began building several projects, including working with Indians of Foz do Iguaçu region, casting fantastic albums as Secret Face and Final Dance, while Dimitri continued its work in Porto Alegre.

In 2008 Negendre returned for a few days in Rio Grande do Sul, and, with the help of some friends, Chlorophyll Yard, after twenty years, returned to make presentations; one in Porto Alegre, in the Lane, on April 11, and two in the city of Capon of the Canoe, in the 19th and 20th.

I was pleased to be one of the twelve (I paid me count) Return participants of the band in the Lane, I believe that the lack of disclosure of the show, and moved me a lot with an insane presentation Negendre reciting poems and more poems such which the sweat ran from her body as an emotional Dimitri showed his talent in many different instruments. Moreover, played an inspired 16 minutes version of "The Avenues", where, in a warm, starry night, the yard was able to make it rain in the state capital. At the end of the show, I was still drinking beer and talking to the guys for hours, returning home in the early bird without bus and below a giant foot water tower, but with the certainty that he was privileged to have seen two talents rare in Brazilian music, which are also great people.

According to Dimitri, jazz band mixed the sound, rock, medieval music and African, Eastern and Latin rhythms, in what he calls "viking rock". However, the yard was bigger than that. In fact, the complexity and depth of the inspired songs of the duo are remarkable presence and feeling, and certainly should be heard and reouvidas forever by lovers of good music.

The album Mystery of Backyards was launched with a small drawing, being found (when!) Worth up to 500 dollars. But if picking in central Rio Grande do Sul, sometimes it shines an LP by modest Cinquentinha. The CD had a revival not authorized by the duo, through Argentine friends who copied the LP to .wav and then cashed in on the sound of the yard. Upon discovering this, Negendre made sure to copy your LP to .wav and .mp3 and distributed in several blogs I knew, and the progshine.com was one of those who helped at this point. Also, put the songs on the official site Yard for all to download and listen to free of charge, with only the intention to disseminate the work of the yard (and of course, end crime that Argentines were doing). The site also has made available the Temporal album, but now the link is down. Taking advantage of the cold and the holiday, call your parents, light a fire tower pine nuts, CEVE the mate, put The Mysteries of Backyards to run and hold the tears.

http://granadilla-music.bandcamp.com/album/o-mist-rio-dos-quintais

The album here has originally been issued in 1983 and contains a wild and captivating crossover between Celtic and South American folk from the Andes plus many elements of traditional music from Southern Europe and some more contemporary singer / songwriter aspects with a mystical atmosphere. The playing skills of all participating musicians are enormously high and the distinctive vocals by multiple voices capture your attention in just a second when you take a closer listen to the twelve songs on this album. One or another step into pop music with a slight psychedelic edge that manifests in the use of a saxophone here or synthesizer there carries the compositions into the present time and makes certain that this is not just a fairy tale from ancient days but definitely vivid music to blow your mind with. From harmonium to pan flutes you will find all kinds of instruments backing the beautiful acoustic guitars and haunting voices. QUINTAL DE CLOROFILA remind me of a South American version of THE INCREDIBLE STRING BAND and several gypsy and folk acts from the South or South East of Europe. The whole album has a rather epic feel and drags you deeply into a colorful world of sound. Truly majestic and unearthly enchanting.

released 25 November 2014 on Granadilla Music

http://produto.mercadolivre.com.br/MLB-606203387-quintal-de-clorofila-cd-o-misterios-dos-quintaisseminovo-_JM

http://www.popsike.com/QUINTAL-DE-CLOROFILA-Psych-Folk-Prog-LP-BRAZIL-Pokora/140521145597.html

Edited by Svetonio - November 30 2014 at 02:18