Espiral de Ilusão (Spiral Of Illusion) digital magazine. by Sterns Music

Magazine #I

2017

Illusion Spiral - Interview made in April 2017 Edition: LES COEURS NOIRS | PhOTOS: GIL INOUE

“Music is very strong and samba is something very special for us, for all our people, for our city, for my family.” When and how the desire to record this album begun? Why samba and how was the story behind this album? CRIOLO: I always had a great affection for samba and a great desire to one day do a samba record. Of course I shared this with many people in my life, about this dream of mine, but I never took it very far. I understood: “who am I to make a samba album?”. Of course, I’m Brazilian, and if I like samba, and if I do it respectfully, there is no problem at all. At the same time, I believe I had to feel the right time within myself to be able to live this. Because it’s very serious and it’s very strong, you know. Music is very strong and samba is something very special for us, for all our people, for our city, for my family. But there is no way to speak of this moment, of the here and now, and ignoring those who preceded it. The moments when I was there in my shack, there in Vila São José, in Jardim das Imbuias, and my mother used to sang... And I wanted to sing, I wanted to copy her voice, to copy her way of singing. It all starts there.

What did she sing? CRIOLO: She sang serestas, modas de viola, samba, forró ... She liked a lot, especially songs from her mother’s time, that took me to another place. While in 1982 I wanted to imitate my mother singing, my mother was imitating her mother. And my mother was born in 1950, so I guess what she hummed in 1985 for me, were songs she heard in 1960. It all starts from there, a little bit there too. You can not detach one thing from another. What happens is that I received from the universe a record called “Ainda Há Tempo” that was released in 2006 and then I had another gift from life, from the world, at the moment of recording “Nó Na Orelha”, and then “Convoque Seu Buda.” And another version of the “Ainda Há Tempo”, a celebration of its 10 years. But you can’t talk about an album as if it were an object, as if it were a cut of a piece of furniture. When I talk about these milestones of my life, what comes to me are all the people who were and are with me, all the energies and the things that made them happen. A record is a frame, it is a cut of how much you lived so far, of many thoughts, of many shock. After “Convoque

Seu Buda,” I believe something happened to me and I think it came along with the fact that I was perceiving myself as someone who is aging. I was also in transition from someone who was reaching 40 years of age. And Dandan always tells us that art makes us young. Our art makes us young, but physically and even with this everyday thinking. Because you are complete, everyone is a total being, nobody is just what the other’s eye sees. If one person is a teacher, there are a thousand other things that this person is as well. From the things that visited me, from the feelings that visited me, so many poems, verses from my life, there was another kind of construction, or a lack of construction, which also reverberates in other situations. I have a very good fortune to have very sensitive people by my side who, upon realizing this, joined me at that moment with my old desire to have a 10 year celebration of my rap album, “Ainda Há Tempo”. This brought a lot of energy to everyone, a lot of happiness for our hearts, but also brought in questions, pain, smells and tastes of what we lived 15 years ago. All this gave me a new opportunity to continue to breathe, think and live 24 hours what I love the most, which is music. Now I am in the aftermath of this new moment, or of that moment, I do not know if I can say ‘new’ because we are in construction and deconstruction every day, although there is not a ruler to measure or a score to record this. I wanted to make more sambas and an album of that, but life was taking care of things. I remember that in “Nó Na Orelha”, I wanted to do a solo samba record as well. A lot of things came to me and came out in the form of sambas without my asking. They began to be a hammer and a chisel, which visits the flesh and the heart. Everything came to me, as samba. People once again felt this power, they understood and helped me also to understand that this was the moment to let those emotions come to life. It was not architected as a maneuver, but simply took everyone’s hearts and people respected a lot, bleed together and they are coming with me. This album is this and much more that I can not verbalize.

And what is your history inside samba, Pagode da 27, for example, and other moments when samba was present in your life in a remarkable way? CRIOLO: I’ve always been very shy. And since I was 11 years old, my life was rap, rap, rap. Rap, a rock ‘n’ roll thing, some Brazilian bands, or the Brasília bands that conquered everybody’s minds - and mine too, of course, that was too much. But the samba was always present: through friends, my parents, the people from the neighbourhood...

“A record is a frame, it is a cut of how much you lived so far, of many thing thought, of many shocks.”

“Samba is not when you want it, it’s not when you desire it, it’s when your heart is ready.” Samba describes our daily life, our way of life. It is a relationship that is there. Samba is there for everyone and it goes from the moment of each and every one. And I gradually got closer, I did it my way. When I look back, I had already been welcomed by Pagode da 27, which for me is among the great gatherings of composers in our country. I was welcomed in that range of composers and maybe because we grew up in the same neighborhood and went through the same things, we understand each other in a look and in the construction of text. But the samba also comes from all family meetings, from all the encounters that samba provides. You have Samba da Vela, Samba da Lage, Samba in Cidade Adhemar, Samba da Kombi ... Every place has always had the samba and, from time to time, I have been allowing myself this more intimate flirtation. Samba is not when you want it, not when you desire it. It’s for when your heart is ready.

What are the main relationships between samba and rap for you?

CRIOLO: The force of music, the strength of the instruments, the power of the lyrics... it’s all connected. I do not know what would have been of my life without rap, I would not exist, I would not breathe, I would not know how to talk to anyone, I would not know anything. Because a song is not just a song, it’s an energy that all people emanate in what they love. Samba is also like this. I may not be talking, but I can share what I feel. When this excite us, thrill us, there is no way. You can not force emotion.

What is “Menino Mimado”, the first single from the album? CRIOLO: This song is so many things. Some people say bad things about the boy who is asking money on the streets, some people say bad things about who is suffering with crack addiction, some people - and very mistaken - really think, or live this madness of thinking that a

What are the main relationships between samba and rap for you?

person is sad or suffering because they want and it hurts too much. When I say “No, I do not accept this indiscipline / I think you did not understand me / my boys are what you wove / in resistance to the world that God gave”, this is a lot. Because it is very easy to criticize the other, it is very easy to say that the other is not worthy. And then you start to hear a lot of names and these keywords being fashionable. I don’t want to believe that the human being does not care for another human being, it is not possible, I just can’t. We can no longer be giving audience to rancor, to anger, to hate ... it can not happen like this. This song talks about this, which I do not accept. I do not accept you look at a boy in the streets and say “well done, he’s a tramp, his father is a vagabond”. I do not accept you being there in and hearing that they are “all a bunch of bums who does not want to learn anything”. You can not accept that, you can’t. I know there are many realities, I know no one has to think the same things I do. But there are people suffering, do you understand? And it hurts too much. And it’s more or less that what this song is about. There are so many people who are so far from the many realities that exist in our country. And many of these people have a very great power, but it seems they do not make anything to use this power for good. To run in the street, to see how this street is, to see what is made of and know so much that was built in a completely wrong way and what is to love in our country. Some of these people seem to act like tantrums, but the truth is in everyone’s face. They clap their feet, saying no, for being selfish or spoiled. “No, I can not be contradicted, it’s my way and that’s it.” “Menino Mimado” is a bit of that and another bit of a bunch of thing too.

What about samba impacted your life? Artists, composers, songs, moments... CRIOLO: It’s hard to say. I think sometimes samba comes to you from your friend, who introduced you to a song. You do not remember the name of the song, and you do not know who the singer was, but remember your friend who introduced you to the samba. So he’s the samba too, because I understand that as a gesture. I recently participated in the album by Martinho da Vila, and he is wonderful. And it’s so distant to imagine that you will meet such a person... I arrived and he gave me a hug, gave me a kiss on the face, we became a colleague, but he is the Martinho da Vila. It’s the gesture, you understand? Or knowing that Paulinho da Viola listened to a song of mine and said “go boy, stay calm, your heart is clean, your song is beautiful, be happy”. It’s Paulinho da Viola, master of the masters, but it is a human being of sensibility, wonderful, who gave

“We can no longer be audience to rancor, to anger, to h at e . . . i t c a n not happen like this.” me affection and was respectful to me. It’s gesture. I believe that these people have this gift, so wonderful, that it is reaching so many hearts in Brazil and in the whole world, because they are that way, because they are all love. It’s a gesture for me to get home after a certain age and see that there was a record there and that on the cover of this record there was a guy in a restaurant reading a newspaper, and that this guy was Moreira da Silva. My father bought that album, so my father is Moreira da Silva, my father brought Moreira da Silva into the house, Moreira da Silva is a bit of my father, because this record was at home. It’s all beauty and grandeur of the gesture. I am not a scholar of anything, I can not say all the names, I do not know how to express myself sometimes. But I keep moments of emotion in my heart and I think that’s what stays.

What do you expect from this moment on? CRIOLO: I really don’t know what to expect. The opportunity to feel music. That’s it. I am really seeing a dream come true: a samba album made with the energy and experiences of these wonderful musicians who have seen, lived and created so much. It’s a great honor.

LÁ VEM VOCÊ (CRIOLO)

LÁ VEM VOCÊ COM OS SEUS LARARÁS V I R A N D O A E S Q U I N A N A P O R TA D O B O T E SOL DE MEIO DIA NO COPO UM CAPOTE P R A P E N S A R N O A L M O Ç O D E P O I S D O J A N TA R SEM CAFÉ PRA TOMAR ESPERAR O AMANHÃ TA N TA G E N T E N A P O R TA D E B A R QUE VIVE A SORRIR QUE VIVE A CHORAR E U S Ó Q U E R I A V O C Ê M E U B E N Z I N H O V O LTA N D O P R O L A R LÁ VEM VOCÊ COM OS SEUS LARARÁS VIRANDO A ESQUINA UM POUCO DE GINGA, UM POUCO DE MALÍCIA E QUANDO A NOITE VEM A GENTE ESQUECE A PREGUIÇA E ELA VEM NO GINGADO DE CÁ DE LÁ E DE CÁ SE FOR PRA FALAR DA CONJUNTURA E DA CONCEPÇÃO M E U D E U S D O C É U M AT E R N I D A D E I R M Ã O COM ESSA MULHER PRETENDO ME CASAR LÁ VEM VOCÊ COM OS SEUS LARARÁS PRA CRESCER E TER SOMBRA ÁRVORE TEM QUE VINGAR PASSA UM TEMPO DEPOIS DE COLAR P A S S A R I N H O S P A R A E N TÃ O F E R M E N TA R A S E M E N T E Q U E V E M A C O P A O F E R E C E AT E N Ç Ã O P R O T E G E D O S O L D O O U T R O D I A O I R M Ã O QUE BEBEU, QUE TOMOU PRA ESQUECER A MULHER Q U E TA LV E Z T E N H A U M D E S A M O R HAJA LARARÁ MEU AMIGO DOUTOR (LÁ VEM VOCÊ COM OS SEUS LARARÁS)

LÁ VEM VOCÊ (CRIOLO)

DILÚVIO DE SOLIDÃO (CRIOLO)

C H O V E L Á F O R A C H U VA D E S A U D A D E D E M O R A N O S TA L G I A É G U A R D A - C H U VA D E S S E I R M Ã O E PARA-RAIO É O POBRE VIOLÃO CHOVE DENTRO DE MIM, DILÚVIO DE SOLIDÃO ANGÚSTIA QUE FAZ SOFRER NÃO DEI VALOR A MEU TESOURO Q U E M S Ó V I U L ATA N Ã O S A B E O Q U E É O U R O CHOVE DENTRO DE MIM UM DILÚVIO DE SOLIDÃO ANGÚSTIA QUE FAZ SOFRER POIS BOEMIA É PRA POUCOS CACHAÇA É ÁGUA QUE ACABA COM O CABOCO

DILÚVIO DE SOLIDÃO (CRIOLO)

MENINO MIMADO (CRIOLO)

NÃO, EU NÃO ACEITO ESSA INDISCIPLINA ACHO QUE VOCÊ NÃO ME ENTENDEU MEUS MENINOS SÃO O QUE VOCÊ TECEU EM RESISTÊNCIA AO MUNDO QUE DEUS DEU E N TÃ O P A R E D E C O R R E R N A E S T E I R A E VÁ C O R R E R N A R U A VEJA A BELEZA DA VIDA NO VENTRE DA MULHER POIS QUEM NÃO VIVE EM VERDADE MEU BEM FLUTUA NAS ILUSÕES DA MENTE DE UM LOUCO QUALQUER E EU NÃO ACEITO NÃO EU NÃO ACEITO ESSA INDISCIPLINA ACHO QUE VOCÊ NÃO ME ENTENDEU MEUS MENINOS SÃO O QUE VOCÊ TECEU EM RESISTÊNCIA AO MUNDO QUE DEUS DEU EU NÃO QUERO VIVER ASSIM, MASTIGAR DESILUSÃO E S T E A B I S M O S O C I A L R E Q U E R AT E N Ç Ã O FOCO FORÇA E FÉ, JÁ FALOU MEU IRMÃO MENINOS MIMADOS NÃO PODEM REGER A NAÇÃO

MENINO MIMADO (CRIOLO)

NAS ÁGUAS (CRIOLO)

NAS ÁGUAS DO MAR EU VOU ME BENZER, VOU ME BANHAR NAS ÁGUAS DO MAR EU VOU PEDIR PERDÃO PRA ABENÇOAR O ANO NÃO FOI BOM POR CULPA MINHA Ó PAI ABENÇOA DEMAIS ESSE POBRE INFELIZ QUE O PRÓXIMO VENHA ASSIM DE AXÉ DE AMOR PRA SER FELIZ EU TIREI O SORRISO DE ALGUÉM NÃO MEREÇO PERDÃO MAGOEI TEU CORAÇÃO SORRISOS SÃO COSTURADOS COM FACEIRAS SITUAÇÕES JÁ SORVI OS MEUS LIMÕES AGORA VOU ME BANHAR PEDIR PERDÃO PRA ABENÇOAR FIZ ALGUÉM INFELIZ E ESSA CANÇÃO VEM QUE É SÓ PRA LIMPAR NAS ÁGUAS DO MAR

NAS ÁGUAS (CRIOLO)

A FILHA DO MANECO (RICARDO RABELO / CRIOLO / JEFFERSON SANTIAGO)

E S TA VA E U O B S E R VA N D O D A J A N E L A Q U A N D O S U R G E U M AV I Ã O DO JARDIM A FLOR MAIS BELA (EU QUIS SABER O NOME DELA) PERGUNTEI AO JURANDIR LÁ DO BOTECO QUE LOGO ME RESPONDEU ELA É FILHA DO MANÉCO MANÉCO LÁ NO MORRO É CONHECIDO TEMIDO, NÃO É DE BRINCADEIRA E JÁ MANDOU RECADO PRA COMUNIDADE SUA MENINA TERMINOU A FACULDADE E NÃO QUER VER GAVIÃO SOBREVOANDO O SEU TERRENO E QUEM TENTOU, PROVOU DO SEU VENENO O HOMEM INSISTI EM DAR TRABALHO AO ZÉ PEQUENO Q U E J Á E S TA F A Z E N D O H O R A E X T R A O C O V E I R O D A C I D A D E TÁ AT É B A N C A N D O F E S TA MAS SE DEPENDER DE MIM VOU DAR UM PAPO RETO NO MANÉCO SUA MENINA CONQUISTOU MEU CORAÇÃO E VAI SER DONA DO MEU BARRACÃO

A FILHA DO MANECO (RICARDO RABELO / CRIOLO / JEFFERSON SANTIAGO)

ESPIRAL DE ILUSÃO (CRIOLO)

COMO VOCÊ DORME COM ISSO? COMO VOCÊ DORME TRANQUILO? ME MAGOOU ME DESTRUIU ME DESANDOU COMO VOCÊ DORME TRANQUILO? EU JÁ DESCOBRI TUDO O QUE VOCÊ FEZ NÃO ERA SÓ EU E VOCÊ, ÉRAMOS TRÊS PESSOA MAGOADA QUER PROTEGER GÊNERO SE REÚNE NÃO TEM PRA VOCÊ É QUE AMAR É ALGO NOVO PROS HOMENS MULHERES AMAM, HOMENS NÃO SEI O QUÊ PRA PROTEGER MINHA RAIZ DE SENSIBILIDADE P O R F AV O R N Ã O M E L I G A N Ã O M E P R O C U R E M A I S TA R D E ABAIXE SEU TOM NÃO FALE POR MIM M U L H E R T E M F I B R A N Ã O VÁ D E S T R U I R NUM ESPIRAL DE ILUSÃO VOCÊ SE METEU E LÁ ME JOGOU C O M V O C Ê F O I T O TA L D E S A M O R

ESPIRAL DE ILUSÃO (CRIOLO)

CALÇADA (CRIOLO)

EU SOFRI SEM PERDÃO NÃO CONSEGUI ADMITIR A SITUAÇÃO LOGO O SOFRIMENTO SE ESPAIÔ EU FIQUEI MERGULHADO EM DESAMOR EU SOFRI SEM PERDÃO NÃO CONSEGUI ADMITIR A SITUAÇÃO ME VEJO NESSA SENTENÇA PENDENGA DE DESAMOR E U F A LT E I C O M V O C Ê E N A D A C H E G O U U M B E L O D I A P E N S AVA Q U E TAVA E S C R I T O ERA EU PRA ELA, ELA PRA MIM I S S O TÁ B O N I T O E S Q U E C I D E F E C H A R U M A P O R TA E UMA JANELA DE UMA OUTRA CASA TODA VERDADE VEIO NA MINHA CALÇADA

CALÇADA (CRIOLO)

B O C A F O FA (CRIOLO)

É O BOCA FOFA BOCA FOFA QUANDO É PEGA NÃO SABE FALAR V O C Ê P E R G U N TA A V E R D A D E Q U E S T I O N A E S Ó F A Z B A F A F Á O B O C A F O F A É R E C O R R E N T E D E U M A D J E T I V O D A Q U E S TÃ O S E F A LT E I C O M A V E R D A D E , N Ã O S E I F A L A R C O M I R M Ã O É O BOCA FOFA B O C A F O F A É U M A T E N D Ê N C I A A S S I M TÃ O G L O B A L QUANDO UM NÃO TEM VERDADE BOCA FOFA É FENOMENAL N Ã O C O N S E G U E T E C E R L E T R A P A L AV R A S E Q U E R U M A S Í L A B A E E L E TÁ T O D O P E R D I D O J Á N E M S A B E R E Z A R M A N D I N G A A MENTIRA SE FEZ ASSIM PERDEU DENTE E A LÍNGUA E O BOCA FOFA É TENDÊNCIA GLOBAL PRA MENINO E MENINA

B O C A F O FA (CRIOLO)

HORA DA DECISÃO (RICARDO RABELO /

D I T O S I LV A )

O T E M P O F E C H O U N A F AV E L A É FERA ENGOLINDO FERA QUEM NÃO TEM PROCEDÊ JÁ ERA Q U E R O V Ê Q U E M VA I T E R C O R A G E M OU PEITO PRA INTERFERIR S E A F A L A N G E D O M A U TÁ P R O N TA E A PAZ TEVE QUE SAIR DÁ BRINCADEIRA REAL DE POLÍCIA E LADRÃO S A I D Á Á R E A E A F A S TA A B O L A É HORA DA DECISÃO O TOQUE É DE RECOLHER P R A N Ã O H AV E R C O R R E R I A E N T R E L I N H A S Q U E M VA I B AT E R ? PENALIDADE NÃO É LOTERIA

HORA DA DECISÃO (RICARDO RABELO /

D I T O S I LV A )

C R I A D E F AV E L A (CRIOLO)

OH LARAIÊ TAVA E S C U TA N D O F E L A DA BOCA DA MINHA JANELA SUCO DE SERIGUELA A Z E D O N Ã O VA I F I C A R MOLEQUE DA BIQUEIRA Q U E TAV A N O C O R R E C O R R E Q U A N D O E S C U TA R E G G A E E B O B B I Q U E I R A N Ã O VA I V O LTA R OH LARAIÊ M E N I N O V O C Ê N Ã O P O D E V O LTA R PORQUE A BIQUEIRA NÃO É SEU LUGAR N Ã O VÁ B A N C A R E S S A P AT I F A R I A É G E N T E D A A LTA N A P A P E L A R I A DELAÇÃO PREMIADA JOGO DE PODER E S E F O R P R A R U A T E N TA M M E D E T E R S E M O Z I N H O TÁ L O N G E EU VIVO A SOFRER C R I A D O E M F AV E L A É M E L H O R N Ã O M E X E R OH LARAIÊ M E N I N O V O C Ê N Ã O P O D E V O LTA R PORQUE A BIQUEIRA NÃO É SEU LUGAR N Ã O VÁ B A N C A R E S S A P AT I F A R I A É G E N T E D A A LTA N A P A P E L A R I A DELAÇÃO PREMIADA JOGO DE PODER E S E F O R P R A R U A T E N TA M M E D E T E R S E M O Z I N H O TÁ L O N G E EU VIVO A SOFRER M E A P O S E N TA R S Ó D E P O I S D E M O R R E R OH LARAIÊ

C R I A D E F AV E L A (CRIOLO)

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“Espiral de ilusão

wa s a g i f t t h at I r e c e i v e d f r o m M a r c e l o C a b r a l , D a n i e l G a n j a m a n a n d B e at r i z B e r j e a u t, a w o n d e r f u l g i f t o f d e d i c at i o n a n d r e s p e c t. S a m b a ta k e s c a r e o f p e o p l e w i t h a f f e c t i o n a n d t h e s e b o y s a r e ta k i n g care of these sambas with much affection. Guto Bocão is a g r e at m a s t e r , a g r e at p e r c u s s i o n i s t, w o n d e r f u l , t h at h a s a b e a u t i f u l h i s t o r y. M a u r i c i o B a d é t h at I a l r e a d y k n o w f o r a long time… There is also Alemão, who is very young, but i s a l r e a d y a g r e at p e r c u s s i o n i s t. A n d t h e r e ’ s E d T r o m b o n e , F e r n a n d o B a s t o s , G i a n C o r r e a o n t h at s e v e n s t r i n g g u i ta r - t h i s g u y i s w o n d e r f u l - a n d R i c a r d o R a b e l o , d i r e c t ly from Grajaú… I’m learning a lot in this process.” (Criolo)

“ I n a wa r f o r p o w e r and freedom, where t h e w e l l- b e i n g o f a l l i s fa r f r o m b e i n g a p r i o r i t y, s a m b a o p e n s i t s way t o come to us”

“Espiral de ilusão

“ I n a wa r f o r p o w e r and freedom, where t h e w e l l- b e i n g o f a l l i s fa r f r o m b e i n g a p r i o r i t y, s a m b a o p e n s i t s way t o come to us”

GRAPHIC DESIGNER AND ILLUSTRATOR WITH MORE THAN 40 YEARS OF PROFESSIONAL A C T I V I T Y, E L I F A S A N D R E AT O I S RESPONSIBLE FOR THE ILLUSTRATION ON THE COVER OF “ESPIRAL DE ILUSÃO”. WITH A DELICATE AND STRIKING TRAIT THAT M I X E S T H E M U LT I CO LO R E D P O E T RY O F H I S INSPIRATIONS WITH A STRONG SOCIAL C O M M E N TA R Y, E L I F A S H A S D E V E LO P E D SOME OF THE BEST-KNOWN COVERS OF BRAZILIAN POPULAR MUSIC. DEVELOPING MASTERPIECES FOR CHICO BUARQUE, ELIS REGINA, ADONIRAN BARBOSA, PAULINHO DA VIOLA AND MARTINHO DA VILA, THE ARTIST IS ONE OF THE GREATEST REPRESENTATIVES O F T H E N AT I O N A L C U LT U R E I N T H E D R AW I N G AND ILLUSTRATION UNIVERSE. “TO HAVE ELIFAS ON THE PROJECT WAS SOMETHING THAT I COULD NOT EVEN I M A G I N E T O D R E A M O F. T H E R E WA S S I M P LY NO THOUGHT OF THE POSSIBILITY THAT HE WOULD MAKE THE COVER OF OUR RECORD, BUT IT DID HAPPEN. WE INVITED HIM, HE A C C E P T E D A N D H E N O T O N LY D O I N G T H E A R T ON THE COVER, BUT HE IS ALSO BLESSING OUR JOURNEY AND THIS ALBUM, WHICH IS A PIECE OF SO MANY FEELINGS MIXED TOGETHER. ELIFAS APPEARED IN OUR LIVES TO SHOW US WAYS AND TO BLESS US.”. (CRIOLO)

“WHEN CRIOLO SAW THE DRAWING HE CALLED IT A GUARDIAN. FIGURE THAT WELCOMES AND AT THE SAME TIME DEMARCATES THE SACRED TERRITORY OF SAMBA. WHEN A DRAWING HAS A NAME AND A MEANING, IT CAN TO SERVE MUSIC, BEING ALWAYS GREATER THAN ANY DRAWING MAY BE.” (ELIFAS ANDREATO)

Maria Vilani and Cleon Gomes, Crioloâ&#x20AC;&#x2122;s parents

P H O T O S

B Y

C R I O L O

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C R I O L O

“ESPIRAL DE ILUSÃO” PELA ILUSTRADORA

les cĹ&#x201C;urs noirs

ESPIRAL DE ILUSÃO ALBUM CRIOLO: VOCALS GIAN CORREA: 7 STRING GUITAR RICARDO RABELO: CAVACO ED TROMBONE: TROMBONE F E R N A N D O B A S T O S : A LT O , T E N O R A N D S O P R A N O S A X O P H O N E S A N D F L U T E MAURICIO BADÉ: PERCUSSION GUTO BOCÃO: PERCUSSION ALEMÃO: PERCUSSION FEMALE CHOIR: CLARIANAS (MARTINHA SOARES, NALOANA LIMA AND NARUNA COSTA) MALE CHOIR: DANIEL GANJAMAN, MARCELO CABRAL AND RICARDO RABELO

CRIOLO Magazine VOL 1 (an OLOKO RECORDS / CODEX UQBAR Project)

GENERAL DIRECTION: BEATRIZ BERJEAUT / OLOKO RECORDS C O N C E P T, C O N T E N T A N D I D E A L I Z A T I O N : T I N O M O N E T T I / CODEX UQBAR P R O D U C T I O N A N D D E V E LO P M E N T : C L A R A N U N E S EXECUTIVE PRODUCTION: KLER CORREA LO G I ST I C S A N D O P E R AT I O N S : G I OVA N N A S C A R A N O DESIGN: RICARDO FERNANDES L AYO U T : R I C A R D O F E R N A N D E S & C E L S O R E E K S ART DIRECTION: RICARDO FERNANDES & LES CŒURS NOIRS PHOTOS: CAROLINE BITTENCOURT, GABRIEL GHIDALEVICH,

ALL SONGS WRITTEN BY CRIOLO, EXCEPT FOR “ H O R A DA D E C I S Ã O ” ( R I C A R D O R A B E LO A N D D I T O S I LVA ) AND “FILHA DO MANECO” (CRIOLO, RICARDO RABELO AND JEFFERSON SANTIAGO)

MUSIC PRODUCTION AND BASIC ARRANGEMENTS: DANIEL GANJAMAN AND MARCELO CABRAL HORN ARRANGEMENTS: DANIEL GANJAMAN, MARCELO CABRAL, GIAN CORREA, ED TROMBONE AND FERNANDO BASTOS RECORDED MIXED AND MASTERED AT ESTÚDIO EL ROCHA RECORDED BY DANIEL GANJAMAN AND ERIC YOSHINO MIXED BY DANIEL GANJAMAN AND FERNANDO SANCHES MASTERED BY FERNANDO SANCHES ILLUSTRATIONS BY ELIFAS ANDREATO ART BY RICARDO FERNANDES EXECUTIVE DIRECTION BY BEATRIZ BERJEAUT EXECUTIVE PRODUCTION BY KLER CORREA RECORD LABEL AND PUBLISHER OLOKO RECORDS

GIL & PEDRO INOUE, LES CŒURS NOIRS COVER: GIL & PEDRO INOUE ILLUSTRATIONS: ELIFAS ANDREATO FASHION PRODUCTION: VICTOR MIRANDA TRANSLATION TO ENGLISH: TINO MONETTI

CRIOLO Magazine VOL 1 (an OLOKO RECORDS / CODEX UQBAR Project)

ALL SONGS WRITTEN BY CRIOLO, EXCEPT FOR “ H O R A DA D E C I S Ã O ” ( R I C A R D O R A B E LO A N D D I T O S I LVA ) AND “FILHA DO MANECO” (CRIOLO, RICARDO RABELO AND JEFFERSON SANTIAGO)

GIL & PEDRO INOUE, LES CŒURS NOIRS COVER: GIL & PEDRO INOUE ILLUSTRATIONS: ELIFAS ANDREATO FASHION PRODUCTION: VICTOR MIRANDA TRANSLATION TO ENGLISH: TINO MONETTI

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