Produced by Marisa Monte

Co-Production // Alê Siqueira, Arnaldo Antunes and Carlinhos Brown  

Direction of production  // Leonardo Netto

Recorded // Alê Siqueira (with exception of Já sei namorar,Velha Infância and Carnavália, recorded for: Antoine Midani)

Writings you add // William Jr

Executive Production // Suely Aguiar 

Assistant of studio // Marcio Barros

Assistant of production // Lívia Monte

Mixagem  // Alê Siqueira, Flavio de Souza and Marisa Monte

Pré-masterização // Estúdio Ar(Assistant: Leonardo Moreira)

Masterização // Ricardo García(Magic Master)

Images // Vik Muniz @ Vik Muniz Studio, New York City (with special assistance of Cleverson) Graphical Project // Leonardo Eyer 

Graphical designers assistants // Gustavo Lacerda and Eliane Lazzaris  

Ciphers // Cézar Mendes and Alê Siqueira 

Recorded in Rio De Janeiro between 8 and 24 of April of 2002

ABOUT THE DISC

Arnaldo Antunes, Carlinhos Brown, Marisa Monte, have crossed, in the last ten years, innumerable times their professional lives in compositions, recordings, productions of albums and shows.

March 2001 - Salvador / Bahia

Carlinhos Brown produced with Alê Siqueira, in his studio “Ilha dos Sapos” in Candeal, Arnaldo Antunes’s album “Paradeiro''. They invited Marisa Monte to record a special participation, sharing with Arnaldo the voices on the track, which has the same the title of his album, a partnership of the trio. The recording session was fast, but Marisa spent the whole week along with Brown and Antunes composing and playing intensively. In the end, the three had made around 20 musics together.

Marisa came back to Rio de Janeiro and retook "Memories, Chronicles and Declarations of Love" tour that was shot in DVD and launched at the end of that year, with a participation of Arnaldo singing along with her the track “Paradeiro”. Arnaldo released the album in October and started a big tour. Carlinhos dedicated his time to produce the Margareth Menezes and Timbalada’s CDs.

In that period, between phone calls and fast meetings, they have improved the compositions and kept on dreaming about recording an album together one day.

April 2002 - Rio de Janeiro / Rio de Janeiro

Marisa had just finished the production of Argemiro Patrocínio’s album. Arnaldo opened a breach in his shows schedule to finish and launch its book "Palavra Desordem". At the same time Brown’s agreement with EMI Music arrived at its end. He would have only a month before starting the recording arrangements of his first album for BMG-Spain, designated to the international market.

That was the moment. Their agendas were settled and on April 8th they entered the studio. They rehearsed during 2 days and recorded on the following thirteen, a music per day, from the base up to the voices, l3 unpublished songs derived from the repertoire composed one year before in Salvador.

In the studio, only two invited musicians: Dadi Carvalho and Cézar Mendes who, as well as Arnaldo, Carlinhos and Marisa would participate in all tracks and play the instruments they felt necessary, beyond the special participation of Margareth Menezes in a song on which she is also partner.

To shoot the images, thinking about having, in principle, at least any material for promotion, an affective register and perhaps a video-clip, they invited Trattoria de Frame. Guilherme Ramalho set up, with the camera-woman Dora Jobim, a structure with 3 cameras mini - DV, catching the whole recording process in full time. The result was so amazing and charming for all that it ended by becoming a DVD.

The months of May and June were dedicated to the conclusion and mixing of the album by Marisa Monte, Alê Siqueira and Flávio de Souza. In June 2002 the CD “Tribalistas” was ready.

The decision of launching the CD and DVD at the same time was the reason to schedule the release to November. Five months had been taken in the edition and finishing of the DVD including, the return of the producers to the studio for the mixing of the audio in Dolby 5.1 system.

CD, DVD and VHS are released by the Phonomotor label and distributed worldwide by EMI in November 2002.

This project, that does not foresee live presentations, brings to the public the register of private moments of this partnership among Marisa Monte, Arnaldo Antunes and Carlinhos Brown that have already been consecrated with innumerable hits over the last ten years.

March 2001 - Salvador / Bahia

Carlinhos Brown produced with Alê Siqueira, in his studio “Ilha dos Sapos” in Candeal, Arnaldo Antunes’s album “Paradeiro''. They invited Marisa Monte to record a special participation, sharing with Arnaldo the voices on the track, which has the same the title of his album, a partnership of the trio. The recording session was fast, but Marisa spent the whole week along with Brown and Antunes composing and playing intensively. In the end, the three had made around 20 musics together.

Marisa came back to Rio de Janeiro and retook "Memories, Chronicles and Declarations of Love" tour that was shot in DVD and launched at the end of that year, with a participation of Arnaldo singing along with her the track “Paradeiro”. Arnaldo released the album in October and started a big tour. Carlinhos dedicated his time to produce the Margareth Menezes and Timbalada’s CDs.

In that period, between phone calls and fast meetings, they have improved the compositions and kept on dreaming about recording an album together one day.

April 2002 - Rio de Janeiro / Rio de Janeiro

Marisa had just finished the production of Argemiro Patrocínio’s album. Arnaldo opened a breach in his shows schedule to finish and launch its book "Palavra Desordem". At the same time Brown’s agreement with EMI Music arrived at its end. He would have only a month before starting the recording arrangements of his first album for BMG-Spain, designated to the international market.

That was the moment. Their agendas were settled and on April 8th they entered the studio. They rehearsed during 2 days and recorded on the following thirteen, a music per day, from the base up to the voices, l3 unpublished songs derived from the repertoire composed one year before in Salvador.

In the studio, only two invited musicians: Dadi Carvalho and Cézar Mendes who, as well as Arnaldo, Carlinhos and Marisa would participate in all tracks and play the instruments they felt necessary, beyond the special participation of Margareth Menezes in a song on which she is also partner.

To shoot the images, thinking about having, in principle, at least any material for promotion, an affective register and perhaps a video-clip, they invited Trattoria de Frame. Guilherme Ramalho set up, with the camera-woman Dora Jobim, a structure with 3 cameras mini - DV, catching the whole recording process in full time. The result was so amazing and charming for all that it ended by becoming a DVD.

The months of May and June were dedicated to the conclusion and mixing of the album by Marisa Monte, Alê Siqueira and Flávio de Souza. In June 2002 the CD “Tribalistas” was ready.

The decision of launching the CD and DVD at the same time was the reason to schedule the release to November. Five months had been taken in the edition and finishing of the DVD including, the return of the producers to the studio for the mixing of the audio in Dolby 5.1 system.

CD, DVD and VHS are released by the Phonomotor label and distributed worldwide by EMI in November 2002.

This project, that does not foresee live presentations, brings to the public the register of private moments of this partnership among Marisa Monte, Arnaldo Antunes and Carlinhos Brown that have already been consecrated with innumerable hits over the last ten years.

EXTRAS:

Featuring

ARNALDO ANTUNES

Arnaldo Antunes was born in 1960, in São Paulo, Brazil, and has made music, poetry, video, performances, shows and interventions in other artistic scenes since 1980. He used to integrate the rock band Titãs from 1982 up to 1992 and recorded seven albums with them released by WEA Brazil:

- Titãs (1983),

- Televisão (1985),

- Cabeça de Dinossauro (1986),

- Jesus não tem dentes no País dos Banguelas (1987),

- Go Back ao vivo em Montreux (1988),

- Õ Blésq Blom (1989)

- Tudo ao Mesmo Tempo Agora (1991).

In 1992 he received the award for the Music of the Year for Grávida, in partnership with Marina Lima, granted by the São Paulo Association of Critics of Art. After having left the band, he continued to compose for their CDs Titanomaquia (1993), Domingo (1995), Titãs Acústico MTV (1996) in which he made a special participation singing the track O Pulso and still Volume 2 (1998). As a solo artist, Arnaldo Antunes has six CDs released by BMG Brazil:

- Nome (1993),

- Ninguém (1995),

- O Silêncio (1996),

- Um Som (1998),

- Focus - O Essencial de Arnaldo Antunes (1999)

- Paradeiro (2001)

Arnaldo also composed O Corpo (1999), soundtrack especially produced for the group O Corpo, company of dance from Minas Gerais, as well as the soundtrack for the performance Teresa, of the plastic artist Tunga.

Outside Brazil, in 1997, he participated of the compilation Bati Macumba, Bad New Records, Japan, with the track: The Silence, by Carlinhos Brown and Arnaldo Antunes; Gera by Edgard Scandurra and Antunes; Desce by Arnaldo and Poder by Arnaldo Antunes and Tadeu Jungle. In 1998, some tracks of his solo CDs were chosen to integrate the musical anthologies Beleza Tropical 2 - New! More! Better! compiled by David Byrne, Luaka Bop/Warner Bros, U.S.A.: Imagem by Péricles Cavalcanti and Arnaldo Antunes, and O Seu Olhar by Paulo Tatit and Antunes and Brazil 2 Thousand - The Soul Of Bass-O-Novo, compiled by Béco Dranoff and Marc Hollander, Ziriguiboom Discos/Crammed Discs, Belgium: Alta Noite by Arnaldo Antunes.

In this same year, Arnaldo participated of two collective projects: the CDs Onda Sonora Red Hot + Lisbon, Red Hot Organization, the track Sem Você, composed in partnership with Carlinhos Brown and recorded with Arto Lindsay and Davi Moraes, and Freezone 5: The Radio Is Teaching My Goldfish, Jiu-Jitsu, SSR/Crammed Discs, Belgium, with the track Abraço, recorded and composed with Mitar Subotic. In the following year, the song Abraço was included in the CD Suba São Paulo Confessions, produced by Suba in São Paulo, and launched by the Ziriguiboom Discos/Crammed Discs, U.S.A..

Arnaldo Antunes has compositions in partnership with: Alice Ruiz, Arrigo Barnabé, Arto Lindsay, Carlinhos Brown, Cazuza, Edgard Scandurra, Gilbert Gil, João Donato, Jorge Benjor, Lenine, Marina Lima, Marisa Monte, Paulo Leminski, Péricles Cavalcanti, Roberto Frejat, Roberto de Carvalho and Titãs, among others. Today he has about 150 songs interpreted by Brazilian artists: Gal Costa (Cabelo), Jorge Benjor (Cabelo), Marisa Montet (Beija eu, Alta Noite, Volte para o seu Lar, Comida, Bem Leve, Eu não sou da sua rua, De mais ninguém - included in the film "Blue in the Face" of Wayne Wang, U.S.A., 1995), Gilberto Gil and Caetano Veloso (As Coisas), Gilberto Gil (A Ciência em Si), Maria Bethânia (Lua Vermelha, Alegria), Barão Vermelho (Quem me olha só, Lente, Não me acabo), Carlinhos Brown (Amores cinzas, Busy man), Ney Matogrosso (Comida), Sandra de Sá (Tempo), Adriana Calcanhoto (Estrelas), Marina (Grávida), Cássia Eller (Socorro), Rita Lee (O que você quer), Cazuza, Ira!, Péricles Cavalcanti, Nelson Gonçalves, Tetê Espíndola, Belchior and Eliete Negreiros, as well as the Titãs (Comida, Lugar nenhum, Miséria, O Pulso, Televisão, Hereditário, Família). In Italy Ornella Vanoni recorded Sant¹Allegria (Bem Leve).

The video Música para Ouvir, directed by Andrew Waddington and Toni Vanzolini, received the award for the Best Brazilian Pop Video in the MTV Awards 1999.

The video Essa Mulher, directed by Lais Bodanzky, received the award for the Best video, of the Multishow Award of Brazilian Music, 2002.

The soundtrack for Bicho de Sete Cabeças by Lais Bodanzky, used some musics by Arnaldo.

Published Books:

- Ou e (visual poem album), edition of the author (1983)

- Psia, Editora Expressão (1986) / Editora Iluminuras (1991), São Paulo - SP, currently in the 4th edition

- Tudos, Editora Iluminuras (1990), São Paulo - SP, currently in the 4th edition

- As coisas, Editora Iluminuras (1992), São Paulo SP - Award Jabuti de Poesia 1992, currently in the 6th edition

- 2 ou + Corpos no mesmo Espaço, Editora Perspectiva (1997), São Paulo SP, in the 2nd edition.

- Doble Duplo, selection, translation and art by Ivan Larraguibel, Editora Zona de Obras/Tangará, Spain (2000)

- 40 Escritos, organized by João Bandeira, Editora Iluminuras (2000), São Paulo, SP

- Palavra Desordem, Editora Iluminuras (2002), São Paulo, SP

Novembro de 2002

CARLINHOS BROWN

Bahia produced, in the 20th century, many musicians who conquered the world with their talent. In the middle of the 60’s, a new generation of Bahian artists gave form to the controversial musical movement entitled Tropicalismo, while in Candeal Pequeno, a small locality situated in the quarter of Brotas, Salvador, a young couple, Renato and Madalena, followed the first steps of its first-born. The expectations regarding this child were that he would be a good man and would learn a craft. The name given to the boy in its birth certificate was Antonio Carlos Santos de Freitas and his destination would be demarcated by music.

Later, already an adolescent, Antonio Carlos started to be called Carlinhos Brown, inspired by two great black leaders James Brown, the king of American soul music, and H. Rap. Brown, militant of the American movement Black Panther. Carlinhos Brown became a singer, composer and instrumentalist of international level.

Undoubtedly one of most creative of the new generation of Brazilian artists and connected with the world-wide movement of contemporary music, his biggest merit has been searching what was until recently an Afro-Brazilian rhythmic tradition, and restore it as the new pop music.

The retired driver Osvaldo Alves da Silva, known as Mestre Pintado do Bongô, was the guy who introduced Carlinhos Brown in the universe of music. Everything that Mestre knew, he transferred to his disciple. Carlinhos Brown started with the “tamborim”, passed to the tambour and later on to the “reco-reco”. From the “reco-reco” he soon had dominated all the instruments that Mestre Pintado knew how to play. Now more independent, Brown started to develop new musical experiences, starting thus to find his place in the world of music.

At the beginning of the 80’s, even before the samba-reggae became a success in Bahia, Carlinhos Brown tried two processes of learning that affected deeply its musical career. One of them was in the WR Studio in Salvador, where, through the creation of jingles, he accumulated information on instruments until then unknown for him. And learned techniques of recording and production. At the same time, along with the musicians Tony Mola, Ivan Huol and the band Rumbahiana, Carlinhos Brown worked codifying all the rhythms spread throughout Bahia. Each member of this group had had a different kind of experience and accumulated different musical information. Together they had developed rhythmic particles, a type of musical cell, a synthesis of the sounds spread by some instruments of percussion.

Carlinhos Brown welcame the 80’s or the 80’s welcame Carlinhos Brown. In 1985, when he was playing with the group Acordes Verdes, Luis Caldas, another Bahian musician and leader of the band, recorded Visão de Cíclope, Brown’s first composition that became a hit on the radio stations. Soon Remexer, O Côco, É Difícil, among other songs, played up to 50 times a day, interpreted by different artists. There were 26 compositions by Carlinhos on the radios. This phenomenon gave to Brown the Troféu Caymmi, the most important award of the Bahian music.

One year later, Caetano Veloso, one of the icons of the Brazilian music brought Carlinhos Brown to his band and transformed him into the “star” of his concerts. In Caetano’s forthcoming CD, Foreigner, he recorded a Carlinhos song titled Meia Lua Inteira.

From this moment on, Brazilian producers and artists started to discover Brown’s potentiality. He made international tours with João Gilbero, João Bosco, and Djavan. Carlinhos was already making music for the world.

Nowadays, Maria Bethânia, Gal Costa, Cássia Eller, Nando Reis, Arnaldo Antunes, Margareth Menezes, Daniela Mercury, Herbert Vianna, Marisa Monte, among others, have recorded Carlinhos compositions or sung with him. His most unusual partnership, however, was with the Brazilian heavy metal band Sepultura.

In Bahia, the samba can be made with the feet, the hands, a dish or even with a spoon. In the first concerts that Carlinhos Brown made with Caetano Veloso, he, Brown, managed to take off rhythms from buckets, a demijohn of water and a dustbin. The music of the future is the music that comes from the streets, and this is what Carlinhos Brown represents very well.

In candomblé, an Afro-Brazilian religion, there are 3 types of sacred tambours: "Rum", "Pi" and "Lé" that are played for the Gods. Carlinhos decided to take to the streets a fourth instrument, the "timbau", which is a synthesis of those three instruments and that plays for the mere mortals. Since the Bahian Carnival of 1995, the "timbau" has been the most important instrument for the groups of percussion.

Carlinhos Brown also applies his creativity and daring to the collective musical projects. The "Timbalada", band of percussion formed by adolescent and adult instrumentalists, singers and composers from the Candeal Pequeno community and other quarters of Salvador, is the most notorious among those projects, and already recorded 8 CDs so far. In 1993, the CD of the Timbalada was indicated by the Billboard magazine as the best CD produced in Latin America. In 1995, the band played in the Montreux Jazz Festival and toured through many countries.

"Lactomia" is another band of percussion, formed by children and adolescents of the Candeal or the neighboring quarters, with age between 7 and 23 years, who play recycled instruments of all type of can, surprising bottles of water and other materials. The intention of the project is to develop the musical perception of these children and adolescents.

There is also the urbanization project "Tá Rebocado", already in progress created to improve the quality of life in the Candeal Pequeno, the cradle, in Salvador, of the music and the projects of Carlinhos.

Beyond that all, there is the "Pracatum School", with the purpose of professionalizing street musicians. The main idea is to take advantage from the experience of the children and adolescents to improve their musical sensitivity, contributing for the discovery of professionals direct or indirectly related to music.

Internationally, Carlinhos Brown left his mark in the CDs by Lee Ritenour, Bill Laswell and Wayne Shorter. He also earned, indirectly, a Grammy for the best world music CD in 1993: 5 out of 12 tracks of the Brazilian CD, produced by Sergio Mendes, are compositions by Carlinhos.

His most recent productions have been the CDs of Arnaldo Antunes Paradeiro and Margareth Menezes Maga-Afropopbrasileiro. He is also the author and producer of the “Pracatum” soundtrack choreography for the Ballet Theater Castro Alves, in Salvador.

Discography

2001 – “Bahia do Mundo - Mito e Verdade”

1998 – “Omelete Man”

1996 – “Alfagamabetizado”

Novembro de 2002

MARISA MONTE

When she was 19 years old, after a contact with the world of opera in Italy, she gave up the lyric song and soon became the sensation in the Brazilian musical scene. Still at the age of 19 years old, her professional debut show in a jazz bar was received enthusiastically by the critic and audience, and few months later she started crowding big theaters in Brazil, with no albums recorded, without a hit on the radios, without any appearance on TV. Quickly Marisa Monte became cult among the young audience of rock fans as well as among the adults fans of jazz and MPB (Brazilian Popular Music). She was the first Brazilian singer to have a special on TV directed by Nelson Motta and Walter Salles (the prestigious director of the film “Central do Brasil”) even before having recorded an album. She was also one of the rare young artists to record her first album live, MM, with a repertoire that integrated samba, jazz, funk, blues, bossa nova and rock, several musical generations. Her first national hit Bem que se quis, a Brazilian version of the Italian Pio Daniele’s song, was greeted as the revealing act of that year and sold more than 500 thousand records in Brazil, reaching the Platinum status. It was the first one of a series: all her following albums have repeated and increased the performance.

If in her first album Marisa made success as an “eclectic" singer, as a versatile interpreter who printed her style and personality on great songs of diverse musical genres, on her second album, More, she showed her first songs in partnership with Nando Reis and Arnaldo Antunes affirming herself as a composer of great talent. The popular track Beija Eu was a tremendous success. She received unanimous critical acclaim for the quality of her authorial work. She also participated actively on the production of the album along with Arto Lindsay. Some great international musicians participated on the album More such as Riuychi Sakamoto, John Zorn and Mark Ribot. Marisa started her international career, making small shows in the United States, Europe and Japan, affirming herself as the great Brazilian singer of her generation and the one with bigger possibilities of becoming known and applauded outside Brazil for the quality of her music, for the creative vigor of her presentations, for the diversity of her rhythms and genres, that show the Brazilian racial and musical diversities.

Marisa’s third album Rose and Charcoal deepened the integration of the new Brazilian forms and rhythms with classic musical models of samba, jazz, blues and funk, extending her musical partnerships with Carlinhos Brown, Arnaldo Antunes and Nando Reis; having Laurie Anderson and Philip Glass as special guests, she participated even more actively of the production with Arto Lindsay.

Both in her albums as well as in her concerts, Marisa has never made artistic concessions of any order, and has always sung what she wanted to, the way she wanted to, with whom she wanted to and when she wanted to. She has always been surrounded by great musicians and renewed her repertoire constantly. Reverse to the world of celebrities, even being one of the most popular Brazilian acts, Marisa lives a discrete life in Rio de Janeiro or traveling throughout Brazil and the world, when she releases each new album and speaks about her work, comments her career and argues her ideas.

Her fourth album A Great Noise was even more personal and not less exalted than the previous ones. It quickly reached half million copies sold in Brazil. A double album, one recorded live and another one in studio, with unpublished songs and re-recordings, approaching Marisa even more to the Carioca samba world, in its diverse samba schools and generations, to the old people from Portela (a traditional samba school in Rio de Janeiro), to the Novos Baianos pop samba. Marisa performed this successful concert in the biggest European summer festivals, in the United States and Japan.

After that Marisa affirmed herself as a producer. She signed the praised Carlinhos Brown’s Omelete Man, greeted for its international modernity, and also received acclaimed critical for her work with the historical Velha Guarda da Portela (Portela’s Old Guard - group of old composers from Portela samba school), registering one of the most solid sources of the Brazilian music and revealing the world of the traditional samba to the new generations in the CD Tudo Azul, released by her own Phonomotor label.

In her last album Memories, Chronicles and Declarations of Love, distributed worldwide by EMI, Marisa composed with her usual partners the majority of songs. This is her album that received the most enthusiastic popular reception, becoming one of the great successes of the year, achieving the Diamond status, more than 1 million copies sold.

Once more as a producer, Marisa introduced to the great public the solo album by Argemiro do Patrocínio, one of the icons of the Velha Guarda da Portela. She also bought the rights of Jair do Cavaquinho’s CD and released both albums via her Phonomotor label.

In her 14 year-career, Marisa has sold more than 6 million albums and has amplified the audiences in Brazil and abroad, accumulating critical that recognize her as one of the great singers of the modern Brazilian music, making the “bridge” between the tradition and pop contemporary, integrating musical genres and generations, and always surprising the public with her originality and the quality of her sing, with her talent of composer and the solidity of her musical choices.

Discography

Phonomotor/EMI

- MM Ao Vivo / MM Live - 1988

- Mais / More - 1991

- Verde, Anil, Amarelo, Cor de Rosa e Carvão / Rose and Charcoal - 1994

- Barulhinho Bom / A Great Noise - 1996

- Memórias, Crônicas e Declarações de Amor / Memories, Chronicles and Declarations of Love

2000

- A Sua / Yours – 2001 (CDsingle)

Home videos

- MM Ao Vivo

- Mais

- Verde, Anil, Amarelo, Cor de Rosa e Carvão

- Barulhinho Bom

DVD

- Memórias, Crônicas e Declarações de Amor

Novembro de 2002