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25 Jun 2017

Luli e Lucina ‎ “Amor De Mulher Yorimatã” 1982 Brazil MPB,Folk,Latin

Lucina embraces Luhli on an island in the Bay of Sepetiba (RJ), 1978 Credit Personal Archive

Luli e Lucina ‎ “Amor De Mulher Yorimatã” 1982 Brazil MPB,Folk,Latin


The decade of the 1970s sounds to this day as one of the most fertile for Brazilian music. And also for the yearnings of freedom that a large part of the population of the country carried in those times of military dictatorship. It was at this moment that two women as fertile as they were eager for liberation met and built together a beautiful love story sewn together by the art of composing, playing and singing. The carioca Luhli (Heloísa Orosco Borges da Fonseca) and the Mato Grosso Lucina (Lúcia Helena Carvalho) already dominated the guitar and made beautiful songs, but it was after the meeting that they created a work worthy of respect, although little Respected at the time. The story of how pressures from the music industry helped the duo Luhli & Lucina to follow an alternative path (and, if well observed, the forerunner of many movements that came to be established 30 years later) is told by Rafael Saar in the sensitive and delicate Film Yorimatã, made (like everything in Brazil) with all the effort that a beginner filmmaker needs to be able to execute a project and distributed in the commercial circuit after a successful crowdfunding. 

Luhli and Lucina yesterdayLuhli and Lucina todayLuhli and Lucina were the first artists to bring drums from the terreiros to the popular music. They were also the first Brazilian women to produce, record and distribute a record - Luli and Lucinha, from 1979 - independently (Antônio Adolfo was the first man to do this in the country). The duo faced everything and everyone to live a three-way relationship with the photographer Luiz Fernando Borges da Fonseca, who recorded in 8mm films the day to day of them and their children (two of each, all of Luiz) both in the quiet place in Filgueiras, in the city of Mangaratiba (RJ), as well as the concerts they performed in the big cities. The hippie style inspired songs recorded on other albums by Luhli & Lucina: Amor de Mulher - Yorimatã, Êta Nóis !; Timbres Spices; And why yes why not. He also inspired those eternalized by Ney Matogrosso (O vira, Luli’s partnership with João Ricardo, River Stone, and Bandolero) and Joyce Moreno (Sweet Sweetness). Ney and Joyce are two of the participations in the documentary, which also includes Gilberto Gil, Zélia Duncan, Itamar Assumpção and the sisters Tetê and Alzira Espíndola…………….. 

Luli and Lucina are composers, singers, percussionists, guitarists and genius violins. Unknown to the public, it was much more important for them than for Carlos Lyra to say “they all sing their songs but they do not know the authors.” 
With more than 800 songs composed in partnership, who most recorded the duo was Ney Matogrosso - those who are careful to, when liking a song, look on the disc who composed it, will notice that virtually all Ney discs have the Less a song by Luli and Lucina. They are of Speech, Bandoleiro, Imprisoned Heart, Êta Nóis, Bandoleiro, Bugre, Me Rói, Rio Stone and O Vira, among many other successes of Ney Matogrosso. 
They were also recorded by Frenéticas, Nana Caymmi, Tetê and Alzira Espíndolla, Joyce, Rolando Boldrim and Wanderléa. 
Luli as well as composer is a painter and a delightful writer, with some stories already published, and a book about earthen elementals, published recently in 2000. Lucina is also the most constant musical partner of Zélia Duncan - and is also launched in solo career. 
When Bossa Nova was born in Rio, it was not only in the south, as all historians claim. It was not just Nara Lion’s house that boiled the movement. In Tijuca, in the house of Luli, also joined the “west wing” of Bossa Nova: Luli, Aldir Blanc, Gonzaguinha and Sá, among others. But this story is told in the song Bossa Velha (see the unpublished link). 
In the ‘70s, when Bossa Nova had already passed, Luli and Lucina moved to a place in Mangaratiba - Rio’ s coast. There they lived the dream of community life, and there they also created a new and clear style of composition, with a variety Musical and literary quality. They revolutionized the social concepts of a time when there was much talk about freedom and free love, but where the pre-established moral concepts were that they really lived on the head of the girl. They were the true revolutionaries of the 70’s - today they are Amor Maduro transmuted into music … 
The pair fell apart in 1998……………………… 

From the 70’s to the 90’s, Luhli & Lucina formed one of MPB’s top performers and lived the dream of free love in a three-way marriage with photographer Luiz Fernando da Fonseca. Fourteen years after the end of the partnership, they meet again at Trip’s request to talk about music, freedom and prejudice.Never. Never again will Luhli & Lucina sing together. It was over for ever that time when Ney Matogrosso scandalized a country steeped in dictatorship, aboard androgyny, Dry & Wet and ultra-feminine songs by Luhli & Lucina 

“Those two wild cats giving leaps on the stage no longer exist. Look at me. I am a lady, I am almost 70 years old, I am old, "says, overflowing with humor, this respectable 66-year-old lady who once was Luhli (or Luli at first) who composed popular hits like” O vira “ (In double with dry & wet João Ricardo): "The black cat crossed the road / passed under the stairs / and there on the blue background, in the night of the forest, / the moon lit the dance, Turn, turn, turn / turn, turn, turn man, turn, turn / turn, become a werewolf. ” 

The sun is beginning to set, and we are there on the blue background, near the forest. Luhli lives in the mountains of Rio de Janeiro, in a chalet by the roadside that leads to Lumiar, a quiet district of Nova Friburgo. We came to visit her and brought Lucina (who was artistically Lucelena and Lucinha), the other half of the pair who formed in 1972 and dissolved in 1997, never to return. Mato Grosso of Cuiabá, now 60 years old, Lucina lives in Tijuca, Rio, composes with Zélia Duncan and releases solo albums. 

As soon as we arrive, Luhli pulls Lucina by the arm, takes her to the front of the computer and shows the lyrics she made, this morning, for a melody sent from the (ex-) partner. Lucina cries - it’s just the first cry of this afternoon and evening. 

The MPB did not mourn the rupture of the duo, because in terms of popularity Luhli & Lucina were never like Leandro & Leonardo, Roberto & Erasmo, not even a Secos & Molhados, a Ney Matogrosso. 

“I used to feel like a tree full of fruit that nobody eats. It made beautiful songs and no one listened, "translates Luhli, who overflows symbols and images with each phrase he formulates. "And what happens to a tree that gives 300 fruits? Let’s say 30 are eaten. The others fall to the ground, rot, the seed sprouts and another tree rises. All the songs that were not consumed were falling to the ground and becoming a forest. When I get sad, I go to this forest of mine, the songs that nobody consumed. It’s my little flower. ” 

In the voice of Ney Matogrosso, we sang Luhli & Lucina, even without knowing who they were, in strong songs such as “Pedra de rio” (1975), “Here and Now” (1976), “Bandolero” (1980), “Heart Trapped” (1980), “Eta Nós” (1984) … 

They sent such songs from a site in Mangaratiba, on the coast of Rio de Janeiro, between the sea and the mountain, where they lived with the photographer Luiz Fernando Borges da Fonseca. He is responsible for the photos of the mythological cover of Water from the Sky - Bird (1975), Ney’s first post-dry & wet album. In them, the singer appears like man of Neanderthal, naked but by tiny thong, indigenous feathers and animal horns. Luhli & Lucina (1979) also has the subtle cover of Luiz. In this, the only silhouettes of two naked women appear in the distance, united by the heads. With Wet & Dry or Soil, Ney exposed to the world an exuberant version of something that Luhli & Lucina & Luiz also lived in, introspectively.Luhli fears a sensationalist treatment, “brown press,” for the marriage to three lived with Luiz and Lucina. Lucina narrates threats of aggression suffered by Luiz after an appearance on Globo years ago. “Do not want me to be an enemy,” Luhli presses me, between a piece of cake, a glass of wine and several caresses. I have a story to tell and I share with you, reader, Luhli’s concerns: we are in the 21st century, are not we? 

Dry & Wet 

Carioca tijucana, Luhli made his musical debut very early. In 1965, at the age of 20, he released an individual album under the strong influence of protest music then advocated by emepebistas lefts. More or less in this same politicized levada, Lucina integrated the Manifesto Group and participated in festivals of the song like Lucelena. “At that time we were imbued with the spirit that we had to save Brazilian music,” she recalls, with the air of those who long ago stopped believing in this chimera. 

In the early 1970s, Luhli was married to Luiz Fernando and decided to move away from music when he met Lucina. The musical affinity was immediate. The duo debuted at the Globo festival in 1972, the same as consecrated Maria Alcina’s androgyny, with Jorge Ben’s “Fio maravha.” It was at this time that Luhli introduced Ney Matogrosso, who had moved to Rio to live in handicrafts, to the Portuguese João Ricardo, who in turn was looking for the voice of the Dry and Wet. 

In Luhli’s first show and Lucina as a duo in 1973, they shared the stage with Ney and the equally androgyny and libertarian group Dzi Croquettes, by Lennie Dale. “We’d sing 'I’d turn around’ with Ney, and the Dzi would come and bite our legs while we sang 'become a werewolf,” Luhli amuses himself. 

The hippy community environment was developing with an epicenter in a mansion in Santa Tereza, Rio. “Ney dated Lucina,” reveals Luhli, in front of the (former) partner’s placid smile. “As a woman, I just dated Ney,” smiles Lucina. “It was the 70s, but it was never promiscuous,” demarcates Luhli. 

At the height of the success of “O vira”, Luhli had the first daughter with Luiz, Júlia (“because of the music of the Beatles”). A year and three months later came the second daughter, Flor. “The pregnancy was difficult, Lucina started to go home to take care of me. She is the mother of my daughters, "she says. 

"First, I met Luhli and the music and fell in love. When I met the couple, I was crazy about them. It was not just music. He had Luiz’s photograph. The meeting was a creative nucleus, a dream. We had a deep friendship. I had the courage, we all had, "says Lucina. In this context, the "trisal” (as defined by Lucina) moved with her two daughters to Mangaratiba. 

Luhli chose to give up, once and for all, his partner and his partner: “It was a great love, a whole thing. Everything happened to everyone, and there was a fourth person called music. A whole generation, hippie, was to try other ways of life, free love. He had no Aids. I did not have this plantation that you have today, of what sex you punish. ” 

The pair (the trio) raved, but worked feverishly. They estimated that they had about 800 songs, of which they considered “only” about 500. We were able to know not much more than 10% of them recorded on seven albums by the pair or by artists like Joyce, Nana Caymmi, Frenéticas, Wanderléa, Tetê Espíndola.The debut LP was one of the first independent albums in the history of Brazilian music. “Trapped heart does not sing, do not sing, love / there is a beast on the loose, on the loose, love, inside me / there, there is a beast on the loose, and my throat, love, narrows and is silent / loneliness is Thus, "they sang the liberation, which double intimate, internal, inner caipira. "There were no parameters. We had to invent our story in detail, from the first person to the one who rises at dawn to meet the baby, "Luhli says. In 1980, Lucina had the twins Antonio and Pedro, children of Luiz, brothers of Júlia and Flor, children of the three. 

The confrontation with families and society was "cruel,” Lucina said. “When we went to the place, we told the families, and then the friends disappeared. Everyone was conniving when the thing was hidden. When it turned, everyone was gone, "recalls Luhli. Prejudices aside, an underground river ran there, and the duo, even unknown to the crowd, snatched a select and fervent group of admirers of their music. 

At the time of the second album, Amor de mulher - Yorimatã (1982), umbanda had already entered the life of the trio. Luiz photographed the ceremonies, and the disc contained themes like Iansã, Oxum Point and Gira das Hervas. In addition to composers, they were percussionists - Luhli still manufactures and sells their homemade drums at home. As if the stigmas were not few, they were women, composers, Umbandists. "It was hard, fucking machismo. Woman percussionist, then, you can not imagine the prejudice, "recalls Luhli. 

In the middle of the 80’s, the career of the pair was truncated by the illness of Luiz, who died of cancer in 1990, under the care of both. The duo persisted for another seven years until they gave in. As usual, Luhli transforms the account into poetry: "We had total control of one another, and that control was killing us. You imagine two plants locked in the same pot. They grow, grow, an hour comes when the roots suffocate, one begins to kill the other. When it breaks the vessel, it seems to be the end, but it is not death. It is liberation. When we are each in your pot and the shadows are intersecting, making a common shadow, that will be all right. ” 

I look at them and see them side by side, the women who say they have broken forever. Separations apart, something seems intact between them. Luhli summarizes: “We were an acinte, because we come to live this story. After Luiz died, we remain an acinte because we continue to be double. Now we continue to be acinte, because we do not hate ourselves, we continue to be partners and friends. ” And no, the duo will never be reunited. Or rather, you can even get together, like you do now and again at concerts in inland cities. “It may be that roll, yes, it can roll. It costs only R $ 400,000. Who pays … ”, delights Lucina, throwing the possibility of a return challenge. 

Owls and Fireflies 

The sun was just gathering in the forest night. One picks up the guitar. Another picks up the viola. One sings one solo song, the other the second song. And vice versa. I begin the boldness: one of Luhli & Lucina, can not it be? They look at each other. They take the drums. They talk like they do not want anything. Batucam. They begin the “Herbal Tour”: “Mother Earth, Mother Earth / Mother tells me that herbs are made to heal.” Luhli calls the orixás, evokes the spirits, the gnomes. Outside it is 8 ºC, and we are all together in the cold room of the cottage - the sacs, the fairies, the dry ones, the wet ones. Before the “Herbal Tour”, I can not - nor do I try - to prevent tears from rolling. I thank you. 

The cry is spread among the very few present - the Trip photographer , the four young filmmakers / musicians who idolize them and prepare a documentary about Luhli & Lucina, directed by Rafael Saar. The two are also thrilled. They interlace their hands, they make confidences, they sigh deeply. 

To the sound of viola, “Eta Nós”, deep Brazilian music, “we get to know each other and become friends / a thousand songs played to our ears”, “but one day came and we were off guard / fell on the ground like two enemy / , Crippling, destroying the built ”,“ and in the miracle of read / love becomes honey ”. The shadows of the two trees intersect. New branches sprout from the ground. Sacis, fairies, fireflies, elves and orixás dance in celebration. Luhli & Lucina have always existed. Ever. 

A1 Amor De Mulher 3:26 
A2 Semente 1:55 
A3 Lua De Noite 0:47 
A4 Terra E Lua 4:48 
A5 Primeira Estrela 2:25 
A6 Sina Cigana 5:53 
B1 Alojá Yin 1:40 
B2 Iansã 3:48 
B3 Ponto De Oxum 1:06 
B4 India Puri 4:04 
B5 Tripa De Peixe 3:27 
B7 Alojá Yang/Gira Das Ervas 4:29 

johnkatsmc5, welcome music..





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