Papo Macaco marks the evolution of the path of life from Davi
Moraes from beginning to play music, via performing until composing and
recording. This musical evolution of the tall musician passed many
stations. It
began at an early age, when at home he enjoyed the presence of various
musicians visiting his father, the illustrious Moraes Moreira. Things
started off when
he picked up the cavaquinho. His musical education continued when he
was taken under the wings of the late great Almir Chediak, who is rudely
taken
away from us. Moraes became a much sought after guitarists for many
Brazilian stars on tour and in the studio. He toured with Marisa Monte
(who was
also his girlfriend during five years) and recently with Caetano Veloso.
American
Brazilian Arto Lindsay soon recognized Moraes's talents (via Marisa
Monte) and invited Davi to play the acoustic guitar on his 1997 album Noon
Chill.
Also the 2002 release Invoke finds Davi Moraes on the play
list. This time also as a drummer, while sharing composition credits
on two songs. In between touring and recording dates during the past
two years,
Davi Moraes kept himself extra busy with this project, which he decided
to call
Papo Macaco.
It's an interesting album on which all the musical influences that
crossed his path are gratefully digested. Including a strong emphasis
on Afoxé, the Candomblé related music, and funk. The wordless
opening track "Papo Macaco" creates a deep and blunt funk around
a strong beat. A good opener for the catchy funk on "Na Massa," co-written
by Arnaldo Antunes, who already recorded it on his Paradeiro album
(2001). The arrangement reminds in some ways of Davi's work with Arto
Lindsay on "You Decide" (from the Invoke cd). Davi
Moreira's present partner in life, Ivete Sangalo, joins Marya Bravo
in the backing
vocals. Davi clearly benefited from her vocal capabilities. A crazy
rhythm and bass line open "Via Lapa" that carries the border-crossing
funk influences by co-writer Carlinhos Brown. "Rational Culture" turns
out to be a hot burning funk groove. Cesinha on drums holds down the
groove, while guitar riffs try to escape that steadiness. Scandalous
funk!
"Ça-Va" has Armandinho on the bandolim, an old Novos Baianos
colleague of Moraes Moreira, and someone Davi tried to imitate on
his cavaquinho when
he was very young. It gives a familiar sound to the song, where for
the first time one definitely recognizes the voice of Moraes Moreira
in Davi's singing.
It strikes, too, on the next couple of songs on the cd. The pleasant "Bom
Rapaz" and the sound stuffed "Abra a Boca." "Papai Oxóssi" is
a dedication to the Candomblé ritual. Written by son and father Moraes,
who also participates with the vocals. Unfortunately the arrangement
gets bogged down a bit towards the end. "Dentro da Minha Cabeça" is
immersed in a playful funk, which makes it one of the highlights on
this album. The simple melody and lyrics make it easy to direct one's
attention to the sheer fun this piece of music creates. Cesinha shines
again on the
drums, João Fera does his thing on the organ while the rest is done
by a sharp horn section, including the mood setting baritone sax by
Alexander Caldi. Lucas Santtana's "Ilê É Bom" ends
this album with a rather active arrangement, where, once again, it
strikes that the
more danceable the music threatens to be, the more sophisticated that
arrangements gets...
This cd proves the mature attitude towards music from a musician who
attentively absorbed and uses all the opportunities he was given during
his rich musical "evolution." A promising solo debut.

Kees Schoof