Frevo com asas: convergências no frevo-canção a partir do álbum asas da américa frevo (v.1 1979)

Abstract

In this study, we propose an analysis of the stylistic impacts of the album "Asas da América frevo," produced by Carlos Fernando from Pernambuco in 1979 and interpreted by notable MPB artists. We will investigate how this album promoted stylistic convergences among different aspects of frevo-song. It's worth noting that this record emerged at a time when frevo-song, previously confined to club dances during Carnival, began attracting large crowds in the streets, exemplified by events like Galo da Madrugada and the "frevo novo" performed on Salvador's electric trios. Prior to this, during the 1970s, there was a hiatus in frevo music productions mainly due to the bankruptcy of the Pernambuco music industry (Mocambo/Rozenblit). Additionally, a series of conventions promoted by Pernambuco's "frevo authorities" over fifty years had stifled genre renewal and rejected some "outsider" productions. With an album dedicated to frevo but produced in the Southeast through one of the major labels - Epic/CBS -, Carlos Fernando needed to win the hearts and minds of Pernambuco, the genre's primary market. Furthermore, the project's creator aimed to establish frevo as a nationally circulating musical genre. However, to achieve this, he needed to ensure that frevo-song produced by MPB artists, particularly by the Bahian Tropicalistas, could engage in a dialogue with "typically Pernambuco" frevo-song. In this endeavor, the album's production involved arrangements and performances by two Pernambucan musicians: maestro Juarez Araújo - responsible for orchestrations and despite being based in the Southeast for decades, trained in typical frevo orchestras - and his old partner Geraldo Azevedo, responsible for arrangements and the base. Therefore, Carlos Fernando sought to break down the conventions separating Pernambucan frevo-song from the "frevo novo" of Bahia, aiming to converge these primary "frevo accents" as well as other musical genres. Thus, the objective of this research was to analyze the stylistic convergences in frevo-song brought about by the album "Asas da América" (Vol. 1, 1979).