NASCI PRA SONHAR E CANTAR
Dona Ivone Lara (2001)
Crítica
Cotação: 
A new álbum by Dona Ivone Lara - her seventh - is a good reason for the world of samba (and of popular music in general) to celebrate. Nasci Pra Sonhar e Cantar, produced by Lusáfrica, the label that unveiled Cesária Évora to the world, legitimates the festivity. Thanks to Portuguese entrepreneur José da Silva, the author of Alguém Me Avisou had the opportunity of recording the first album with new songs in 15 years. At ease, Dona Ivone selected ten songs - among the dozens she’s been writing - with new and old partners. Aged 79, the singer had the autonomy to choose producer João Aquino, who made a very percussive and classy album. The result, although the new songs are not as good as the four re-creations of the CD (Axé de Ianga, Sereia Guiomar, Tendência and the title track), is encouraging.
Amidst her partners, Délcio Carvalho is the most constant one. There are five tracks signed by the duo: Nasci Pra Sonhar e Cantar (originally released on the album Alegria Minha Gente, 1982), Sereia Guiomar (on Sorriso Negro, 1981) and the new songs Canção de Felicidade, Chorei, Confesso and Agora. The title track, highlighted by Chiquinho Chagas’ accordion, Dirceu Leite’s flute/clarinet and João de Aquino’s acoustic guitar, is probably the most confessional song of D. Ivone’s work. Canção da Felicidade shows that, together, Délcio and Dona Ivone are still able to write a good, popular yet not popularesque, chorus. The partnership with Jorge Aragão spawned the remarkable songs Enredo do Meu Samba and Tendência. Dona Ivone sides up with different generations of samba artists. From Nelson Sargento, with whom she wrote the inspiring Nas Asas da Canção, to newcomer Bruno Castro, cavaco player in her band and co-author of the transpiring Um Grande Sonho, to pagode composers Sombrinha (Essência de Um Grande Amor), and Paulinho Mocidade, on Poeta Sonhador.
Dona Ivone Lara, alone, merges Rio and Bahia with her sambas. Ela É a Rainha and Axé de Ianga embody the Africa-Brazil junction to the core of the drum skins. In spite of being ignored by the Brazilian record industry, D. Ivone and her fans are lucky her contract with the European label expects two more albums.
(Julio Moura)
Amidst her partners, Délcio Carvalho is the most constant one. There are five tracks signed by the duo: Nasci Pra Sonhar e Cantar (originally released on the album Alegria Minha Gente, 1982), Sereia Guiomar (on Sorriso Negro, 1981) and the new songs Canção de Felicidade, Chorei, Confesso and Agora. The title track, highlighted by Chiquinho Chagas’ accordion, Dirceu Leite’s flute/clarinet and João de Aquino’s acoustic guitar, is probably the most confessional song of D. Ivone’s work. Canção da Felicidade shows that, together, Délcio and Dona Ivone are still able to write a good, popular yet not popularesque, chorus. The partnership with Jorge Aragão spawned the remarkable songs Enredo do Meu Samba and Tendência. Dona Ivone sides up with different generations of samba artists. From Nelson Sargento, with whom she wrote the inspiring Nas Asas da Canção, to newcomer Bruno Castro, cavaco player in her band and co-author of the transpiring Um Grande Sonho, to pagode composers Sombrinha (Essência de Um Grande Amor), and Paulinho Mocidade, on Poeta Sonhador.
Dona Ivone Lara, alone, merges Rio and Bahia with her sambas. Ela É a Rainha and Axé de Ianga embody the Africa-Brazil junction to the core of the drum skins. In spite of being ignored by the Brazilian record industry, D. Ivone and her fans are lucky her contract with the European label expects two more albums.
(Julio Moura)
Tracks
MetaMusica