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28 Modern Drummer • Dezembro 2010 28 Lynne Earls Lynne i r t o A 28 MODERN DRUMMER • DEZEMBROOUTUBRO 2010 2010 Moreira Por Cristiano Bertolucci, Christiano Rocha, Douglas Las Casas e Vlad Rocha. Abertura de Dudu Portes. Discografi a compilada por Giancarlo Mei ascido em Itaiópolis, no interior de Santa Catarina, Airto, ainda bebê, já mostrava que a mú- sica corria em suas veias devido a um comportamento estranho que assustava muito a sua mãe. Imagine uma jovem mãe de primeira viagem que se prepara para fazer o almoço e, N de repente, percebe que o seu pequeno bebê começa a se debater de maneira intensa e estranha sem nenhum motivo aparente. Ao chamar pessoas conhecidas para ver, todos repararam que, tanto no berço quanto no chão, enfi m, onde quer que estivesse, em determinado momento, o pequeno Airto começava a se debater e a emitir sons estranhos. Preocupada com o comportamento do menino, tratou de levá-lo até Curitiba para que a avó, bem mais experiente, desse uma examinada no garoto. Nada aconteceu nos primeiros dias. Vendo que estava tudo normal com o bebê, a avó pediu para a mãe mostrar como era a sua rotina em casa. Na hora de preparar o almoço, a mãe foi até a sala, ligou o rádio no programa Parada de Sucessos e foi para a cozinha. No caminho, viu o menino se debatendo, DEZEMBRO 2010 se contorcendo e balançando a cabeça. Chamou a mãe para ver e aí a voz da experiência falou: “É isso que ele faz?” E a mãe, com os olhos já mareados, falou que sim. A avó foi à sala e desligou o rádio. Na hora o menino fi cou quieto. Ligou novamente e lá estava o pequeno Airto pedalando e gritando. A avó •MODERN DRUMMER29 desligou novamente e, de novo, o menino fi cou imóvel procurando o som. Aí veio o verdadeiro “parecer técnico” da vovó: “Não se preocupe, isso não é doença minha fi lha, esse menino é baterista!!” AIRTO MOREIRA Nesse mesmo dia a sábia vovó lhe presenteou Emerson fez para os demais pilotos brasileiros, car, dando aula de ritmos brasileiros para o com um pandeirinho de plástico que ele guardou Airto também abriu as portas para a maioria Billy Cobham no banco de uma praça em por muitos anos. Para se ter uma ideia do amor dos percussionistas e bateristas brasileiros que Nova York em troca de jantar? Lindo isso! que ele tinha pelo instrumento, ele dormia com o se projetaram e se estabeleceram no exterior. A segunda, ainda melhor, depois de parti- pandeiro guardado sob o seu travesseiro. Passagens pitorescas, maravilhosas e cipar de uma seção de gravação com o Jack Mais tarde, já aos 6 anos, depois de conse- outras nem tanto marcaram sua carreira na DeJohnette no disco do Miles, ele foi convida- guir um ganzá, um triângulo, um agogô e um América. Citarei as duas que mais me marca- do para uma apresentação que eles iriam fazer chocalho, ele começou a sair na garupa do ca- ram por seu aspecto de fi cção. naquela noite num pub em Nova York. Airto, valo de um senhor italiano amigo da família, A primeira: dá para imaginar o Airto supertímido, tomou um banho, se arrumou e acordeonista, para tocar nas festas dos cam- recém-chegado, duro, sem ter onde fi - foi lá pensando em “assistir” aos novos ami- poneses imigrantes da Itália e da Alemanha. O procedimento era sempre o mesmo: horas na garupa do cavalo, tocavam, cantavam por 40 minutos e a famosa parada para passar o cha- péu. A cena se repetia pelo menos duas vezes em cada apresentação, que normalmente eram Earls Lynne festas de aniversário, casamentos e batizados que começavam por volta de 9 horas da noite e acabavam às 6 da manhã. “O acordeonista me dava uns trocados que ajudavam muito na minha casa”, disse Airto. Aos 13 anos tocou bateria pela primeira vez e, com galhardia, “segurou um baile” a noite toda. Era a estreia de Airto na banda Nhô Pedro e seus Quatro Filhos. O cachê era o equivalente ao que o pai ga- nhava num fi m de semana na barbearia. Tanto que ele achou melhor devolver e o Nhô Pedro não aceitou. Disse que o menino havia trabalha- do e que o dinheiro era seu. Daí para a frente sua carreira caminhou em franca ascensão devido à sua determinação e criatividade. Pouca gente sabe que Airto, além FOURTH WORLD (banda de Airto com Flora Purim) de tocar bateria e percussão, é um Fourth World - Recorded Live At Ronnie Scott’s Club (1992) cantor de primeira. Fora o seu Fourth World (1993) lado compositor registrado em Encounters Of The Fourth World (1995) vários de seus discos. The Meaning Of Live - Live In South Africa 1993 (1996) Costumo comparar o feito Last Journey (1998) do Airto na música com o do Return Journey (1999) campeão Emerson Fittipaldi na Fórmula 1, pois, assim como PARTICIPAÇÕES 1963 1966 • WALTER WANDERLEY, Moon Dreams • ANTONIO GUIMARÃES, O Fabuloso Guimarães: • SAMBALANÇO TRIO, Reecontro Com Sambalanço Trio • PAUL DESMOND, From The Hot Afternoon Guimarães E Seu Conjunto Em Ritmos De • GERALDO VANDRÉ, 5 Anos De Canção • DUKE PEARSON, Merry Ole Soul Dança – Vol. 1 • JAIR RODRIGUES, O Sorriso Do Jair • WAYNE SHORTER, Super Nova • OCTETO DE CÉSAR CAMARGO MARIANO, Octeto De • ASTRUD GILBERTO, September 17, 1969 1964 César Camargo Mariano • GARY McFARLAND, Today • SAMBALANÇO TRIO, Sambalanço Trio • SANSA TRIO, Sansa Trio Vol. 2 1970 1965 1967 • DUKE PEARSON, How Insensitive • GERALDO CUNHA, Quem Tem Bossa Faz Assim • QUARTETO NOVO, Quarteto Novo • EDU LOBO, Cantiga De Longe • SAMBALANÇO TRIO, Sambalanço Trio • ANTONIO CARLOS JOBIM, Tide • ALTAMIR PENHA/EDISON PENHA, Violões Em Hi-Fi 1969 • DONALD BYRD, Electric Byrd • MARIA BETHANIA, Maria Bethania • PAUL DESMOND, Summertime • JOHN McLAUGHLIN, My Goal’s Beyond • LENNIE DALE, Lennie Dale E O Sambalanço Trio • ASTRUD GILBERTO, I Haven’t Got Anything Better To Do • PAUL DESMOND, Bridge Over Troubled Water • RAULZINHO (RAUL DE SOUZA), À Vontade Mesmo • J.J. JOHNSON/KAI WINDING, J & K - Betwixt And Between • DUKE PEARSON, It Could Only Happen To You • SAMBRASA TRIO, Sambrasa Trio • MILTON NASCIMENTO, Courage • CANNONBALL ADDERLEY, The Black Messiah 303 MODERNMODERN DRUMMERDRUMMEERER • DEZEMBRODDEZZEMBEMEMMBBRROO 20120100 FLORA PURIM E AIRTO MOREIRA Three Way Mirror (1985) Humble People (1985) The Magicians (1986) The Colours Of Life (1988) The Sun Is Out (1989) www.drummerszone.com | KJ www.drummerszone.com gos quando aparece o Miles Davis e pergunta pelos seus instrumentos. Quando o Airto disse que eles estavam em casa, Miles arregalou os olhos e começou a gritar no meio do palco: “Get outta here!!! Without your drums you are nothing!!”(Saia daqui! Sem sua bateria você não é nada!!) E ele foi para casa, pegou suas maletinhas, entrou no meio do show sem avi- sar e, literalmente “quebrou tudo”. Essa foi a sua verdadeira estreia em Nova York. A partir desse dia Airto Moreira se tornaria o verdadeiro sol para toda a “percuteria” mundial, gravando com os maiores ícones da música americana. MD: Quando você foi morar nos EUA, quais eram as perspectivas de trabalho no Brasil para um músico profi ssional? Airto: Quando fui para os EUA tinha muita mú- sica acontecendo no Brasil. Havia festivais de música popular, principalmente em São Paulo. No Rio também havia muitos músicos traba- lhando naquela época. MD: Você concorda com o clichê “músico es- trangeiro valoriza a música brasileira mais do que o próprio brasileiro”? Airto: De certa maneira hoje em dia, com a glo- balização, acho que a música brasileira é valo- rizada no Brasil, muito embora o tipo de músi- ca que se toca seja muito diferente. Mas acho que a valorização é igual para todos. MD: Que músicos brasileiros já se destacavam no cenário musical americano na época em que você foi morar lá? Airto: Muito poucos, pois fui morar nos Estados • HERMETO PASCOAL, Hermeto • PETULA CLARK, Warm And Tender • CHARLIE MARIANO, Mirror • HUBERT LAWS, Afro Classic • WEATHER REPORT, Weather Report • KEITH JARRETT, Expectations • DAVID POMERANZ, Time To Fly • CHICK COREA, Return To Forever 1971 • GROVER WASHINGTON JR., All The Kings Horses • ANTONIO CARLOS JOBIM, Stone Flower 1972 • TERESA BREWER, Singin’ A Doo Dah Song • EDU LOBO, Sergio Mendes Presents Lobo • GROVER WASHINGTON JR., Inner City Blues • RANDY WESTON, Blue Moses • ASTRUD GILBERTO, Astrud Gilberto With Stanley Turrentine • SERGIO MENDES, Primal Roots • ASTRUD GILBERTO, Now • JIM HALL, Where Would I Be? • NAT ADDERLEY, Soul Of The Bible • JOE HENDERSON, Black Is The Color • STANLEY TURRENTINE, Salt Song • ANNETTE PEACOCK, I’m The One • LEON THOMAS, Blues And The Soulful Truth • KENNY BURRELL, God Bless The Child • NORMAN CONNORS, Dance Of Magic • JACKIE & ROY, Time And Love • JOHNNY HAMMOND, Breakout • JOHNNY HAMMOND, Wild Horse Rock Steady • BUDDY TERRY, Pure Dynamite • HUBERT LAWS, The Rite Of Spring • ESTER PHILLIPS, From A Wisper To A Scream • HUBERT LAWS, Wild Flower • FREDDIE HUBBARD, First Light • FREDDIE HUBBARD, Sky Dive • PETER YARROW, Peter • LONNIE SMITH, Mama Wailer • HANK CRAWFORD, Help Me Make It Through • FULL MOON, Full Moon • JOE FARRELL, Outback The Night • JOHNNY HAMMOND, The Prophet • GEORGE BENSON, White Rabbit • CANNONBALL ADDERLEY, The Happy People • DEODATO, Prelude DEZEMBRODDEZEZEMBMBRO 201020201010 0 • MODERNMODMODERNERRRNN DRUMMERDRD UMMUMMEERR 3131 AIRTO MOREIRA Unidos em 1967. Sergio Mendes, Walter Wanderley, Sivuca e alguns músicos que trabalhavam com a Carmen Miranda, como também Laurindo Almeida (violonista) e Bola Sete (guitarrista). Earls Lynne MD: Por que é tão difícil para o músico de fora entender o suingue da música brasileira? Airto: Porque eles não cresceram ouvindo e fa- zendo aquele som, com aquilo tudo nas veias desde criança. Mas hoje existem músicos ame- ricanos que tocam muito bem a música brasi- leira.
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