It’s hard to write about such major artists, knowing that nothing you’ll write can ever do justice to the work they created. This album is a testament to a fleeting encounter between two young musicians who were well at the beginning of their careers.

Naná Vasconcelos was to become a world-renowned percussionist who retrieved the berimbau (a Brazilian single-stringed instrument, intrinsically linked to the Capoeira tradition) from its natural environment and raise it to a universal level.

Agustín Pereyra Lucena, on the other hand, became the undisputed representative of Brazilian music in Argentina entering also the world of jazz, becoming a respected musician in Argentina and abroad, both in its interpretative and didactic facets.

Two musicians who achieved an unmatched symbiosis with their respective instruments. Two masters who understood music differently from the rest of us, without barriers or prejudices.

This encounter, as spontaneous and sincere as the music resulting thereof, was facilitated by the hyperactive producer, radio broadcaster and music journalist Arturo Cavallo. Vasconcelos had arrived in Buenos Aires to accompany the famous Argentinean saxophonist Leandro “Gato” Barbieri in the series of concerts held at the Teatro Regina and organized by Cavallo himself. Due to their obvious musical connection, he was introduced to Pereyra Lucena after one of the performances and instigated by Cavallo, the two musicians agreed to enter the studio the next day to record the songs that would eventually make up this album, subsequently released in Cavallo’s label Tonodisc. Without any prior arrangements, the session was an improvised exchange of ideas, all recorded in absolute darkness at Naná’s request.

Tracklist:
A Concerto Pra Mae Bio
B1 Improvisação
B2 Tempo Feliz
B3 Conversa Do Poeta