"Águas de março — Sobre a canção de Tom Jobim" - capa/ reprodução
"Águas de março — Sobre a canção de Tom Jobim" - capa/ reprodução

Em 2001 o caderno Ilustrada, do jornal Folha de S. Paulo, realizou uma enquete, “junto a 214 pessoas de faixas etárias diversas, entre personalidades do meio musical e cultural e jornalistas”. Os jornalistas Lúcio Ribeiro e Pedro Alexandre Sanches (colega de redação deste FAROFAFÁ) assinavam o texto que anunciava o resultado: “Águas de março” (1972), de Tom Jobim, ficou em primeiro lugar, seguida por “Construção” (1971), de Chico Buarque, em segundo.

Curiosamente a música de Chico Buarque, com arranjo de Rogério Duprat (1932-2006), é apontada como uma das referências da criação de Jobim, cuja primeira gravação é lançada no Disco de Bolso, da turma do Pasquim (cujo lado b trazia “Agnus sei” inaugurando a longeva e profícua parceria de João Bosco e Aldir Blanc [1946-2020]). No rastro imediato, vieram regravações do próprio Tom Jobim (em “Matita perê”, 1973), João Gilberto (1931-2019, no chamado “álbum branco”, do mesmo ano) e novamente Jobim, em dueto com Elis Regina (1945-1981, em “Elis e Tom”, 1974). E ao longo de seu mais de meio século inúmeras regravações nas mais diversas línguas e geografias.

A canção é esmiuçada em diversos aspectos e por ângulos variados pelos craques Augusto Massi, Arthur Nestrovski e Walter Garcia em “Águas de março — Sobre a canção de Tom Jobim” (Editora 34, 2025, 135 p.), belo volume organizado e apresentado por Milton Ohata, com depoimentos de Tom Jobim, fac-símiles e fotografias de Ana Lontra Jobim. Voltando a Chico Buarque: é dele a expressão, referindo-se a “Águas de março”, que intitula o ensaio de Nestrovski, “O samba mais bonito do mundo”.

É curioso pensar que a música mais lembrada em uma enquete do início do século (e suspeito que se se realizasse outra, hoje, o resultado seria o mesmo ou diferiria pouco) tenha sido uma música de letra longa, que todo brasileiro reconhece de pronto e sabe cantarolar/assobiar trechos, mas quase ninguém lembra, de cabeça, a letra inteira; e que esta (letra) tenha assinatura solitária de Tom Jobim, quase sempre lembrado como melodista, parceiro de nomes de primeira grandeza, como Vinícius de Moraes (1913-1980) e o próprio Chico Buarque, entre outros.

O livro deveria ter sido publicado em 2022, por ocasião dos 50 anos da composição. Revela, para além das ricas análises dos ensaístas, deliciosos episódios de bastidores, Tom Jobim às voltas com a construção de uma casa e o cansaço com a criação de “Matita perê”. “Águas de março” foi um respiro esperançoso em meio à turbulência, a letra anotada num papel de pão.

“Em março de 2022, ela fez 50 anos. Mas parecia ter nascido naquele instante. Aliás, ela sempre parece estar nascendo agora. Na música popular, meio século é suficiente para que vozes, hits e gêneros sejam esquecidos. Diante disso, o que dizer de uma canção que parece indiferente à voragem do tempo? “Águas de março” foi composta e gravada por Tom Jobim em março de 1972. E lançada num compacto simples em maio do mesmo ano. Desde então, as mais diferentes versões, em vários idiomas, continuam a surgir. E permanece o seu frescor de fonte escondida. Este livro busca explicações para isso”, anuncia Milton Ohata no texto de apresentação.

A capa do compacto que trazia a primeira gravação de “Águas de março” era tosca, mas o maestro soberano gostou, com o perdão do machismo vigente à época (ainda hoje?). “Quando Eduardo Athayde [produtor de “Matita perê”, tocou violão na gravação de “Águas de março” do Disco de Bolso] me procurou, eu tava com “Águas de março” pronta e ofereci essa música. Achei a iniciativa do Disco de Bolso muito boa — tinha Sérgio Ricardo [(1932-2020), cantor, compositor e cineasta] no meio — e achei melhor ainda quando me botaram na capa tocando flauta, e uma moça de biquíni, com um bumbum bonito, mostrando a partitura no biquíni”, lembra em depoimento (“publicado em MPB — Edição Independente, ano 1, n° especial, dez.1982”)

Para além da enquete de 2001 da Folha de S. Paulo, o próprio Tom Jobim lembrou-se, no mesmo depoimento reunido neste volume, que “Leonard Feather, [pianista, compositor e] crítico do The New York Times, nome conceituadíssimo, ao escolher as dez maiores canções de todos os tempos, incluiu no meio “Águas de março”, inclusive elogiando muito a letra (a versão em inglês, naturalmente, que também foi feita por mim). Sem arrogância, antes ele havia alertado: “Gosto muito de “Águas de março”, mas fica difícil pra mim falar bem dela. Elogio em boca própria é vitupério”.

Certas canções merecem um livro. Ouçam e leiam “Águas de março”.

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