João Cavalcanti ontem (24) no Clube do Choro de Brasília - foto: Diana Melo
João Cavalcanti ontem (24) no Clube do Choro de Brasília - foto: Diana Melo

BRASÍLIA/DF — Envergando uma camisa guayabera, o elegante João Cavalcanti subiu ao palco do Clube do Choro de Brasília ontem (24) para uma emocionante e merecida homenagem a Wilson Moreira (1936-2018), sobre quem os leitores já sabem o que vou dizer: compositor monumental, autor de obras-primas da música brasileira, daquelas que a gente canta ou assobia desde sempre, às vezes sem saber quem é seu autor, óbvia e infelizmente menos reconhecido do que merece. São justamente esses pingos nos ii que o artista vem colocar.

Após ser anunciado pelo aniversariante do dia (como revelou o convidado em suas falas) Reco do Bandolim, presidente do Clube do Choro de Brasília, que durante as honras da casa fez breve apanhado da trajetória de João Cavalcanti, este passou a desfilar um repertório de obras-primas: entre clássicos e lados b, nada ali é de se jogar fora, não tem uma música mais ou menos.

Algo que costuma me incomodar em tributos e espetáculos do gênero é o oportunismo e disso João Cavalcanti está do lado oposto. “Dos grandes mestres, do Olimpo da criação brasileira, foi com quem mais eu convivi”, se apresentou e aqui e acolá contou histórias (deliciosas) desse convívio.

Oportunismo, repito, é palavra que não consta no dicionário de João Cavalcanti. “Eu podia ter sido parceiro dele, mas toda vez que ele me dizia que ia mandar algo, eu desconversava, pois não me achava pronto”, revelou o colega de ofício, hoje também autor de algumas obras-primas, parte delas lembradas na segunda metade do show (após a homenagem a Wilson Moreira na primeira, ele relembra repertório de sua carreira solo e com o grupo Casuarina, entre outras predileções).

“Seu Wilson tinha o apelido de Alicate, por conta da força do seu aperto de mão. Eu já o conheci depois do AVC, ele ficou com o lado esquerdo quase todo comprometido e perdeu ainda mais a noção da força do aperto da mão direita, ele quebrava mesmo os dedos dos outros. Eu, quando ia visitá-lo, ou quando a gente se encontrava em qualquer lugar, já abria os braços, dizia, “oh, seu Wilson!”, e dava um abraço, pra evitar o aperto de mão”, contou João, para gargalhadas da plateia.

Do velho mestre lembrou ainda que, como muitos do que este resenhista se queixa no primeiro parágrafo, só foi gravar o primeiro disco já velho, aposentado. Era agente carcerário e por conta de um amigo preso, escreveu um de seus mais conhecidos sucessos: “Senhora liberdade”, com Nei Lopes, seu parceiro mais constante.

Não faltaram pérolas como “Coisa da antiga”, “Gostoso veneno”, “Gotas de veneno”, “Sandália amarela”, “Mel e mamão com açúcar”, “Deixa clarear”, “Coité e cuia”, “Goiabada cascão” e “Okolofé”, dedicada a Grande Otelo (1915-1993), “um dos brasileiros mais importantes de todos os tempos”, declarou João, que tomou a liberdade de dedicá-la ao autor. “Entre as qualidades que ele destaca no homenageado, muitas também são dele, ele poderia estar falando dele mesmo”.

O carioca tem pleno domínio de palco e aguçado senso de humor. Com um sorriso largo respondeu a uma senhora na plateia, que recomendou-lhe da próxima vez trazer Lenine. “Eu já tenho um pouco mais de 18 anos”. E lembrou-se que durante um bom tempo era apresentado como o filho de Lenine. “Aí eu integrei o Casuarina por 16 anos, já tem nove que eu saí, eles seguem cantando, eu sigo cantando, graças a Deus. Mas até hoje tem gente que pergunta se eu saí do Casuarina. Eu deixei de ser o filho do Lenine e me tornei o João do Casuarina”.

Após breve intervalo, praxe do Clube do Choro de Brasília, João Cavalcanti (voz e tamborim), voltou ao palco, como na primeira parte acompanhado por Gabriel de Aquino (violão) e Alaan Monteiro (bandolim). “Vocês estão vendo esses meninos, muito bons em seus instrumentos, Brasília é um celeiro, os músicos daqui são muito bons”, e parabenizou iniciativas como a pioneira Escola de Música do Clube do Choro. “Mas eles também cantam bonito e hoje eu consegui um microfone para cada um. Não foi fácil, foram meses, eu tentando convencê-los a fazer esse vocal”. Não foram poucos os momentos em que o público cantou a plenos pulmões e acompanhou o trio nas palmas. “Isso é palma de macumba”, ensinou João a certa altura, enfatizando a importância da matriz africana para a música brasileira, e particularmente na obra de Wilson Moreira, recomendando a audição de discos fundamentais como “A arte negra de Wilson Moreira e Nei Lopes” (1980) e “O partido (muito) alto de Wilson Moreira e Nei Lopes” (1985).

No repertório da segunda parte ele lembrou Dona Ivone Lara (1921-2018)  (“Nasci pra sonhar e cantar”), a quem dedicou o álbum “Ivone Rara — 100 anos da dona do samba” (será que o show de ontem e hoje (25) não vira um álbum?), e passeou por músicas de sua autoria que já podem ser consideradas clássicos, como “Pó pará” (do repertório do Desengaiola, parceria com Pedro Miranda, entrevistado de hoje (25) do Balaio Cultural — daqui a pouco, às 12h, na Rádio Timbira FM, grupo que se completa com Alfredo Del-Penho e Moyseis Marques), “Ponto de vista” (parceria com Edu Krieger) e “Queira ou não queira” (parceria com o bandolinista Alaan Monteiro). “Ah, vocês conhecem?”, gracejou quando a plateia cantou junto.

Um show impecável, à altura do homenageado na primeira parte e uma amostra de sua influência e legado na segunda.

Uma segunda sessão será apresentada hoje, às 20h30, no Clube do Choro de Brasília.

O resenhista assistiu ao show a convite da produção.

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