Lucina e arrudA
Lucina e arrudA, alma & corpo de 'Bicho Pedra Gente" – fotos Gabriel Marcondes

Nasce no álbum Bicho Pedra Gente uma dupla formada pela cantora e compositora matogrossense Lucina, nas melodias, na voz e no violão, e pelo poeta paulistano arrudA, nas letras, palavras e poemas. Em 38 minutos e sob produção musical de Patricia Ferraz, companheira de Lucina, as 13 canções feitas de silêncio e sons consolidam um encontro que começou atrás, na faixa-título do álbum Canto de Árvore (2017), de Lucina.

Artista de presença discreta e elegante na música popular brasileira, Lucina integrou nos anos 1960 a geração dos festivais da canção e um coletivo de quase-protesto chamado Grupo Manifesto (com presenças inusitadas dos futuros produtores musicais globais Mariozinho Rocha ed Guto Graça Mello). Na década seguinte, formou com a cantora e compositora carioca Luhli (1945-2018) a dupla Luli & Lucina, autora de pioneiros discos independentes e fornecedora de combustível musical para Ney Matogrosso, em obras-primas como “Pedra de Rio” (1975), “Bandolero” (1978), “Napoleão” (1980), “Coração Aprisionado” (1980) e “Êta Nóis” (1984). Encerrada a dupla, em meados da década de 1990, Lucina prosseguiu história solo com mais de uma dezena de álbuns lançados e eventuais parcerias, como esta de Bicho Pedra Gente

arrudA apareceu para a música a partir de 2007, quando assinou com a sul-matogrossense Alzira E (até hoje sua parceira mais constante) todas as composições dos álbuns Alzira E (2007) e Pedindo a Palavra (2010). A fusão entre melodia e poesia floresceu a partir daí, com parceiros como Jerry Espíndola, Peri Pane, Tatá Aeroplano, Anelis Assumpção, Gustavo Galo, Marcia Castro, Bárbara Eugênia e Iara Rennó e intérpretes como Zélia Duncan, Maria Alcina, Ney Matogrosso (“Beijos de Ímã”, 2013), Fabiana Cozza e Trupe Chá de Boldo.

Juntos ou separados, Lucina e arrudA integram portanto uma conexão que brota das águas do Pantanal e de dois Matos Grossos, a partir de Lucina (e Luhli) e Ney Matogrosso, e deságua na chamada vanguarda paulista, liderada nos 1980 pelo paulista Itamar Assumpção, o paranaense Arrigo Barnabé e a sul-matogrossense Tetê Espíndola, dos quais todos os nomes citados são tributários. Não à toa, Luli & Lucina foram, em dupla, afilhadas menos lembradas do espaço paulistano de shows Lira Paulistana, que forjou e nutriu a tal vanguarda paulista.

Todo esse coletivo informal constitui alho como uma MPB não-litorânea, cujas nascentes e estuários são as entranhas brasileiras de Norte (Lucina cresceu em Belém), Nordeste, Centro-Oeste, Sudeste e Sul interiores. É a música do “litoral central” (pantaneiro, pampeiro, interior), como nomeou o compositor sul-matogrossense (embora nascido carioca) Geraldo Roca (1954-2015).

Entre arranjos sempre concisos/minimalistas, haicais que Lucina repete com delicadeza e um e outro poemas mais densos, arrudA faz de Bicho Pedra Gente um veículo para celebrar a música muito íntima de (Luli &) Lucina, como já havia feito ao declamar versos de encerramento para o álbum Nave em Movimento – A Música Artesanal de Luli e Lucina (2023), que Lucina devotou a canções inéditas e raras da dupla. arrudA percorre uma pista que tem entre suas nascentes canções naturais/elementais de Luli & Lucina, como “Flor Lilás” (1972), “Cheiro de Rosa”, “Yorimatã Okê Aruê” (1979), “Semente”, “Terra e Lua”, “Primeira Estrela”, “Índia Puri”, “Tripa de Peixe”, “Gira das Ervas” (1982), “Bugre”, “Suba na Baleia” (1986)…

Nos temas de Bicho Pedra Gente, abundam termos extraídos diretamente da natureza, as exemplo das três palavras que constituem o título do álbum, entre muitas: mar, ar, vento, areia, chuva, lua, noite, terremoto, dia, sol, céu, chão, barro, pele, osso, silício, carvão, faísca, trovão, água, riacho, sal, mel, grão de areia, espuma, lírio branco, maré, névoa…

“Escrevi na areia/ o nosso poema/ a chuva apagou, mas a lua/ ainda lembra”, canta o haicai de “A Lua Lembra”, sob violão de Lucina e guitarra, baixo e bateria de Christiaan Oyens (só isso, mais nada), transformando natureza em poesia e poesia em natureza. “Há riachos imensos/ todo dia morrendo/ todo dia nascendo/ nas rachaduras do tempo”, finca o haicai de “Há Riachos”, palavras de arrudA, voz de Lucina, violões de Nando Duarte, apenas, mais nada.

Outros termos que povoam os poemas, com intensidade comparável, permanecem apegados à natureza, mas fazem intertermediação com o imaginário humano, metade Lucina, metade arrudA: tempo, respirar, coração aceso, mãos, tessituras, primavera, fome, dor, pão, voz, caminho, cavar, vinho, corte, linhas da mão, sopro, vida, peito, infinito, morrer, nascer, rachaduras do tempo, passos, olhos, ombros frágeis de carregar mundos (em “Parte de Tudo e Quase Nada”, sob violão de Lucina e guitarras de Ney Marques, só isso, nada mais), regar, escuro, sombra, azul, universos, dias submersos, gesto, barco…

Um pé em cada margem, outro pé no núcleo do furacão, a natureza e a humanidade flutuam, se fundem e se confundem, por exemplo, na linda (e talvez pandêmica) canção de abertura, “Um Dia Fora do Tempo”, amalgamada no violão e na voz mansa de Lucina e no cello de Lui Coimbra, isso só, nada mais: “Um dia fora do tempo/ uns dias perto do mar/ um dia fora do tempo/ uns tempos fora do ar/ um dia fora do tempo/ uns dias pra respirar/ o teu bom dia no vento/ um dia fora do tempo/ e o coração aceso”. Também sob indícios pandêmicos, “Quantos Universos” vai do micro ao macro e de volta ao micro (ad infinitum), apoiada na voz e violão de Lucina, no clarinete de Joana Queiroz e no baixo de Pedro Marcondes: “Quantos universos/ nesses dias submersos/ tantos que até desconverso/ e num ensejo te reconheço/ apesar da névoa densa/ e as ideias pelo avesso/ escuto a chuva/ e agradeço”.

“É onde a noite encontra o dia/ o sol/ é onde o céu acorda a pedra/ o chão/ é onde a fome amassa o barro/ e o pão/ é onde o vento inventa a voz/ e o vão”, reza “É Onde”, feita só de violão e voz de Lucina – e baixo de Jorge Mathias e percussão eletrônica de Sandro Moreno –, num primoroso arranjo de pendor blueseiro.

Por fim, um terceiro bloco de palavras, talvez (mas só talvez) mais próximo da urbanidade de arrudA que do idílio hippie-praieiro-interior de Lucina (& Luli), apresenta as coisas humanas, no terreno das ideias e da imaginação: bom dia, lembrar, rezar, partitura, guerra, tambores, cura, sorte, arrebatamento, canto, susto, pausa, amor, esquecer, distância, medida exata, letras, diferença, alma, essa nave louca, tudo, nada, dia santo, ruídos da casa, confusas, ideias pelo avesso, caprichos, molduras, endereço. “Ainda que eu não saiba rezar/ as nossas mãos conversam”, diz o haicai de “Nossas Mãos Conversam”, violão e voz de Lucina e baixo de Bruno Aguilar e só.

“De tanto lidar com as pedras/ meu coração endureceu/ reguei com água de chuva/ e um lírio branco floresceu/ nem era dia santo”, condensa “Nem Era Dia Santo”, voz e violão de Lucina e guitarra de Walter Villaça, só. “O que fazemos senão/ imitar a chuva/ inventar tambores/ de pele e osso/ silício e carvão?”, pergunta “O Que Fazemos Senão”, preenchida com a voz e o violão de Lucina e o cello de Lui Coimbra.

A síntese parece se dar lá pela 12ª faixa, terceira margem de um rio, “A Sombra da Lua no Sol”, apenas violão e voz de Lucina e piano de Adriano Souza. A frase-título se repete circularmente, a sombra feminina da lua dando sentido à luminosidade masculina são sol.

Em poucas formulações, como “a urgência dos dias menores/ e a voz da poesia sem voz”, arrudA sintetiza nessa faixa um imaginário que é dele próprio, mas também é dos versos de Luli em “Fala” (alçada ao sucesso em 1973 pelos Secos & Molhados) e da música de dentro da(s) obra(s) de Luli & Lucina. O termo “menores” demanda hierarquias, mas é de romper hierarquias, autocracias e ditaduras que fala, quase em silêncio, Bicho Pedra Gente.

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