Com o jornalismo tantas vezes anunciado ferido de morte, dado como morto ou respirando por aparelhos, caso mais grave ainda é o da crítica musical, cada vez menos exercida, mas ainda fundamental, sobretudo em tempos de algoritmos e inteligências artificiais ditando o gosto e robôs inflando a audiência.
Longe de soar saudosista, houve um tempo em que o leitor/ouvinte estabelecia uma relação de confiança com o crítico musical — este resenhista, particularmente, quando convidado a falar com turmas de jornalismo, costuma responder com “jornalismo cultural” à pergunta sobre o que me levou ao jornalismo cultural. Foi lendo sobre discos, livros, filmes, peças, exposições etc. que eu soube o que gostaria de fazer da vida.
Uma amostra da importância da crítica e do crítico de música nos é dada em “Meu odiado crítico” (Edições Sesc São Paulo, 2025, 285 p.), novo livro de Miguel de Almeida em que ele perfila e reúne textos de Ezequiel Neves (1935-2010), Júlio Medaglia, Sérgio Cabral (1937-2024) e Zuza Homem de Mello (1933-2020), num vasto e interessante panorama que abarca cerca de sete décadas de jornalismo musical por alguns de seus maiores nomes já surgidos no Brasil.
Os quatro perfilados têm relações com a música para além dos textos que escreveram para a imprensa brasileira: Ezequiel Neves, que também assinava Zeca Jagger ou Zeca Zimmerman (tamanha era sua admiração pelos Rolling Stones e de Bob Dylan), é parceiro de Cazuza (1958-1990) e Leoni em “Exagerado”, entre outros hits; o maestro Júlio Medaglia é autor do arranjo de “Tropicália”, que Caetano Veloso pescou de obra de Hélio Oiticica (1937-1980) e batizou o movimento sessentista; Sérgio Cabral escreveu biografias de Pixinguinha (1897-1973) e Tom Jobim (1927-1994), entre outros, dirigiu espetáculos musicais e é parceiro de Rildo Hora na clássica “Visgo de jaca”; Zuza Homem de Mello estudou música nos Estados Unidos, conviveu com jazzistas do primeiro escalão e tocou contrabaixo em diversos grupos.
Ao longo da leitura dos textos é possível perceber o estilo de cada um dos perfilados, a liberdade para dizer o que pensavam sobre artistas e obras (de onde certamente vem o adjetivo do título do livro) e a perenidade de sua própria obra: a maioria absoluta dos textos selecionados por Miguel de Almeida envelheceu bem.
É importante pensar também a crítica para além do “gostei” ou “não gostei”: há textos sobre obras ainda hoje citadas e sobre espetáculos quase nunca lembrados, entre notas e textos mais longos. Cada um dos quatro, embora não se limitassem a eles, têm, por assim dizer, um tema de domínio: Ezequiel Nevez o rock e pop, Júlio Medaglia a música clássica, Sérgio Cabral o samba e Zuza Homem de Mello o jazz.
Sobretudo os dois últimos também traçam, por vezes, verdadeiros perfis de personagens fundamentais da música: Ismael Silva (1905-1978), Ernesto Nazareth (1863-1934), Donga (1889-1974), João da Baiana (1887-1974), Cyro Monteiro (1913-1973), Luiz Melodia (1951-2017), Noel Rosa (1910), Lupicínio Rodrigues (1914-1974), Chico Buarque e João Gilberto (1931-2019) — o último livro de Zuza Homem de Mello é sua biografia “Amoroso” (Companhia das Letras, 2021), finalizado pouco antes da morte do autor —, entre outros.
O exercício da crítica musical é também um caminho para a construção e o entendimento da história da música (popular) (brasileira). Em texto publicado sobre João da Baiana no Correio da Manhã em 1964, Sérgio Cabral revela que o artista participou do “quebra lampião”, movimento anti-vacina, contra a obrigatoriedade instituída por Oswaldo Cruz (1872-1917); o autor de “Patrão, prenda seu gado” (parceria com Donga e Pixinguinha), sentiu-se usado, tendo se sentido provocado a manifestar-se por ter sido convencido de que a vacina contra a febre amarela era extraída de vacas tuberculosas. A história se repete como tragédia ou como farsa e qualquer semelhança não é mera coincidência.
Críticos também erram e não deixa de ser engraçado, no necrológio de Aldir Blanc (1946-2020), escrito para O Estado de S. Paulo em 2020, entre tantos versos geniais do “ourives do palavreado”, como tratava-o Dorival Caymmi (1914-2008), Zuza Homem de Mello citar “Papel marché” — nesta, o parceiro de João Bosco é José Carlos Capinan.
A edição caprichada de “Meu odiado crítico” joga luz sobre a importância do pensar sobre música, exercício importante, mas cada vez mais em desuso em uma época em que se ouve música fazendo qualquer coisa, tendo-se perdido o ritual de abrir um disco, colocar para tocar, acompanhar letras e outras informações em um encarte etc.
“Ótimo livro! Uma vez visitei Zuza para que me sugerisse uma canção, e ele me disse: “Eliete, os críticos passam, os músicos ficam”. Passado algum tempo, creio que posso dizer que os verdadeiros críticos, como ele e Sérgio Cabral, ficam!”. Transcrevo a citação da cantora e pensadora Eliete Eça Negreiros, da quarta capa do livro, para resumir sua importância e o que atesta “Meu odiado crítico”.
Somos o único veículo crítico e progressista dedicado exclusivamente ao jornalismo cultural, nas suas mais variadas frentes: livros, filmes, música, artes, teatro etc. Se você chegou até aqui é porque está do nosso lado. Ajude FAROFAFÁ a fortalecer o debate e a cultura brasileira.
O livro deve ser bom mesmo!
Adoro ler sobre música,na minha cidade nem tem livraria.
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