Edu Negrão

About tempo bom

This samba is quite simple but it took a long time to get ready. Some songs were composed in a very straightforward way and others not that fast. It is a Boteco?like (pub-like) title since it is the place for the reproduction of the musical genre that celebrates our Brazilianity. Pay attention to Kiko's solo.

This bossa nova came up at 3 in the morning. I love this soft harmony and the melody in the second part. I am really into improvising. This song is named after the fact we all look for a soul sister, or miss someone we love too much. The flugel that Paulinho put in is wonderful!

When I lived in Belo Horizonte, I used to go to Macacos to taste the delicious food at Rommel's. One night at Fabio's house (Mata do Engenho, Macacos Municipality) the whole song came up. I called Toninho to play with me and he ended up singing along.

I composed it at 17 while thinking about Stevie Wonder's harmonica in Samurai by Djavan. It is about celebrating anything that is worth being celebrated. It is also a study about bass inversions and has some interesting substitutions. I enjoyed my solo and the dialogue between Kiko and Chico at the final vamp is fabulous.

Tempo Bom has a modern harmony, with suspended chords that leave blank spaces so that the main voice comes up. It is also a kind of fusion song, a kind of 80's song. It does not matter the amount of clouds in the sky, we are the ones who make the atmosphere! Kiko destroys the piano, for a change, and Chico solos at the end.

It was called "Feelings" when I composed it at 16 because I wanted to show my deepest feelings towards a dancer who used to be my teenage love. I noticed later that it was a bossa nova kind of song influenced by Piazzola, so I renamed it. This song became a family hit when it was made! Nivaldo touched everybody's feelings with his wonderful solo while Emir and I drooled over it inside the cabin.

I composed this song in 1986 at the Arantes' house on Paúba Beach. Due to its repetitive characteristic it becomes a mantra when played over and over. Yuri loved it as soon as I showed it to him. Yuri's and Lena's solos are both terrific. This song has been one of the fave ones of anybody who has listened to the CD. As a father of the song I cannot love part of an offspring more than the rest of it, although I may say what I most enjoy in it: it is green!!!

This highly different melody came up after listening to my friend "Marquinho" Marco Aurélio Garcia, a virtuoso, playing "inside" or "outside", so I made this song for him. Later I noticed it had a kind of maracatu rhythm. Kiko plays the first keyboard solo and Fiuza plays the second, by the way, a wonderful one. I also like the crazy harmony.

This is a brand new one and it was originally named "La Nave Va" since I composed it while thinking about Fellini's film, but I noticed that even in high seas my soul is mineira. Yuri has once again lent his talent as an arranger and he has done something brilliant. I like my solo and I reckon it synthesizes many things I believe in.

This is a study of resolution of the seventh major harmonic mode. It is a baião in 64 chords. I dedicate this song to Paula. Juarez has made an impressive wall of guitars, that is why Guinga is crazy about him! This song was totally made on the paper, I played it only later.