Maré, this is my eighth album, and it is the second in a trilogy. The first is Maritmo, the album of 1998. And, as the second one, this has as a motto the sea around, the sea “once more,” Maré.

And perhaps by being among the first one and the third one it is that it has been so between a woman and a fish, between the word and quantum entanglement, between the language and the inexpressible. Or between Ferreira Gullar and Cazuza, between Augusto de Campos and Dorival Caymmi, between Cicero and Waly(1).

The songs were coming little by little and with some, such as “Mulher sem razão” [Women without reason] or “Onde andarás” [Where will you be], I’ve already flirted long ago. Others came from my order, as the pearl by Péricles “Porto Alegre,” I wrote lyrics to melodies (“Maré” and “Seu pensamento”), I did the music to receive the lyrics (“Para lá”) and some songs just crossed my way. In a certain moment I had a repertoire for a triple album, but as for me to sift may be even more interesting than accumulate songs, making the choices was not very difficult. Every cut, every song that come up breaks my heart, but on the other hand, it is very cool to see how they will be cross-lighting or contradicting within the puzzle which I start, but I never know right where it goes to.

I called my partners Moreno, Kassin and Domenico and we talked about a tour outside of Brazil, something that we hadn’t done yet; then we would record an album. This meeting was baptized by them as +Ela(2) and, with this group, we went to Spain and Japan, an opportunity to play live before the recordings. This usually results in heat in sound terms, I believe, it was really what happened. It was important for our tune even though the tour's set list was different from the recorded repertoire.

Dé Palmeira, partner, friend, brother and only compositor who has two songs of his in the album (“Seu pensamento” and “Mulher sem razão”), with whom I’d already done several things, like Adriana Partimpim. I invited him to play and simply to play with all joy, pleasure and fun with which he plays, and I love it. The same thing I arranged with the other boys: let's just forget the production and simply play. Arto Lindsay to produce. And thus the recordings can be focused, but freely. Arto is perfect for the freedom.

We played what we wanted, interfering as each feeling, and I focused mainly on the choice of people, not on timbre or instrumentation. Except for “Sem Saída” (arranged by Aldo Brizzi), the tracks were being built as we were playing. Different from what we call “collective arrangement,” as regards the planning of what will happen (and the outpouring of ideas), I worked a lot with the silence. I’ve never said how I thought the tracks should be and, at maximum, between the options to pick from I got with the most beautiful. Or I got crazier. Arto understood everything from the outset and contributed to the fluidity as attentive listening and stimulator.

With Felipe Abreu a pre-production with all the calmness, months before the recordings, trying tonalities and developments, leaving for the studio, from what was happening to the foundations, the placements and colors of the voices. Felipe, who I only call affectionately as Prô, is propellant and loving and he forbade me to drink coffee during the sessions of voice. On the day in which I got myself in the bathroom of the studio with a disposable glass in my hand, drinking hidden some coffee from thermos, I quit the addiction, forever (the coffee, of course, never the teacher).

Fabiano França plugged in captured “our” sounds. One of my acoustic guitars that plays out of tune, but I love an acoustic guitar, an acoustic guitar doesn’t like to keep tuned, a cello that creaks, a stronger breathing, he didn’t conceal or tried to disguise any of this. I love, for example, the sound that he and Domenico took from my bike (in “Onde andarás”). Fabiano’s operated the sound of my shows for long ago and therefore he knows my voice and my acoustic guitar. He knows when I’m well, or not much, lively, sleepy, absent-minded, happy, whatever. He always asks accurate, precise, pressing questions.

Daily a treat from the kitchen of Roberta Sudbrack arrived at the studio. Gently scented and inspiring delicacies, lentils and very delicious quinoa. Roberta made us vegetarians, gourmets, restricted and boring people be in the clouds.

We laughed a lot at one another, and especially about ourselves, compulsively. The emotion, chills, laughs, pleasures, impacts with the poems, the hesitations and inaccuracies are obvious. I hope so.
Have fun!

Adriana