“Obi, Obá

Like Zen, Tsar Shalon Jerusalem, z’oiseau On the sparse grass, my arerê Tombara there, alá Just beyond, not even there Logum, no one is Pharaoh here In our view Samba is the cornerstone”

Excerpt from the samba song “Obi”

The Art

Djavan Caetano Viana, born in Alagoas, citizen of Maceió, one of the brilliant minds that sprouted from this sugar-coated land. He built his career without ever forgetting his birthplace, among the cashew, coconut, and jackfruit trees that ennoble its soil, with rock salt balancing this mixture, leaving his musicality bittersweet.

Born on January 27, 1949, at 311 Teresa Cristina Street, in a humble home, the son of Mrs. Virginia Viana learned from his mother’s singing the lightness and beauty of the songs of the washerwomen on the riverbanks. There he was enchanted and navigated within the rich symphony that the simplicity of each lady carried. This simplicity poured through her voice was the connecting link that would later bring results.

The definition of the word Djavan is: “Famous for the Helmet,” of Teutonic origin. In free translation, “he who is a protector or who protects.”

Through his mother’s musicality, he became accustomed to hearing names such as Ângela Maria, Dalva de Oliveira, Francisco Alves, Orlando Silva, among others, who came to him through the radio waves and, of course, maintaining his northeastern roots, Jackson do Pandeiro and Luiz Gonzaga, who came to him through the streets of Maceió. At 18, the young Djavan was influenced by the rock of The Beatles and created the band LSD (Light, Sound, Dimension), but fate created other paths and other connections…

“I’m going to change careers. I’m going to be a singer. I’m going to Rio de Janeiro On a Brazilian express train.” Excerpt from the song “E Que Deus Ajude” (And May God Help)

With every note of his songs, it becomes clear that all this cultural baggage landed in the former federal capital. Rio de Janeiro was not only the birthplace, but also the source of this river in the form of a singer who pours out poetry that many find difficult to understand, but for others is an endless opportunity to learn about the diverse cultures of this immense country. The nobility of listening to him is to enrich our popular dictionary.

Number One, 706, Ma Griffe, Bacará, Little Club, and Bottle’s

Unfamiliar names to you readers, but important in telling the story of Brazilian music, these were some of the stages that existed in the famous Beco das Garrafas (Bottle Alley), where many who went on to become successful had the honor of singing. Djavan arrived in Rio de Janeiro in 1973, still without notoriety or space within the music scene, and struggled hard for doors to open.

His start as a crooner in Rio de Janeiro nightclubs was the ticket for his voice to conquer the world, the beacon for his discovery, and that is how he was discovered. That boy from Maceió who had taught himself to play the guitar using chords from magazines would, at the age of 23, have the opportunity to unleash all his talent.

Thanks to the help of his fellow countryman, radio broadcaster Edson Mauro, and producer and radio broadcaster Adelzon Alves, who introduced him to João Mello, producer at the Som Livre record label, who listened to him and was enchanted by the young man’s talent, it was the beginning of a new horizon. Djavan began recording covers of songs for Rede Globo, and one of them gained widespread attention: Alegre Menina (Dori Caymmi & Jorge Amado).

Then, in 1975, Djavan signed up for TV Globo’s Festival Abertura, and for the first time, we had the opportunity to hear one of this noble artist’s first sambas, “Fato Consumado,” which was recorded and performed at the Municipal Theater in São Paulo.

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He came in second place, but emerged victorious, because in 1976, the album “A voz, o violão, a música de Djavan” (The voice, the guitar, the music of Djavan) was released, produced by Aloysio de Oliveira.

The team: • Altamiro Carrilho — flute / piccolo • Marciso “Pena” Carvalho — graphic coordinator • Aloysio de Oliveira — executive producer • Edson — keyboards • Edson Frederico — arrangements • Helinho — guitar • Luizão — bass • Paulinho — drums • Luna, Hermes, and Armando Marçal — rhythm • Ariovaldo Contesini Paulinho — drums • Sergio Seabra — mastering • Victor — mixing

From this album onwards, Brazil discovered this giant talent… Here you can find all the influence of the jazz he listened to in his childhood, through the female voices of Billie Holiday, Ella Fitzgerald, Sarah Vaughan, and the inventiveness of John Coltrane and Miles Davis mixed with LSD rock, the richness of samba and baião, and simplicity in his singing. Track by track, we find infinite uniqueness in what I consider to be an educational album and a delightful cover, material to be listened to repeatedly. An ode to good music and, of course, in this material that will be divided into two parts, there is nothing better than listening to good samba and starting to dance.

“I’m going to change careers. I’m going to be a singer. I’m going to Rio de Janeiro On a Brazilian express train.” Excerpt from the song “E Que Deus Ajude” (And May God Help)

Between valleys and mountains, along winding roads, young Djavan leaves his beloved Alagoas in search of El Dorado. With the blessings of Nossa Senhora dos Prazeres, the young artist heads for the capital of Bossa Nova and MPB.

Shortly after arriving in Rio de Janeiro, he faced his first challenge: finding a place to live and earning a living. Rio’s nights are a delight for those seeking opportunity, and Beco das Garrafas opens its doors to select opportunities.

Between bars and nightclubs, the “little Mutum” sang his enchanting songs, quickly catching the attention of regulars and spreading his name far and wide. But the big challenge was 430 km away, in a city filled with smoke and leaden gray, in stark contrast to the beaches of Rio. São Paulo was the chosen birthplace for the “Abertura — Festival da Nova Música Brasileira” (Opening — Festival of New Brazilian Music) at the Municipal Theater of São Paulo from January to February 1975. That’s where the big change would happen!

The Festival brought a thrill, organized by Rede Globo de Televisão, bringing together the future names that years later would take the national scene by storm: Alceu Valença, Carlinhos Vergueiro, Clementina de Jesus, Ednardo, Eduardo Araújo and Silvinha, Fábio, Hermeto Paschoal, Jards Macalé, Jorge Mautner, Leci Brandão, Luiz Melodia, Walter Franco, among others…

But Djavan’s musicality was not well understood by critics at the time! The event’s jury, chaired by Aloísio de Oliveira, who did not have the right to vote, was formed by Marcos Valle, Diogo Pacheco, Damiano Cosella, João Evangelista Leão, Maurício Kubrusly, José Márcio Penido, and Sérgio Cabral.

“Inexpressive Samba”

Definition made by a critic of the time in the old Pop Magazine, about Djavan’s musicality.

The wisdom of the poet Belchior already said that: “The New always comes” but the receptivity of this new caused strangeness, the audience was taken by surprise with a new format of lyrics and rhythm from this young man from Alagoas. For many, his lyrics were complex and daring, making his poetry difficult to understand.

The song “Fato Consumado” (Fait Accompli), performed that night at the Municipal Theater, was like a beautiful vernissage in one of the great temples of our culture.

Globo network file submitted to the Brazilian Dictatorship agency (DOPS) requesting authorization to carry out the work — National Archive

Years later, this style would become a distinctive feature of the artist’s career, but we must bear in mind that all genius is difficult to understand.

One of the most important definitions of the word genius refers to “the quality of someone who has great intellectual capacity.” I believe that all this notoriety in writing comes from the musical background that his mother, Mrs. Virginia Viana, instilled in him.

Of course, the natural beauty and uniqueness of a long-suffering people were key factors in enriching his search for a more pluralistic form and, in this case, the best way for him to express this knowledge through music.

In the view of Ivan Siqueira, professor at the School of Communications and Arts at USP (São Paulo State University), in content published in the USP Magazine in December 2016: “For Djavan, it is as if words were stripped of their semantic load due to another order of necessity connected to the materiality of sound.”

Even though he is not a “true Carioca,” the poet absorbs the best of the essence of the hills and translates this into songs with a language that speaks directly to this audience. Soon Djavan became a name well accepted by the popular classes and today receives acclaim from the public, regardless of age group.

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In the opinion of journalist Mauro Ferreira, columnist for G1 and music expert: “Djavan is a composer with a wealth of creativity, a definition that fits him perfectly. Listening to and reading his lyrics is like an endless source of new words for our everyday vocabulary. The magnitude and experience that the times of Becos das Garrafas provided for his development resulted in the artist from whom we have the honor of drinking from his fountain.”

Mauro’s perspective and words reminded me of my late friend, fellow composer Dorinho Marques (1953–2018), who often commented on his sudden encounters with the young talent. He used to say that his musicality had a timeless quality and that this made people admire him for the way he performed in some of São Paulo’s nightclubs.

“Just learn to dance the samba dobrado.” Excerpt from the song “Samba Dobrado” by singer Djavan.

This generational bond brings me here today to write about him. But to shed more light on this artist, I invited two people who had the honor of crossing paths with him. Our first guest is Mr. José Sérgio Machado, but in this musical universe, he is known as Filó Machado:

“I had the opportunity in the 1980s to live, record, and play with him, and honestly, if he is the professional he is, we must praise and recognize the paths he has climbed.

I had the opportunity to experience the nightlife in Rio and São Paulo alongside him, and he certainly drew from this source to build his career.

If Djavan got where he is today, it’s because he deserves it!

He fought hard and built his career in a simple, humble way, being a good person.”

During my research, I found a track that I believe to be the first composition written by him and recorded by another professional, in this case a crooner friend who charmed everyone in the 1970s, named Djalma Dias. Djalma was one of the voices who recorded the soap opera soundtrack LPs for Som Livre at the time. The song is called “Desgruda” and was recorded by the singer in 1973.

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In the 1970s, thanks to the festival, the artist gained notoriety and was soon hired by ODEON, one of the major record labels of the time. So I invited my friend Nilton Ribeiro, former director of EMI ODEON and music producer at OBI MUSIC.

“In 1975, I was hired by ODEON and Djavan came to São Paulo to participate in the Festival Abertura, and we all began to notice his indescribable talent and impressive swing at this festival.

He took second place with the song “Fato Consumado” and upon returning to Rio de Janeiro, he signed a contract with the record label Som Livre.

His first album was a success, so much so that the song “Flor de Lis” is played in several versions around the world.

In 1978, he was hired by ODEON and we released the album “Cara de Índio,” full of fantastic songs that helped him spread his name even further. As a result, his schedule became increasingly busy, and I was responsible for scheduling these jobs, which led us to become friends.

When he returned to São Paulo’s nightlife, we often went to Bixiga, visiting various bars, but we frequented Oba Oba, Casa do Sargentelli, among others…

There he showed off all his talent and artistry, it was a party!”

From then on, the artist solidly built his career, with samba continuing to be his main trademark, mixed with various musical rhythms and enhanced by the artist’s poetic richness. His songs have marked generations and consolidated his name among the giants of Brazilian music. But of course, I couldn’t talk about the artist without inviting this friend who helps him on his path to success.

Here is a statement from music producer Paulo Calasans:

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And so I conclude this simple tribute to this great artist with a special gift for all of you. Check out the playlist with all of Djavan’s sambas, including those from his new album “D.”

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See you next time!

“Life is the art of encounter” — Dorinho Marques