Geraldo Azevedo

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Geraldo Azevedo is one of the Northeastern prizes of pop/MPB of the generation that appeared in the '70s: Alceu Valença, Elba Ramalho, Zé Ramalho, Fagner, and others. But maybe he is the one who brought the most elements of his Northeastern origins, the one who has a more decisive and professional bent over the instrument (violão) and harmonies, and the one who has been less influenced by the pop idiom. His lyrics also have an unusual creative quality. These qualities are enough to position him in comparison with the other idols from this market segment. This live-recorded album has him alone, accompanying himself at the violão. His grasp of the instrument, several notches above the average, can be heard in "Casa Brasileira" and "Bicho de Sete Cabeças" where the medieval influences of troubador music over Northeastern music can be heard, which is at least a curious bridge. But it was in the fifth song, the popular melody of "Ai Que Saudade D'ocê," that he succeeded in establishing the strongest communication with the audience, which sings along passionately. "Chorando e Cantando" is another moment of warm popularity, which conduces to "Tanto Querer" keeping the same audience involvement. Interspersing some less-known songs, he reaches "Caravana," "Dia Branco," and "Taxi Lunar" where in each tune he is again accompanied by the spectators' choir. A sensitive album with swinging songs as well doleful ones that will appeal to fans of Northeastern-influenced MPB, competently performed.

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