Nem 1 Ai
2008
- Bate Canela (domínio público) 6:41
- Kaô (Rodolfo Stroeter / Gilberto Gil) 8:10
- Esconjuros (Guinga / Aldir Blanc) 4:51
- Derradeira Primavera (Tom Jobim / Vinícius de Moraes) 5:46
- Lenda do Abaeté (Dorival Caymmi) 5:14
- Tonada del Cabrestero (Simón Diaz) 4:49
- Cair da Tarde (Heitor Villa-Lobos / Dora Vasconcelos) 4:55
- Minha Palhoça (J. Cascata) 2:59
- Saudades dos Aviões da Panair (Milton Nascimento / Fernando Brant) 5:01
- Joana Francesa (Chico Buarque) 5:55
- Mora na Filosofia (Monsueto Menezes / Arnaldo Passos) 6:32
Mônica Salmaso - voice
Tutty Moreno - drums
Rodolfo Stroeter - acoustic bass
André Mehmari - piano and keyboards
Nailor Proveta - sax and clarinet
Toninho Ferragutti - acordeon
Produced by Rodolfo Stroeter
Recorded in April, 2000 at Mosh Estúdios in Sao Paulo by Alberto Ranellucci
Mixed in March, 2001 at Back Studio in Sao Paulo by Alberto Ranellucci, Mônica Salmaso and Rodolfo Stroeter
Design - Marcílio Godoi
In addition to her profound musicality, Mônica Salmaso has been developing a career based around partnerships with greatest musicians, whose defined musical personalities find in her projects the opportunity to create and add color to the music.
The album “Nem 1 Ai” was born from a will of recording a Salmaso’s original show performed at Heineken Concerts in São Paulo in 2000, when the singer was supported by Tutty Moreno, Rodolfo Stroeter, André Mehmari, and Nailor Proveta – musicians who had recorded the album “Forças D’Alma” two years before. The quartet’s conception and articulation seemed to be ideal for the performance, that also counted with guest appearance by Toninho Ferragutti.
After the concert, the album was recorded over two live recording sessions. In addition to the original material, three new songs were added to the repertoire: “Saudades dos Aviões da Panair”, “Joana Francesa” – both arranged by André Mehmari – and “Tonada del Cabrestero”, a Venezuelan song by Simón Diaz.
This rich and brief encounter has produced such an applauded album. Most of all, the affinity between all artists, a deep sense of musical freedom, and the concept of construction / deconstruction can be heard in each note played.