Babel
1995
- Ka Kã (Índios Urubu) 5:45
- Fábula (Rodolfo Stroeter/Lelo Nazario) 06:24
- 3 Segredos (Lelo Nazario/Zé Eduardo Nazario) 08:48
- Olho d’Água (Marlui Miranda) 03:00
- Babel (Rodolfo Stroeter/Lelo Nazario) 05:47
- Uluri (Marlui Miranda) 03:38
- Cordilheira (Nenê) 08:20
- Tocaia (Z. E. Nazario, Stroeter, Nazario, Miranda, Cardoso) 02:13
-
Festa na Rua (Rodolfo Stroeter/Lelo)
- Ñaumus (Índios Yanomami de Roraima) 00:29
- Kã Kã (Índios Urubu) 05:19
- Ritual (Lelo Nazario) 03:38
- Matilha (Rodolfo Stroeter) 02:37
- Ñaumus (Índios Yanomami de Roraima) / Festa na Rua (Rodolfo Stroeter/Lelo Nazario) 03:31
Faixas Bônus
Lelo Nazario - piano and keyboards
Rodolfo Stroeter - electric and acoustic bass
Marlui Miranda - voice, acoustic guitar, bamboo flutes and flute 'Kuluta'
Teco Cardoso - sax, bamboo flutes and flute 'Kuluta'
Zé Eduardo Nazario - drums and percussion
Produced by Rodolfo Stroeter
Recorded and mixed at Rainbow Studio in Oslo, Norway in December,1993 by Jan Erik Kongshaug. Remastered by Lelo Nazario at Utopia Studio in São Paulo in February, 2012
Design - Red Herring Design / Marcílio Godoi
Bonus track: Recorded at estúdio Rack, Sao Paulo in October, 1992.
Babel was produced shortly after a group’s tour of Europe. “By the time we arrived in Norway, the album’s repertory had been pretty extensively tried and tested. Because we were already familiar with the studio, this album was recorded even more quickly than Metrópolis Tropical. Babel is practically all live; very little of it was patched up or made up in the studio”. Rodolfo Stroeter recalls.
Marlui Miranda’s participation increased markedly in this new effort. “With Marlui, who introduced indigenous music to Pau Brasil, this recording featured an even greater mix of different idioms. It really did become a babel of sorts”, remarks Lelo Nazario.
Author of the compositions ‘Olho d’Água’, ‘Uluri’ and the collective piece ‘Tocaia’, as well as the arrangement for ‘Kã Kã’ (the music of the Urubu-Kaapor indians), Marlui underscores the importance of Pau Brasil’s method of collective creation. The singer/songwriter gives credit to “everyone who participated in those arrangements, because that’s how the group worked on them: together”.
