LENINE - INTERNACIONALSinger-songwriter, record producer and arranger, a native of Recife who later moved to Rio de Janeiro, a “Brazilian of the world”. Lenine brings influences from cultural manifestations of his country in his compositions, as well as numerous musical genres, disregarding tags or classifications.
Six Latin Grammy Awards winner, Lenine is one of Brazil’s most iconic musicians. He has performed in dozens of countries on his international tours, taking him to some of the largest music festivals in the world, such as Roskilde (Denmark), Peter Gabriel’s Womad (England, Spain and Canary Islands), The Montreal Film Festival (Canada) and Eurockéennes (France), among many others.
With a career spanning 35 years, 13 albums, 4 special projects and numerous guest appearances on albums by other artists, Lenine has had his songs recorded by artists such as Brazilian music stars Maria Bethânia, Milton Nascimento, Gilberto Gil, Ney Matogrosso, Elba Ramalho, among others. He produced albums for Maria Rita, Chico César, Pedro Luís e a Parede and the Cape Verdean singer-songwriter Tcheka, in addition to soundtracks for soap operas, sitcoms, movies, plays and dance performances, such as those of the renowned Grupo Corpo.
Lenine remains doing creative music freely, constantly venturing himself in every new work. His new album Lenine Em Trânsito – the 13th CD of his career – consists of new songs as well as highlights from Lenine's career, such as “Jack Soul Brasileiro”, “Paciência” (Lenine – Dudu Falcão) and “A Ponte” (Lenine – Lula Queiroga).
Em Trânsito – which means in motion or in transit – is an ode to the process. It is not by accident that the album subverts the natural order: studio album, concert and live album. It is all backwards, because the whole is a process. Lenine sees O Dia em Que Faremos Contato (1997), Na Pressão (1999) and Falange Canibal (2002) as the first trilogy, because the album concept emerged from the set of songs written until then. Meanwhile in the second trilogy, Labiata (2008), Chão and Carbono (2015), the opposite took place, as the concept was conceived before the songs. What would be in motion, if not the mix of both – what comes before and after?
The result is a collection of songs that sound new – whether they are or not. “Que Baque É Esse?”, what sound is this? Is it the sound of Maracatu’s percussion combined with Carlo Malta’s ripping saxophone, or is it the melodies from the new collaboration with Ivan Santos, “Intolerância’s”? Could it be the rhythms of disillusion with our bright dreams as a nation, as foreseen by songwriter Carlos Rennó em “Ecos do Ão”, or the weight of the metropolis that runs over and expels us, imagined with Bráulio Tavares in “Lá Vem a Cidade”? “Ninguém Faz Ideia”, no one knows. What didn’t turn into sand in “Virou Areia”, shall turn into it; be it the king or pirate of “Lá e Lô”; the indigenous Brazilian’s stars in “Tubi Tupy”, or even the biggest star of all, the sun described by Arnaldo Antunes in “O Céu É Muito”.
Jr. Tostoi (electric guitar), Guila (bass), Pantico Rocha (drums) and Bruno Giorgi (electric guitar and also music director) form the collective Em Trânsito. The band’s characteristic and genuine sound is a result of intimacy gained through many years of shared creative toil.
On “Leve e Suave”, the unreleased song that opens Em Trânsito, Lenine takes the stage alone and speaks about affection and softness. This only reinforces the fine irony of “Umbigo”, where the mischiefs of the ego are laid bare under the distorted cries from the guitar of Gabriel Ventura, who leaves the roadie seat to join the band.
The most striking atmosphere is created in the brand new Ogan Erê, a collaboration with Lula Queiroga, where the ponto – a chant to the gods in Afro-Brazilian religions – is done with the overlapping of vocal effects, and where Lenine (and Bruno) tells how the history and traditions of the terreiros – places of worship – is passed on from childhood.
Therefore, Em Trânsito is what the name suggests. It’s a sea of choices Lenine made while being aware of the path, even without knowing the destiny. It’s the artist refusing to yield to inertia. It is the accentuated spark in the shades and contrasts, designed by Robson de Cássia, and connected to the space and time it was conceived. It is, finally, the outbreak of impetus, as described in the unpublished “Sublinhe and Revele”.
Because our time is short and should be filled with music.