Fausto – Cantor bendito da língua portuguesa e de Portugal

É normal que cada pessoa aprecie e divulgue os artistas de uma forma (também) subjetiva. Eis uma visão particular acerca do benfazejo cantor, ou essencialmente cantautor, Fausto Bordalo Dias.

A sua obra discográfica, atualmente compreendida entre 1969 e 2011, inclui 160 temas originais, repartidos por 15 discos. Desse universo de temas, 102 correspondem ao alargado subconjunto representativo dos que, na perspetiva individual, são considerados mais preferidos, portanto cerca de 64% do total.

Para um leigo em música, mas que sente a arte musical, tal preferência não é fácil ser explicada de uma maneira inequívoca. A apreciação resulta de critérios tão simples como a mensagem, a melodia, o ritmo, a harmonia entre os eixos vocal e musical ou a diversidade de sons produzidos por diferentes instrumentos, ainda que nem todos esses critérios estejam sempre presentes nas faixas identificadas como sendo as mais apreciadas.

O gráfico 1 reflete, por cada disco com temas originais, o seu índice de preferência, i.e., o contributo do respetivo disco para a preferência global atribuída à obra de Fausto.

O índice de preferência associado a um determinado disco resulta do produto da (i) taxa de preferência do disco – quociente entre o número de faixas inéditas mais preferidas do disco e o total de faixas inéditas no mesmo disco – com a (ii) frequência relativa do número de faixas inéditas mais preferidas desse disco (face ao total de faixas inéditas mais preferidas de todos os 15 discos, ou seja, 102). Assim sendo, o índice de preferência mais baixo corresponde ao primeiro disco, o EP de 1969, “Fausto”: (i).(ii).100 = 1/4.1/102.100 = 0,25. Ao invés, o índice mais elevado é atribuído ao duplo CD de 1994, “Crónicas da terra ardente”: (i).(ii).100 = 18/20.18/102.100 = 15,88.

É expectável que tendencialmente os discos com maior número de faixas tenham outrossim maior número de faixas mais preferidas, de onde ser conveniente relativizar as preferências tendo em conta a dimensão dos discos. O gráfico 2 permite comparar a preferência com a produção de cada um dos 15 discos com temas inéditos. Por as séries (A) e (B) representarem frequências relativas, a soma das percentagens de cada uma delas totaliza a unidade. Consequentemente, a soma dos desvios entre os valores dessas duas séries é um valor nulo. A numeração ordinal inscrita na terceira série – desvios entre as séries (A) e (B), ou seja, “(A) - (B)” – indica a ordem de preferência de cada disco, do primeiro ao 15.º lugares na escala de ordenação.

Por conseguinte, enquanto o gráfico 1 apresenta somente as preferências brutas (tendo em conta o número de faixas mais apreciadas em cada disco, bem como o número total de faixas mais apreciadas em todos os discos), no gráfico 2 estão também expostas as preferências efetivas (considerando a dimensão de cada disco, portanto, o número de faixas inéditas existentes, sejam mais ou menos apreciadas). Por exemplo, “Em busca das montanhas azuis”, de 2011, é o disco com o maior número de temas originais, sendo por isso (e ainda pela relação entre o número de faixas inéditas mais preferidas do disco e o número total de faixas inéditas no mesmo) o terceiro mais preferido. Contudo, tendo presente que tal disco é o que inclui mais temas originais (mais e menos apreciados), representa apenas o 11.º lugar na escala dos discos com maior preferência, no universo de 15. Ao invés, os discos “Madrugada dos trapeiros”, de 1977, e “Para além das cordilheiras”, de 1987, são apenas os nonos no que toca à produção, mas os quartos em matéria de índice de preferência, pelo que em termos líquidos o terceiro lugar das preferências é‑lhes atribuído, ex aequo.

Note‑se que as percentagens adstritas à série da produção discográfica – série (B) – resultam da divisão entre o número de temas originais de cada disco e o total de (160) temas originais existentes nos 15 discos. Visto que o citado álbum de 2011, “Em busca das montanhas azuis”, contém 23 faixas originais, a respetiva frequência relativa corresponde a 23/160 = 14,4%, percentagem superior à de 11,5%, a qual traduz a frequência relativa associada à preferência desse disco. Esta percentagem de 11,5% resulta da divisão entre o índice de preferência do disco (8,35, observado no gráfico 1) e a soma de todos os índices de preferência (igualmente resultantes do gráfico 1, i.e., 72,56).

Se bem que o álbum “Crónicas da terra ardente”, de 1994, seja aquele que, em termos brutos, recolhe tangencialmente o maior índice de preferência – vd. gráfico 1 –, passa sem dúvida para segundo lugar quando a preferência é comparada com a produção. Para esse disco, a diferença entre a preferência e a produção é de 9,4% (21,9%-12,5%), enquanto o disco “Por este rio acima”, de 1982, regista a maior diferença de todos, 11,6% (21,6%-10%), sendo assim o que mais contribuiu para a preferência da obra discográfica de Fausto.

Através do gráfico 2 pode confirmar‑se, usando as frequências acumuladas das duas primeiras séries – as séries de frequências relativas da preferência e da produção –, que até ao final da década de 70 do séc. XX tinham sido editados 34% dos 160 temas inéditos de toda a carreira de Fausto (medida pelos citados 15 discos). Estes 34% de produção correspondiam a 17% de referências. Com o duplo LP de 1982, “Por este rio acima”, as percentagens acumuladas aproximaram‑se sobremaneira: 44% para a produção e 38% para a preferência.

Seguidamente apresentam‑se, no quadro 1, os 102 temas originais que, sob o ponto de vista pessoal, são os mais apreciados.

Agrupando os 102 temas por tipos de assunto – exercício que é igualmente subjetivo (desde logo porque existem faixas que contêm características associadas a mais do que um assunto e por isso houve que afetá‑las a um único) –, podem tecer‑se várias observações. A distribuição de canções por assunto mostra que, das 96 letras mais preferidas (excluindo as seis faixas instrumentais), 39 são canções referentes a aventuras diaspóricas e 26 a canções relacionadas com protesto, intervenção ou caracterização sociais. O assunto abrangendo a sensualidade, o prazer ou o pecado reúne uma dúzia de canções. A portugalidade está patente em oito canções, o mesmo sucedendo com a africanidade. As remanescentes três canções referem‑se a outros assuntos diferentes dos mencionados atrás.

Dos 160 temas originais, 59 integram a trilogia da música popular portuguesa alusiva à História dos Descobrimentos, trilogia que o próprio Fausto intitulou “Lusitana Diáspora” e da qual fazem parte os álbuns “Por este rio acima” (1982), “Crónicas da terra ardente” (1994) e “Em busca das montanhas azuis” (2011). Desses 59 temas, 48 pertencem ao conjunto dos mais apreciados, correspondendo portanto a uma taxa de preferência de 81%. Dos temas que não fazem parte da trilogia, a taxa de preferência é de 53% – (102-48)/(160-59).

O ano de 1979 pode ser considerado o momento de viragem da carreira do cantautor Fausto, passando dos temas de pendor de ação social para os alusivos à epopeia da expansão marítima. Nada melhor do que marcar o fim das músicas com cariz de intervenção social com a apresentação dos temas “Roupa velha” e ”Eu fui ver o campo”. E nada melhor do que simultaneamente marcar o início da era dedicada às músicas alusivas à diáspora apresentando os temas “Peregrinações” (inspirado na obra “Peregrinação”, de Fernão Mendes Pinto, conforme Fausto reconheceu) e ”A Nau Catrineta” (na versão de Lisboa, um poema anónimo recolhido por Almeida Garrett e registado no seu “Romanceiro”).

Porém, saliente‑se que quase um quarto de século depois (em 2003), Fausto retomou o tema da crítica social, com o álbum “A ópera mágica do cantor maldito”. O cantautor bendito, da língua portuguesa e de Portugal, com o caráter e a qualidade que sempre foram seu apanágio, chamou a si tamanha inspiração para sintetizar o mundo do espetáculo – quase três décadas depois do nascimento da era democrática –, não manifestando qualquer hesitação em chamar à colação o poder dos novos lápis azuis, desta feita trabalhadores em nome de objetivos financeiros, e não tanto de interesses políticos.

Só um cantor abnegado e com a cerviz sempre hirta poderia ter estado ausente da Expo 98, logo ele que, à data, fora o criador de duas supremas obras‑primas dedicadas aos oceanos e aos portugueses no Mundo: “Por este rio acima” e “Crónicas da terra ardente”. Muito provavelmente o dinheiro não foi o motivo da sua ausência na exposição mundial realizada em Lisboa, dedicada ao quingentésimo aniversário da chegada dos portugueses à Índia, pois antes (e depois) de 1998 foram inúmeros os seus concertos de acesso livre e gratuito – embora financiados pelas autarquias – que concederam ao público a faculdade de apreciar o valor genial do artista. A memória recorda de imediato, a este propósito, os ditosos momentos em Abrantes, em Lisboa (no Terreiro do Paço), em Moscavide e no Seixal. Pessoalmente, a maior penitência consiste em não ter assistido ao espetáculo realizado em Lisboa, no Centro Cultural de Belém, em 1999, o qual, de tão empolgante que foi, ficou registado num duplo CD. Quantos cantores benditos para o povo foram (ou são) cantores malditos para o poder?

Abra‑se agora um parêntesis para o álbum “Por este rio acima”, de 1982. Para a sua introdução foi escolhida uma faixa instrumental cujo título resume não só o álbum em si mesmo, como toda a trilogia que Fausto dedicou à epopeia lusitana: “É o mar que nos chama”. Esta faixa, que dura aproximadamente 160 riquíssimos segundos, constitui a banda sonora do secular filme sobre a viagem dos Descobrimentos. Ao início, em pouco menos de um minuto, a música vai transportando a atenção dos ouvintes para diferentes fases da viagem. Volvido um silêncio luminoso, a viagem começa na calmaria da largada, passa pela intensificação da ventania e termina na tormenta do alto‑mar.

Logo de seguida, a composição sonora chama pelo mar – ou antes: “É o mar que nos chama” –, socorrendo‑se de uma parte da melodia do tema “O que a vida me deu”: ”Ó mar / Leva tudo o que a vida me deu / Tudo aquilo que o tempo esqueceu / Leva que eu vou voltar / Ó mar / Como quem vem / E regressa ao fundo / Do ventre da mãe”, e “Ó mar / Lago imenso de oceanos salgados / Onde os rios também naufragados / Vão por fim descansar / Ó mar / Tecem murmúrios / Sensuais / Como os amantes / Depois / Repousam em paz”. Após este chamamento, de cerca de 45 segundos, assiste‑se a uma perfeita e impercetível transição para outra realidade da epopeia: a sensualidade, o prazer, o pecado, e em concreto a lascívia, que levou um rei a desventrar à punhalada o seu pai para possuir e vir a casar com a sua linda mãe, e “sua amante”, que estava grávida do filho. Para o efeito, o chamamento, efetuado durante pouco mais do que duas escassas dezenas de segundos, é baseado num comovido excerto de “Como um sonho acordado” – inspirado no testemunho de Fernão Mendes Pinto que (ao livrar‑se, por uma unha negra e com uma astúcia ingente, da mais que provável morte) sentiu um medo penetrante ao ponto de (mesmo já estando a bordo do seu jurupango e a afastar‑se do perigo mortífero do punhal do rei, que assassinava todos os que acreditavam no seu parricídio ignóbil) julgar‑se perseguido pela maldade e pelo horror deixados em terra –: “Meu amor quando eu morrer / Ó linda / Veste a mais garrida saia / Se eu vou morrer no mar alto / Ó linda / E eu quero ver-te na praia / Mas afasta-me essas vozes / Linda”.

Finalmente, após tremendos gritos que ecoam a força da Natureza e a alma do Homem, as restantes quatro dezenas de segundos da faixa conhecem um abrandamento. As súplicas musicais são abandonadas e interiorizadas no espírito da mensagem, à guisa de catarse dedicada aos portugueses do Mundo, aquém e além‑mar. Fim do parêntesis.

Um único tema contido no quadro 1 não foi musicado por Fausto: a faixa instrumental “Praia da Samba” (composta por Mário Rui Silva). Das 96 letras, Fausto foi o autor de 81. Da restante dezena e meia de temas, três são poemas populares, tendo a dúzia sobrante sido escrita por nove poetas. O disco “A preto e branco”, de 1989, teve a particularidade de não incluir qualquer tema escrito por Fausto; todos foram escritos por autores africanos, e musicados pelo próprio Fausto. A partir de então, a totalidade dos discos com temas inéditos foi escrita e musicada por Fausto, com exceção da canção “Os mandamentos do vinho”, um poema popular incluído na coletânea de 1996 “Atrás dos tempos vêm tempos”.

No universo dos 160 temas inéditos, apenas dois não foram musicados por Fausto (cujos compositores foram Luís Linhares, um dos elementos da banda Filarmónica Fraude, que interveio na gravação do primeiro LP de Fausto, em 1970, e Mário Rui Silva, conforme supracitado). Dos 158, quatro foram musicados por Fausto em parceria com António Pedro Braga. Quanto às 154 letras (portanto, não incluindo as seis faixas instrumentais), 122 foram da autoria de Fausto, e uma foi co‑escrita por Fausto, juntamente com Vitorino e com o espanhol Luis Pastor.

No anterior quadro 1 estão identificados, através das notas (1) a (4), 39 temas que foram objeto de regravações. Para além das regravações identificadas na nota (3) desse quadro, o mesmo duplo CD “Atrás dos tempos vêm tempos”, de 1996, contém outras 10 regravações (de temas não considerados como sendo os mais preferidos).

Além dos 15 discos já mencionados (que incluem temas inéditos) e do álbum de 1999 gravado ao vivo, a obra de Fausto inclui uma compilação, num duplo CD de 2007, designada “18 canções de amor e mais uma de ressentido protesto” – a saber: “Carta de um contratado” –, compilação que consiste numa repetição (e não regravação) de temas originais. A sua obra inclui ainda nove singles (de 1970 – dois –, 1974, 1975, 1977, 1978, 1985 – dois – e 1986), um EP (de 1984) e três mini CD (de 1994, 1996 e 2003), com o objetivo essencial de promover os álbuns que incluem os temas dos singles, do EP e dos mini CD.

Retome‑se o terceiro parágrafo deste texto. Grande parte do êxito de Fausto deve‑se à elegância e à grandeza das suas músicas, que por sua vez estão relacionadas com: a harmonia das composições, a profundidade das palavras e a diversidade dos instrumentos musicais, sem obviamente esquecer a superior colocação de coros, sempre que – rectius: tantas vezes – entendida oportuna. Este quarteto de elementos tornaram um grande número de canções em perenes obras de arte.

Assim, importa procurar identificar, em cada um dos álbuns editados com temas originais – 13 LP ou CD gravados em estúdio, ou seja, excluindo o EP de 1969 e o single de 1984 –, assim como no disco gravado ao vivo em 1999, os músicos intervenientes nas gravações e os instrumentos que tocaram. Tal identificação está presente no quadro 2, que resultou de um exercício que, apesar de ser tão completo quanto necessário, não teve a pretensão de ser totalmente exaustivo. Para não sobrecarregar a apresentação, optou‑se por não incluir a miríade de vozes que interveio na gravação dos discos e de bastantes êxitos dos mesmos; muitas delas são as dos próprios músicos instrumentistas, e muitas são as de pessoas convidadas, das proeminentes às ignotas. O quadro também não inclui o nome de Fausto, que em todos os discos tocou viola (acústica ou elétrica).

Apesar de haver discos em que claramente a informação é demasiado escassa – desde logo os LP de 1970 e 1979, que tiveram a participação de bandas musicais e, por conseguinte, não foram identificados os nomes dos músicos intervenientes –, constata‑se que, para a gravação de diferentes álbuns, Fausto contou várias vezes com os mesmos músicos. António Pinto (viola), Eduardo Abreu (flauta e saxofone), Fernando Molina (percussões), Júlio Pereira (viola, e também viola braguesa e cavaquinho) e Vítor Milhanas (baixo) foram os músicos que mais gravaram com Fausto. Cada um deles esteve presente em quatro dos 14 álbuns do artista.

Ademais, de acordo com o levantamento apresentado no quadro 2, verifica‑se que 11 músicos intervieram em três álbuns de Fausto. Acrescente‑se ainda que um grande número dos outros músicos, sobretudo os que estiveram presentes uma só vez, tiveram uma participação pontual numa ou noutra faixa dos discos.

Aqui chegados, resta salientar que quem disseca com deleite ou simplesmente ouve as canções de Fausto conclui de imediato que a qualidade da sua obra discográfica faz deste patriota um Orfeu da cultura portuguesa. A positiva obsessão pelo rigor e a incessante busca pela perfeição por si demonstradas produziram canções que são uma ode ao casamento entre o som universal e a palavra lusitana, casamento que honra grandiosamente os nomes da nossa língua transcontinental e do nosso País, que lhes estão agradecidos. Há muito, e eternamente.

daviddinis2013@gmail.com

Ao prodigioso nauta descobridor de sons e conquistador de palavras

EPOPEIA DE HARMONIA

Descendente de Orfeu

No berço "Pátria" nasceu

Integraliza emoções

Epopeia de harmonia

É povo e não multidões

Do povo vem a magia

 

Na discrição se alistou

Na História se alimentou

Para cá dos muros de sonho

Sabe erguer as feitorias

Ritmo dançante e risonho

Genial e sem manias

 

Só o mar o modelou

Obra que a Nação herdou

A musa Euterpe o invade

A razão do deus Apolo

Capa de Sol e verdade

Cobre o seu excelso solo

 

À convicção se prendeu

Deu luz nos tempos de breu

Rumo por si definido

Seu caráter o distingue

Do estrelato foragido

Não há memória que o vingue

 

Tempo e espaço ultrapassou

Fechou-se à luz e voou

Obras-primas as ideias

Tudo o resto é posto à beira

Coragem corre nas veias

Sem cabresto nem coleira

(10/02/2014)

António Mello Corrêa… with «the Saudade name»

António Mello Corrêa… with «the Saudade name»

 

 

António Vasco Ahrens Teixeira de Mello Corrêa, better known as António Mello Corrêa in the fado world, was born on May 25, 1944, in the dissolved parish of Santos‑o‑Velho in Lisbon. Using his distinct flair, he recorded 38 different tunes. He died in the same parish on All Saints’ Day in 1982. He was 38 years old, and it had been missing for 38 years.

 

 

From the fado gatherings until the departure for Africa

 

His interest and vocation in fado began at a young age, which could be attributed to the fact that his mother, Paulina Pombo Teixeira (Paneca, as she was known in the neighbourhood), was a skilled fado singer. «From a Young Age, I Was a Fado Singer», a poem written by his friend Mimela Cid (Maria Manuel Cid), expresses such interest and vocation in fado: «Fado has not lost me / Nor have I found it / Because it was not my merit / But rather a gift from God / And I never sought him out». In a nutshell, the last verse of the fado lyrics declares that «I was born to be a fado singer».

Because he was enthusiastic about fado, a terrific conversationalist, a fantastic listener, a pleasant mood, and a kind guy, he mostly hung out at gatherings with others who shared the same interests, where mutual appreciation and kindness bloomed. His first fado experiences occurred while he was in his teens and met fado singers from the same Madragoa neighbourhood.

At a time when his voice’s versatility was not well recognized, Carlos Pinto da Rocha (Portuguese guitar) and José Carlos da Maia (fado viola) were the first amateur musicians to join him at fado gatherings. Luís Barros, who could play the fado viola as well as the Portuguese guitar, was the first to record António Mello Corrêa’s tones. The fado singer is joined by amateur musicians Luís Barros on fado viola and João Azevedo Neves on Portuguese guitar in the photo on page 27 (1965).

In 1965, fado gatherings spread to Ribatejo. Meetings in Golegã became more regular, and they were held in the home of the maternal grandparents of a neighbour and childhood friend Eduardo Vantacich (Chipá). Some people would congregate there to have a delicious fado marialva [whose lyrics describe horses and fighting bulls]. João Torre do Valle (Zina)—acoustic Portuguese guitar player—, José Carlos da Maia—fado viola player—, and José Pracana—who was still learning to play the Portuguese guitar at the time, receiving his first lessons from Carlos Pinto da Rocha—were routinely transported by the same friend’s car.

The Golegã gatherings were widely attended, and word quickly spread among the region’s fans, who began hosting fado gatherings in nearby Chamusca, adhering to the proverb «my friend’s friend is my friend». The first hostess was the poetess Maria Manuel Cid, who gathered a large group of fado acquaintances in her house’s «barn»—a moderately sized warehouse (where groceries and agricultural items were stored) that, after cleaning, sorting, and blanketing, was ready to hold a fado gathering. In addition to António Mello Corrêa, Zina, José Carlos da Maia, and José Pracana, the group included Maria Teresa Cavazzini (the hostess’ sister), Teresa Tarouca, Manuel Andrade, Carlos Guedes de Amorim, João Ferreira‑Rosa, Fontes Rocha, and others.

Following that, fado gatherings were held at Herdade Isidro dos Reis’ «barn» on several occasions. Mercês da Cunha Rego, Teresa Silva Carvalho, Carlos Zel, and Joaquim do Vale (Covinhas) were regular guests. Fado sessions were organized in the same venue to raise money for charity organizations.

António Mello Corrêa was always prepared to offer his fado to good causes, most notably to aid firefighters’ associations. He was asked to sing by the firefighters of Golegã and Chamusca on several occasions.

He has realized that, given his loyal companions since boyhood, he should act on his hunch and start singing in public, but without his parents’ knowledge. He did it in the Taberna Ideal, a tavern on Rua das Trinas (street number 67) near his home, whose premises later became the religious Solar da Madragoa. During fado nights, the house cast was placed on the door to entice customers. António Mello Corrêa chose the name António Roque as his artistic identity, so that his parents, especially his father, José Corrêa de Mello (Dom José, as he was known because he was born into an aristocratic family), would not notice him when they passed by the front door. His disguise was short‑lived, with his father delivering a sharp warning to Bettencourt, one of the tavern’s partners. José’s rage was reflected in Bettencourt’s shirt collars. Because his father did not want his beloved son trapped in the dreadful world of fado, Bettencourt’s ears picked up harsh comments.

The teenage fado singer’s determination triumphed against his father’s austerity. Two phases and two approaches were used to offer the speedy and customized response. First, to show his gratitude for the opportunity provided by good friends Jorge and Bettencourt (the tavern’s owners) and, as a result, to condemn his father’s austere attitude, António Mello Corrêa not only continued to sing in the Taberna Ideal, but also in the subsequent and famous Solar da Madragoa, which featured, among others, the fado singer António Rocha.

Second, António Mello Corrêa enlisted the help from his loyal companies formed during the aforementioned Ribatejo gatherings. In the middle of the 1960’s, he recorded an EP released by the prominent Philips label, on which he performed fados written by Maria Manuel Cid (writer of three of the four songs) and Manuel Andrade (of the same age as the fado singer, and who fatally died shortly after, in 1966). The musical accompaniment on this disc came from Raul Nery’s famous Guitar Ensemble. It was the first collection of themes created by the fado singer.

The record would mark a watershed moment in the young fado singer António Mello Corrêa’s career, demonstrating his commitment to rigorous fado as well as the development of a distinct style. Consequently, his debut EP served as an affirmation album from the beginning of his career, which was plainly disrupted due to the completion of compulsory military service, which could no longer be postponed (or rather, delayed as it is explained below).

António Mello Corrêa made two contacts with the troop. For the first time, he volunteered for the Air Force. He have given up recruiting to join this branch of the military, so it was nothing more than an idea. The fado addiction was one of the main reasons for this dropout.

The second passage, on the other hand, was extremely effective and long-lasting: 44 months. Buddies have persuaded him to sign up and complete his compulsory military service in order to avoid being labelled a refractory because he had given up on voluntary conscription and, at the age of nearly 22, had not yet been called into the troop.

He enlisted in the Army in May 1966 and paid a significant interest penalty as a result for his lateness. Initially, he was based in Santarém. After a few months of recruiting training, he was assigned to Tavira for the militiaman sergeant’s course. His primary motivation was the fado, not the army. Therefore, it is understandable that he has had a low grade in the course, and consequently he has been “deported” to Madeira, a Portuguese island, to train a team of mostly unruly soldiers. He was surrounded by the sea and far away from fado. After that, he was assigned to the Colonial War. On August 6, 1967, “his” Companhia de Caçadores (hunters company) number 1739 (and also the Companhia de Caçadores number 1740, both mobilized by the Funchal Independent Infantry Battalion) boarded the Troop Transport Ship «Vera Cruz» (which had left Lisbon the day before with others military companies). The company proceeded on to Cabinda after arriving in Luanda, and the mission was only completed in late 1969.

During the overseas conflict in the Portuguese Congo (i.e., Cabinda), the veins of fado swelled without limit away from his Lisbon. While the protracted confinement in the Maiombe forest exacerbated many troops’ homesickness for their homeland and the anxiety about the unknown future, it bolstered two personal attributes in militiaman António Mello Corrêa: the supreme sense of brotherhood and the intrinsic fado soul. As his departure for the fado region approached, he decided to recall the military season in Cabinda by packing one of the residents of Maiombe’s green sea: a female baby monkey (which later had to change residence, from Madragoa to the Lisbon Zoo).

 

 

From the consolidation of professionalization until the post‑April 25th

 

When he returned to the metropolis in January 1970, he knew exactly what he intended to achieve with his life: fado. After that, he was determined to make up for the time he had spent away from his dear Lisbon and his beloved fado (almost three years of absence) as quickly as possible. He could not have foreseen—and no one else could have guessed—that the decade would be busy, joyful, and full of accomplishments and undertakings.

He rose quickly to prominence in the fado circuits, thanks in part to the aforementioned album, which had been edited before he joined the troop and functioned as a golden calling card. It is no surprise, then, that when he returned from Africa, he was asked to sing in prestigious fado houses. Therefore, he was hired to join the cast of the renowned Taverna do Embuçado (Disguise’s Tavern) in Alfama, which was headed by João Ferreira‑Rosa—one of the attendees of the longing fado gatherings in Chamusca—, a fado singer who had founded the luxury restaurant with the support of the wealthy couple João Santiago (João Jorge Santiago Corte‑Real, owner of the Santa Catarina Palace) and Manuela Cintra at the end of 1965. Its cast included top‑notch musicians, namely Fontes Rocha and Pedro Leal.

When old friends needed him, he responded enthusiastically and with the seriousness with which he has always been associated. So, José Pracana, an old friend from the gatherings and one of the partners of Arreda Bar in Cascais at the time, invited António Mello Corrêa to join the cast.

António Mello Corrêa was singing and charming in fado houses at the same time he was recording in the studio. As a result, several discs were made. On the three successive EPs, all released by the Philips label, Maria Manuel Cid wrote five of the twelve fados; Manuel Andrade wrote two of the twelve fados. He was accompanied by Jorge Fontes’ Guitar Ensemble on the first vinyl; Raul Nery, António Chainho, José Maria Nóbrega, and Joel Pina on the second vinyl; and Raul Nery, António Chainho, and Joel Pina as well as Pedro Leal, who replaced José Maria Nóbrega, on the third vinyl. In consequence of that trilogy of EPs, the Fontana label edited the fado singer’s first LP, with the fado singer already acknowledged.

António Mello Corrêa never stopped singing and enchanting, and even idealizing, as one would expect from a brave and exceptional figure in his time. He imagined surrendering to a venue that was exclusively his, where he could share a fado in two tones, classic and charming, with friends and ardent fans of his art. He believed that fado should be free of the canons imposed by well‑known traditional fado houses.

Aside from his intentions to start his own business, a new EP was released to keep the momentum continuing. The edition, which featured Fontes Rocha, Carlos Gonçalves, Pedro Leal, and Joel Pina as a quartet of musicians, was released by the Estudio label, owned by the noted fado record entrepreneur Emílio Mateus. The album included the song «Tourito Negro» (Dark Little Bull), written by Maria Manuel Cid and composed by the gifted composer Fontes Rocha—the composer of the two songs regarded as musical fados created later by António Mello Corrêa—, which became one of the greatest hits despite not being his own creation. The thriving era of Maria Manuel Cid came to an end on April 25th, as the political breeze in Portugal got increasingly irregular.

In a short period of time, António Mello Corrêa responded to the new political movement with an EP, which was also edited by Estudio. He achieved three goals: he drew upon himself two poems written by his late friend Manuel Andrade—also the last poems of his authorship recorded by the fado singer, one of which was repeated, «Mãos Abertas» (Open Hands)—; he introduced «Maldito Fado» (Damn Fado) to the album judging, a fado written by Pedro Bandeira and Álvaro Leal, created by Alberto Reis, and made popular by Hermínia Silva’s interpretation; and he presented «Canção de Abril» (April Song), a fado with a suggestive name written by the monarchist and conservative João Ferreira‑Rosa. Fontes Rocha, Pedro Leal, and Joel Pina, professional musicians who were entirely indifferent to the new political environment, responded to the challenge by expressing their unwavering admiration for António Mello Corrêa’s friendship.

With the April 25th political movement, António Mello Corrêa would need to come up with ideas on how to make them a reality after having dreamed and envisioned so much. Rather than burying ideas in memory, he rooted them in reality. In fact, the instability at Taverna do Embuçado—a business that had previously catered for an elite clientele on the verge of losing weight in society—on the one hand, and João Ferreira‑Rosa’s subsequent intention to close the doors of this prestigious restaurant on the other hand, resulted in the exodus of most of the performers, forcing the rest of the cast and other workers to adopt a self-management scenario to avoid widespread unemployment.

The uncertain future prompted António Mello Corrêa’s long‑held desire to open a popular fado tavern, sponsored by the generous coupling of wine and friendship. Most likely, he felt compelled to create his own modest but distinctive venue that would be consecrated by the voice of the people who sang Amália Rodrigues’ hit «Oiça lá, ó Senhor Vinho!» (Hey there, Mr. Wine!). Keep in mind that in 1971, the Columbia label released an EP of Amália called «Oiça Lá Ó Senhor Vinho», the title of the first fado on the A side, written and composed by Alberto Janes.

 

 

The opening of Sr. Vinho restaurant (Mr. Wine’s) and a new record impulse

 

The envisaged outcome would be as expected: the opening of a tavern with fado as the main menu. A decision has been made. A name must be given to the finished product. To baptize the future fado retreat, he made a point of visiting Amália Rodrigues’ home to present his concept and ask her permission to use Alberto Janes’ success, «Senhor Vinho», in the voice of the diva. António Mello Corrêa did not want to go alone, therefore he took his old friend Chipá with him. According to the friend, «I like the young man so much!», Amália Rodrigues said him in the middle of the conversation. It is no surprise, then, that she readily accepted the fado singer’s proposal.

António Mello Corrêa had a lot of confidence when he decided to buy a tavern and a charcoal shop on one side and a grocery store on the other, all in the same spot, at the intersection of Rua das Praças (street number 18) and Rua das Trinas, in his typical Madragoa neighbourhood. Recognizing that fado is not just prayed in famous cathedrals, he intended to turn an ordinary food and drink tavern into a different kind of sanctuary, where he could share his devout sensitivity with the humble people who adored fado.

However, his never‑ending desire to bring fado to the people (based on an honest, democratic, and humanistic vision formed and developed before the Carnation Revolution, it should be noted) would not fit into daily living or budgetary constraints. Fado had lost its popularity. The general people appreciated it, but many were embarrassed, if not afraid, to voice their genuine feelings.

Under the emotive approach envisioned by its creator, the Sr. Vinho concept would never extend beyond the amateur entrepreneurship built by a professional fado singer. He rapidly realized that simply sharing his healthy and almost altruistic fado spirit with fado fans would not be enough to ensure the project’s success. In order to continue forward without worry of losing money, the company had to be financially sustainable first and foremost. In other words, the project’s audacity did not receive support from the post‑April 25th socio‑political situation because fado had been abandoned or even ostracized, in general, and because António Mello Corrêa was closely associated with fado marialva, alluding to bullfighting or even aristocratic images, in particular. As a consequence, transforming the facility into a viable fado retreat would require a muscular investment.

When a wealthy investor was needed, the Sr. Vinho’s mentor—the fado singer António Mello Corrêa—did not hesitate to share the ownership of his project. As a result, after several fruitless attempts to find a financial partner, in July 1975 he finally found a couple who could relate to his proposal. His partners, with whom he shared equally his personal project, brought not only business (and financial) knowledge, but also artistic brilliance, gradually transforming the space into a prestigious typical fado house. Such partners were José Luís Gordo and his wife, Maria da Fé, a fado singer who worked at A Parreirinha de Alfama (The Little Grapevine of Alfama) at the time.

Despite the fact that fado was not well recognized at the time, Sr. Vinho was warmly welcomed at the meanders, to the point where there was a scarcity of tables to accommodate the innumerable customers who had to wait another day to hear excellent fado, led by António Mello Corrêa. Therefore, Sr. Vinho grew up in the area after moving to an adjacent location, a few tens of meters away, in 1981, where it is today located, specifically at the intersection of Rua do Meio à Lapa (street number 18) and Rua das Praças. Before the venue was purchased, it was home to a deactivated industrial bakery.

From its inception in 1975 until the iconic Maria da Fé moved permanently to the new space, becoming the face of the poster, the cast was equally strong. Artists such as the fado singers Filipe Duarte, Maria do Céu (Licas)—the first resident fado singer—, and Maria da Nazaré, and the Portuguese guitar player Fontes Rocha (who has been by António Mello Corrêa’s side since the first hour of Sr. Vinho, and so closed a magnificent chapter in his career, putting an end to a dozen years of accompanying Amália Rodrigues across the world from 1962 to 1974). At the beginning, Sr. Vinho’s other musician was the fado viola player Manuel Martins, who was replaced in 1977 by Pedro Leal (a former colleague of Fontes Rocha at Taverna do Embuçado, who also chose to leave Amália Rodrigues’ group of permanent musicians).

While introducing the new Sr. Vinho, it would be remiss not to mention Carlos Pinto, who was almost usually the house manager. After António Mello Corrêa died, José Luís Gordo and Maria da Fé granted him a share of the company's capital.

To bolster his image, the image of the (former) Sr. Vinho, and the fado image, António Mello Corrêa recorded a new EP and later a LP, both edited by the Estudio label. With that EP, he was able to assert himself while also raising the bar. With the support of the same musicians that played in the last EP—in particular Fontes Rocha, Pedro Leal, and Joel Pina—, the fado singer set out to accomplish three goals in his own unique way. The first goal was to reinforce the infamous song «Senhor Vinho», which was created by Amália Rodrigues and used to name his idealized fado house, as previously said. The second goal was to associate with the «Ovelha Negra» (Black Sheep), written by João Dias, a creation of Beatriz da Conceição or José Manuel Osório. The third goal was to emphasize the archaic and politically unfavourable link to the past, strengthening his affection for the bullfighting spirit and recalling a well‑known Hortense Luz’s creation: «Fado das Toiradas» (Bullfights Fado)—recorded by António Mello Corrêa with the name «O Simão Contra o Caraça» (Simão Against Caraça)—, written by Luís Galhardo and made popular by Hermínia Silva’s interpretation.

The unfavourable winds for fado were stronger than the fado singers’ good intentions. He did not, however, give up. He then released his second LP, which was a compilation of his three previous EPs. He attempted, but failed, to overcome the public’s negative perception of fado, changing the title of the aforementioned «Canção de Abril» (April Song) to a more provocative and general name: «Fraternidade» (Fraternity).

A few years later, in 1979, he recorded his third LP, which was edited by EMI and featured Fontes Rocha, José Luís Nobre Costa, Pedro Leal, and Joel Pina on the musical accompaniment. It was an album with three fados written by his partner José Luís Gordo (poet Luís Alcaria), one of which being «Quentes e Boas» (Hot and Good [chestnuts]), the album’s title—due to the success of «O Homem das Castanhas» (The Chestnut Man), a theme edited two years before and written by Ary dos Santos for Carlos do Carmo’s voice. This vinyl also included the theme from the early career EP, which was later re‑recorded by the fado singer: «Mãos Abertas». Such album also included the theme «Tinha o Nome de Saudade» (She Had the Saudade Name), written by João de Freitas.

 

 

The professional career balance

 

António Mello Corrêa, who possessed a talented spirit and a fervent soul, had 10 vinyl discs made for him, covering 40 original recordings—and 38 different songs, being «Mãos Abertas» the subject of three recordings, as noted: «Open hands, giving hands (...) My hands are like that». The first of the 10 occurred in the mid‑1960’s, with the remaining nine recording during the 1970’s. The swansong was held in 1979.

The covers and back covers of the editions that make up António Mello Corrêa’s discography as well as the song titles are attached. There is also an indication of the relevant identification (rectified, if necessary) of the authors of the lyrics and composer of the music, and an indication of the themes created by António Mello Corrêa too. He was the creator of more than half of his repertoire (20 out of 38), demonstrating the fado singer’s uniqueness. This helps to explain why, despite his brief career, he is associated with several significant successes and holds a prominent place in Fado History.

After a life full of strength and dedication to the fado cause, he died prematurely on November 1, 1982, putting an end to a bright and promising career for which the fado community would be eternally grateful. The misfortune planned for his voice to be muted abruptly and terribly in a Lisbon neighbourhood close to his hometown when he was 38 years old. He was born, raised, and died in Santos (Saints) on All Saints’ Day.

António Mello Corrêa is a well‑known fado apostle, endowed by nature or by something higher with a unique vocal talent that spans the beginning of the word to the end of sensation. Thanks to his exquisite timbre and exceptional tune, he had a range of voice that made him completely at ease, whether in the low, medium, or high notes. This unique skill allowed him to embody all the intense fado feelings that existed in his soul.

Before concluding this essay, one considers the following scenario: what would have happened to fado if António Mello Corrêa’s fate had allowed him to live longer? Keep in mind that when the dean Alfredo Marceneiro met António Mello Corrêa (who had both talent and education) at the height of his experience (and no less demanding), he immediately opened his heart to him, as if this openness constituted a safe conduct for this young fado singer to enter any fado house. Because of the close friendship between the two generations, «Mãos Abertas»—always sung in Fado Bailado by Alfredo Marceneiro—was the only song recorded more than once from the beginning to the end of António Mello Correa’s artistic career. The photo on page 28 shows how much the two fado players care for one other.

Although most people who live on fado have inexplicably forgotten about him since his death, the ink of longing for his fado has remained indelible for the past 38 years and will continue to be indelible too. In May 1994, on his fiftieth birthday, he received a posthumous tribute, with Amália Rodrigues, Maria Manuel Cid, and Victor Feytor Pinto serving on the honor committee (page 33), that was a highly dignified example of an oasis in the oblivion.

As a result, it is incumbent upon us to carry on António Mello Corrêa’s legacy. Little was known about this famed fado personality's life and career until now. We, like the fado singer, feel as though a tremendous stolen longing—«Flowers burn on the chest / Of a deceived child / And an unhappy love / Burns in the exquisite bosom [or heart] / Of a stolen longing» (verses written by the unknown poet João Rosa, in the fado lyrics «Burn Your Eyes, Woman»).

Based on what is revealed in this text, it is shown that he was a creator who lived and will always live... with the SAUDADE name.