It was from Geraldo Carneiro´s verses in the samba A Invenção da Rosa that Francis Hime drew out the name Arquitetura da Flor for his second CD released by Biscoito Fino. Under a frugal sonority, which basically explores just the possibilities of a quintet (piano, bass, drums, electric guitar and percussion, with some interventions by wind instruments), contrasting with the orchestral grandiosity which characterizes the majority of his works, Francis displays a great number of nuances in the most confessional album of his career. “I strived to emphasize melody and harmony by giving a restrained treatment to songs. It is the most pleasant album that I have ever recorded”, sums up the maestro. As has been common in his works, in this occasion Francis presents a batch of new songs (ten) and two reissues. One of the most active musicians of his generation, Francis refuses to rest on past glory despite counting already with such a number of accomplishments that he would not need to add another single note to his vast repertoire in order to be considered one of the greatest Brazilian composers of all times. Thus, Francis keeps his flower rejuvenated, working on it with the voluptuousness and proficiency of a beginner. Arquitetura da Flor brings six new songs composed in partnership with Geraldo Carneiro. Besides A Invenção da Rosa, which begins this record, come also Gozos da Alma (launched by Leila Pinheiro, in 2005), and the brand new ones A Musa da TV, Mais-que-imperfeito, Mar do Amor Total, História de Amor – the latter with the participation of singer Nina Becker, of Orquestra Imperial, in a duet which transcends four generations of MPB (Brazilian Popular Music). Sem Saudades is a partnership of Francis with Cartola, based on the originals of an old poem written by the author of As Rosas Não Falam, given to the maestro by Cartola´s granddaughter. That samba, composed in 2005, counts with the participation of Zelia Duncan. And since flower is a recurrent subject in the architecture of this album, Cartola´s lyrics confirm: “passo o dia entre as flores / o espinho pontiagudo / pela rosa faz tudo / defende-a do malfeitor / isto é que é ter amor” (I spend my whole day among flowers / the sharp thorn / does all for it / protects it against the villain / this shows true love). Love and flower sprout different meanings, like in O Mar do Amor Total, where Geraldo Carneiro´s lyrics subverts nature: “você é perfeita, minha flor / parece feita com a surpresa da imperfeição” (you are perfect, my flower / you seem to have been created with the surprise of imperfection). Or in the verses of Simone Guimarães, which read: “É tanta quimera florida / mas sempre há de ter o adeus” (There are so many flowery fancies / but there will always be goodbyes). Both songs show the vibrations of light sambas within the jazz-samba genealogy. Do Amor Alheio has nearly minimalist lyrics by Abel Silva, with a melody typical of Hime. Its introductory theme, which normally would contain several voices in Francis´ characteristic arrangements, in this case is limited to the maestro´s piano as unaffected as Silva´s verses: “Ah, não corresponder a quem te ama / mas se não é amor / o que em troca oferecer?” (Ah, not to love back the one who loves you / but if you cannot offer love / what can you give in return?). The partnership between Francis and Olivia usually fertilizes each other´s records, like in the case of Canção Transparente, nominated to the Latin Grammy last year, in the category of Best Brazilian Song. Now it is the turn of Desacalanto, with lyrics by Olivia, who brings elements such as dust, water and light to fertilize Francis´ amorous flower: “A noite se encosta num poste de luz / em pó se desfaz / em fragmentos azuis / aos pés de um menino / a cidade afundou / levando o vazio / de quem não sonhou” (Night leans against a lamp-pole /it dissolves in dust / in blue fragments / at the feet of a boy / the city sank / carrying the emptiness / of those who did not dream ). Among the reissues are Palavras Cruzadas, written together with Toninho in the decade of the 80ies, and A Dor a Mais, which was the last partnership between Francis and his first musical partner Vinicius de Moraes. In Palavras Cruzadas, Toquinho surprises as lyricist with verses such as “Rio da ironia de uma vertical / que diz: sentimento profundo / que ilumina o mundo com seu esplendor” (I jeer of the irony of a vertical / that says: deep feelings / which illuminate the world with their resplendence). As to Vinicius, the master of all lyricists in the Brazilian music, he says with his peculiar style: “Tens um outro amor, eu sei / mas nunca terás a dor a mais / como eu te dei / porque a dor a mais / só na paixão com que eu te amei”(You have another love, I know / but you will never feel so great a sorrow / like the sorrow I caused you / because you will only feel such a sorrow / in a passion such as the one a felt for you). Besides Francis Hime´s voice and piano in all tracks, Arquitetura da Flor counts with Ricardo Silveira (electric guitar and guitar), Jorge Helder (bass), Kiko Freitas and Téo Lima (drums), Marcelo Costa (percussion), Vittor Santos (trombone), Jessé Sadoc (trumpet), Marcelo Martins (sax and flute), Hugo Pilger (cello), and Cristiano Alves (clarinet). Mar do Amor Total counts also in its chorus with all women in Francis´ life: Olivia, his wife, and daughters Maria, Luiza and Joana (granddaughter Bibi will join the chorus soon...). This record was produced by Moogie Canazio, who attests: “this record further enhances the presence of Francis in the place where he always deserved to be, among the greatest artists of the MPB of all times”.