It's not everyday an artist finishes an LP - blood, sweat, love, and tears are all hidden behind that glossy album cover that sits on the shelf in your bedroom. We caught up with Academy alumni Bruno Morais to hear about the process and thoughts that went into his latest collection of songs A Vontade Superstar...

What would you say were the inspirations behind your sound for this album?

From the start I had images in my head, of brazilian samba artists in favelas and southern jazz players in America. Afro culture here and there, music and lifestyle from the '20s to the '40s, both worlds are very alike. Musically these two worlds are very close, old school samba and old school jazz. That was my approach to the album. My references were the simplicity they share in their songs and melodies, the romantic, respectful, streetwise and almost religious style of singing. Their classy way of life, ever seeking for subtlety and elegance and, mostly, the rare ability of owning the magic mystery of songwriting.

There was also psychedelic and playful elements in the images - I wanted to include this character, an old fashioned guy, in fantastic scenarios. Every song is a different adventure: they express love, effort, faith, taking risks, discernment, will, and desire. Guided by these old musicians' wisdom and the psychedelic pop, you get them all: Dixieland's Louis Armstrong All Stars, marching bands, Bennie Goodman, Duke Ellington, the Chicago sound of Muggsy Spanier and Eddie Condon, Chet Baker, Velha Guarda da Portela, Cartola, Ataulfo Alves, Nelson Cavaquinho, Foxtrot and Reggae and Forró, Jesus Christ Superstar, Nina Simone, Teddy Bears, Os Mutantes, Jon Brion, Tom Waits, Andrew Bird, the Beatles, Peanuts and the Pink Panther, Minnie and Rotary... and many more, an explosion of references smoothly condensed in the album, telling a story on every lyric, offering a lot of possibilities for the listener.

Who have you collaborated with and how did you collaborate with them?

You know, most of my best friends are great musicians. Since my previous album the process is the same: I usually have an idea to start with, and then I call one of them, usually bass players Filipe Barthem, Ricardo Prado or my partners Rafael Fuca and Zé Ricardo Passeti. I'll sing them music cells and they develop it brilliantly. After that I'll send those drafts to a few producers, like I did with Vitamin D at the Academy. Guilherme Kastrup is a major one, Toby Laing is another great arranger who wrote and played horns over our loops before we actually started with the drums. The rest of the elements come later. On this particular album I wanted a live feel, so I recorded 3 songs with my whole band together and that was our reference to mix the entire album. I'm very proud of them and honored, we can create everything on the spot during rehearsals, everyone collaborating, something rare these days.

How do you approach writing your songs?

I usually start with lyrics and a melody. Especially when I'm walking, whenever an idea strikes, any subject, a motto, anything can have a melody within. I'll explore it and as soon as I get the chance I'll write it down and record it. I can't really play anything, so I have to sing it a thousand times to come out with a good one. I do like short lyrics, so I cut them to the core of where the heart is, and allow the musical scenarios I mentioned.

Do you have a favourite piece of studio equipment?

Audio engineers! I love to hear what they have to say and I think nothing compares to an accurate listening and that's not a one-man job. I also like vintage compressors like Universal Audio or API. I love studio talk, it's inspiring.

How are you going about translating the LP to the live stage? Do you have any tours planned?

Amongst the people involved in the process - around 40 musicians - the chosen ones are Guilherme Kastrup on drums and MPC, Guizado on trumpet and Casiotone and MPC samples, Zepa on acoustic and electric guitars and Prado on bass and piano. I do the easiest part - I sing - but I also play some percussion.

We try to make everything as organic as possible even though there's electronic elements and samples from the personnel who couldn't be there to perform. The stage is filled with spotlights everywhere, to help create the scenario and mood, along with our costumes, like a movie script, where I'm the storyteller.

We'll be touring in Brazil from next August. We’ll also spread it out to the world over the next months and see what happens, after that probably we’re going to try touring worldwide.

BONUS:
Sassy J (A Few Among Others, Switzerland) - Headphone Highlights - Brazilian La La Session
Rainer Trüby (Root Down, Compost Records) - Tribute to - Brazil
David Nerattini a.k.a Little Tony Negri (Superfly, Rome) - Extrafly - Volume 4 - Brazil, Brazil, Brazil