Under a frugal sonority, which basically explores 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.

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...).

The flower is the recurrent subject in the architecture of this album. A flower sublimated by the fertile ground composed of the partnership between Francis and his wife Olivia, just like it has been the case with Canção Transparente, nominated to the Latin Grammy last year, in the category of Best Brazilian Song.