BRAZIL BEAT
published in The Beat Magazine 8.05
Brasil with an ‘s’
By Mara Weiss & Nego Beto
People in Brazil can’t understand why much of the outside world misspells the name of their country.
Brazilians who are living and working outside of their homeland must swallow the unfortunate “z,” and after awhile they do get used to it. But we have listened to many brasileiros work themselves up into a tirade on the subject. Highlights of the discourse tend to include gringos who believe that Buenos Aires is the capital of Brazil and that anacondas slither down the main streets, alongside the people, who play soccer and celebrate Carnaval 365 days a year.
To be politically correct, we should consider changing the name of this column... and of our band. Rhetorically, for us, the “z” must stand as a question mark, a testament to other influences. How Brazilian can something be if spelled with a “z”? And what is Brazilian culture, but a glorious mixture of many diverse ingredients?
Well, Italy is off the hook, because they spell Brasil correctly. And a glorious mixture of diverse ingredients was realized in July in the form of Samberfest 2005. The festival takes place in Trieste, with Brazilian shows, workshops, capoeira, and over 8,000 people in attendance. Musical highlights this year included Chico Cesar, Silverio Pessoa, Electro Coco, and big European names in samba, forro, and electronica. This is just a teaser, because we plan to be there next year to tell the whole story!
Carlinhos Brown is the protagonist of a new film by Spanish filmmaker Fernando Trueba. O Milagre do Candeal (The Miracle of Candeal) tells the story of the journey of Cuban pianist Bebo Valdés to discover his African roots in Salvador, Brazil. Together the two musicians visit Brown’s birthplace, the favela (ghetto) of Candeal. The film is like a sociological musical, telling the history of the favela from slavery times to the present, focusing on the music that grew out of it and the parallels between two cultures that this meeting between Brazil and Cuba reveal. The soundtrack boasts, besides Brown and Valdés, Caetano Veloso, Marisa Monte and musicians from Candeal. Keep an eye out.
In the meantime, Brown’s newest album is tearing up dance floors all across the various hemispheres. FINALLY Brown has realized what his extreme creativity and rhythmic mastery can do in clubs worldwide. A collaborative effort with top Argentinian vinyl spinner and producer DJ Dero, the record Candyall Beat -- Eletronica Artesanal (Universal Brazil) is a stomp from start to finish. Brown hearkens back to folkloric pith and jammin’ percussion found on his first album Alfagamabetizado. He seems to be channeling his festive side again, after a series of releases that rang serious and almost academic in their approach. Disc one is where the main edits of the new songs are found. There’s not a dud in the box. Rootsy percussion, strong funky vocals, innovative production, it’s all there. Standouts include “Sambadream,” “Risada” and “Cabuleria.” Disc two contains club remixes of most of the songs. Run, don’t walk! Get this now!
Rio isn’t what it was when Celso Fonseca was growing up. The golden city of Marcel Camus’Black Orpheus and Tom Jobim lyrics today exists only in the memories of those who have an escape from its somewhat grim reality. In essence, that is what Fonseca is endeavoring to grant everyone with his new album--that beautiful escape. Rive Gauche Rio (Sixdegrees) is a sunny batch of songs that progresses, well, naturally, from his first solo album Natural (2003). The welcome addition of Fender-Rhodes organ brings a flowing, soulful vibe to the work, a nod to MPB’s psychedelia-experimentation period of the ‘60s, with his deft guitar playing setting the tune and the rhythm. The man who spent the first chunk of his musical career as a successful producer (i.e. Marisa Monte, Virginia Rodrigues) has a voice that sounds uncannily like a young Caetano Veloso. And he uses it in the same way. It works well with his unhurried bossas, in Spanish, English, Portuguese and the occasional scatting. “Pousada” is one of the nicest tracks, relaxed, yet upbeat, with jazzy trumpet stabs and percussion. “Feriado” unfolds with fine rhythmic guitar work and flutes piddling away in the background, while “Atlantico” invites an element of Bahia with berimbau.
Maria Bethania interprets Vinicius in her newest offering Que Falta Voce Me Faz -- Musicas De Vinicius De Moraes (Biscoito Fino). With songs like "Poetica/O Astronauta" and "Eu Nao Existo Sem Voce" Bethania creates a lovely space filled with her marvellous, melancholic voice. The instrumentation is at its typical lushness, with dark tones tinging the piano and strings. Passions and sentiments run high in "Modinha" and "Gente Humilde.” Bethania fans will fall in love with this one.
After Maria Rita won 2004 Latin Grammys for best new artist and best Brazilian pop album for her debut, we figured we’d better see what the fuss was about and buy her album, seeing that no sensible publicist had yet sent one our way. Verdict? Wow. The 13 tracks of Maria Rita (WEA Intl.) emanate a stylized brew of bossa nova, pop, and jazzy freedom with classic acoustic accompaniment. With only three years of professional singing under her belt, she is a powerful, demonstrative vocalist who whispers, growls and wails her way into your heart. Comparisons to Norah Jones abound, but the daughter of legendary Brazilian pop singer Elis Regina and and pianist Cesar Camargo Mariano has a fresh style all her own. Her song selection thoughtfully avoids her mother’s standards, taking on instead Milton Nascimento’s “A Festa” and the Cuban classic “Tres Gardenias.” “Agora So Falta Voce” shows off her range and how that gorgeous intonation embodies so much of Elis. Young composers Marcelo Camelo (Los Hermanos), Renato Motha and Cláudio Lins figure prominently with some great material, especially “Menina da Lua” from Motha. After seeing some DVD footage of her performances we were struck by her girlish charm that belies the huge vocal capabilities. So like Elis, she is bringing back that energy and magic. Maria Rita is not forging any new directions in MPB; she is a living testament to how alive and vibrant it is right now.
For those who are building up their Brazilian collections, artists like Amelinha, Fagner and Paulinho Nogueira have just been remastered for a new series called “20 Super Sucessos” from Sony’s Brazilian arm. Some fantastic and often hard to find music is waiting on Amazon!
That’s the skinny from Brasil Beat this time! Keep your z’s in check, until next time!