Brazilian chanteuse Monica Salmaso's latest release, iaià (release date 11/09) is so delicate that I needed to listen to it several times before penning this review.  I have already written extensively on the vocalist and you can find reviews of her previous work on the Divas page.  As on her past efforts, Monica leans heavily on sparse musical arrangements and odd instrumentation.  She provides us with a collection of some of her favorite songs by contemporary and historical Brazilian composers.  Each of the tracks comes with personal notes as the vocalist reflects on the origins of the songs as well as, her emotional connection to them.

On her previous U.S. release Voadeira, you will find Monica singing in a more passionate manner, especially on the song, Ave Maria No Morro and on Trampolim, you will find Monica performing ambient jazz mixed with music of African and indigenous origins.  Trampolim is as dreamy as one can get while Voadeira, still an experimental recording in many ways, is the more accessible album of the two previous U.S. recordings. Iaià once again falls into dreamy territory, but is less atmospheric and more earthy than the other recordings.  Monica's rich honeyed vocals for the most part are understated and her subtle approach to the songs forces listeners to turn up the volume and focus on the delicate weave of light percussion, woodwinds, accordion, guitar, piano and voice.  You might even call this music chamber samba because it is so subtle.  Folks familiar with the more radio-friendly Brazilian sambas might be in for a surprise here.  These songs fall closer to the work of the artist Joyce rather than Carlinhos Brown.

Once again bassist Rodolfo Stroeter came on aboard as a producer and there are also many musicians returning from previous recordings, including guitarist Paulo Bellinati, accordionist Toninho Ferragutti, clarinetist Nailor "Proveta" Azevedo and pianist Benjamin Taubkin.  The clarinet Quintet Sujeito A Guincho joins Monica on Cidade Lagoa and samba vocalist, Teresa Cristina comes on as a special guest on the final track, Na Aldia (one of the sunniest tracks on the CD).  Some of my favorite songs are the Afro-Brazilian Moro Na Roco which carries a lovely lilting melody and African spirituality, Stroeter/Joyce's Candomblè-inspired Estrela De Oxum  which honors the goddess Oxum.  The song flows like a gentle lullaby.

Other highlights include Tom Zè's Menina Amanhã De Manhã with its flourishes of flute, light percussion and Monica's careful vocal phrasing. Tom Jobin/Vinìcius de Moraes' Por Toda A Minha Vida which features only Paulo Bellinati on guitar and Monica's vocals.  If you take a careful listen to this recording, you will find a variety of styles and intriguing arrangements.  I suggest that readers new to Salmaso, listen to Voadeira before checking out this new recording.  Salmaso has a unique style of arranging and performing the music that appears on her CDs and we do need to adjust our ears to hear the subtle nuances of Salmaso's work.  Of course those who do make the effort will be greatly rewarded by this stunning talent. Also see Rock Paper Scissors and Cranky Crow Calendar World Village

PLH