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CLUBWATCH
Soul to Samba
By Eric F. Lipton
International appreciation for Brazilian music is often credited to Marcel Camus' 1959 masterpiece Orfeu Negro. The rawness, majesty and sensuality of the carnival - and the infectious beats and bounce of the bossa nova by Antonio Jobim and Luis Bonfa, among others - rightly fascinated American and European audiences, with an influence still felt today.
But I always preferred the quiet scenes, in which Orpheus lazily plays his love songs. They're as calm and hypnotizing as the carnival is chaotic.
It was another film that brought Seu Jorge to international acclaim: His role as a singing deckhand in The Life Aquatic With Steve Zissou. Jorge's aloof, gravelly voice conjured Orpheus as much as Ziggy Stardust, much to Ziggy's benefit.
Jorge got his start - and his fame - playing for one of Brazil's most popular bands, the Brazilian hip-hop pioneers Farofa Carioca, whose sound mirrored both Rio de Janeiro's rough 'and languid beaches. His solo work began a few years later with 2002's Carolina and last year's Cru. While both albums show his soul-to-samba range, the songs on Cru from the Serge Gainsbourg cover "Chatterton" to the hypnotic "Tive Razao" demonstrate how Jorge doesn't so much sing as exhale, the words hanging in the air like smoke on a humid day
Seu Jorge
Tuesday, June 27, Wisconsin Union Theater, 8 p.m.
06/23/06
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