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The World Music Report, Feature >>
While this is not quite music from the urban underground...it is still visceral and full of the edgy energy of the world inhabited by the new maestros of Musica Brasileira.
Of all the countries where musical art is alive, there is none like Brazil. Why this is so, in a world where there is now an abundance of music is not easily known, but one thing is clear: nowhere else is there so much mystery and magic surrounding music (not even in Cuba); nowhere else is the depth of the unknown greater than all that is known about culture and art and, indeed “so-called” civilization. Nowhere else does the majesty of a myriad of cultures collide with greater colour, tone, timber and a certain je ne c’est qoi? Africa exists everywhere from the Northeast to the West and the Southern shores of Rio via the great sertão. The Amazon is all pervasive too. Here Aboriginal culture has survived and thrives… And Hermeto Pascoal let the world know about that.
The Portuguese, who brought Europe did not realize quite what they had done. Nobody did until artists from Villa-Lobos to the Assad family of and Egberto Gismonti and Nana Vasconscelos and Uakti melded the diaphanous wave of Europe into the hot breezes of the Amazon and the sertão. And of course there were the stellar pantheon of ingenious musicians: Moacir Santos and Antonio Carlos Jobim, and João Gilberto who melted all this into the idiom of jazz. They were followed by Chico Buarque, Caetano Veloso, Gilberto Gil and Maria Bethania to Guinga and others, who also took everything from Africa and Europe to the Americas and from the heart of Brazil and brought it home to the cities, where Musica Popular Brasileira was born.
But a whole new generation of sons and daughters and just plain talented artists who have signaled that Brazilian art is alive and well and, moreover, dictating things to the rest of the world today. From Djavan and Andre Mehmari to Monica Salmaso and Heloisa Fernandes who recalls the deep voyages of discovery of the great ethnomusicologist, Mario de Andrade as she undertakes a breathtaking journey of her own… But there is also Moreno Veloso and Rosa Passos; Ana Caram and Bebel Gilberto; Jairzinho Oliveira and Marcos Valle—some famous sons and daughters; others just plain artists of the highest order, who are keeping the pennant of MPB alive and infusing it with fresh ideas. These have been wrought from the advent of electronica and have enlivened an already spectacular music evolved from choro, maracatu, repinesta and batuque and catarete… and so much more.
All this is represented on the fabulous Brazilian compilation from Putumayo World Music: Brazilian Beat. While this is not quite music from the urban underground—of Pedro Assad, Mauricio Takara, Guilherme Granado and Richard Ribeiro—it is not culled from the racy margins of modern Brazilian musical art, it is still visceral and full of the edgy energy of the world inhabited by the new maestros of Musica Brasileira. Tamy’s “Samba na Mao eu Tenho” is a spectacular example as is the riotously modern Chico Buarque classic, “Partido Alto”. Rogê’s beautiful, wryly funny and superbly ironic, “A Nega e o Malandro” is from deeper underground. Tita Lima and Marcello; Monica da Silva and Bruna Caram are all represented. And the extent of the spread of Brazilian music once more can be seen from the fine track provided by the bossa band from Rome, Italy—BungaLove.
This album is a worthy addition to the Brazilian collection produced by Putumayo World Music, especially Samba Bossa Nova (2002) and Brazilian Café (2009).
Track Listing: 1. Samba na Mao, Eu Tenho; 2. Ferraida Pessoal; 3. Partido Alto; 4. Bananeira; 5. Ai Entao; 6. Minha Loucura; 7. A Coisa mais Linda do Mundo; 8. Samba Ti, Samba Eu; 9. A Nega E O Malandro; 10. A Conta do Samba; 11. Anel do Saturno.
Personnel: Tamy; Bruna Caram; Marcos Valle; Brazilian Groove Band; Monica Da Silva; BungaLove; Fino Colectivo; Brazuka Fina; Rogê; Tita Lima; Marcello. 02/11/12 >> go there
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