4 There isn't a weak moment anywhere on the two-disc expanse of Ouro Negro (Adventure), a gripping Moacir Santos retrospective produced by saxophonist Ze Nogueira and guitarist Mario Adnet and supervised by Santos himself. The octogenarian composer and conductor, based in L.A. by way of Pernambuco, remains one of Brazilian music's leading lights. The 28 tracks herein are new recordings of Santos songs spanning 1965 to 1975, although a smattering of later works are also included. A feast of sublime melody, textural diversity and rhythmic polish, the collection was recorded in Rio in early 2001 with a crack team of studio players and soloists, with guest vocals by Gilberto Gil, Djavan, Milton Nascimento, Joao Bosco and Ed Motta as well as Sheila Smith, Muiza Adnet, Joyce, Joao Donato and even Santos, whose humble murmur takes on a heavenly quality. The aesthetic is something like plugged-in Maria Schneider meets Steely Dan and early Chicago, but Santos' melodies are singular in their unpredictable beauty. true 247 2007-06-07T14:05:44-04:00 false 15363 87 200412 true 0 97 2004-12-01T00:00:00-05:00

There isn't a weak moment anywhere on the two-disc expanse of Ouro Negro (Adventure), a gripping Moacir Santos retrospective produced by saxophonist Ze Nogueira and guitarist Mario Adnet and supervised by Santos himself. The octogenarian composer and conductor, based in L.A. by way of Pernambuco, remains one of Brazilian music's leading lights. The 28 tracks herein are new recordings of Santos songs spanning 1965 to 1975, although a smattering of later works are also included. A feast of sublime melody, textural diversity and rhythmic polish, the collection was recorded in Rio in early 2001 with a crack team of studio players and soloists, with guest vocals by Gilberto Gil, Djavan, Milton Nascimento, Joao Bosco and Ed Motta as well as Sheila Smith, Muiza Adnet, Joyce, Joao Donato and even Santos, whose humble murmur takes on a heavenly quality. The aesthetic is something like plugged-in Maria Schneider meets Steely Dan and early Chicago, but Santos' melodies are singular in their unpredictable beauty.

2009-03-02T00:24:23-05:00

4 Ricardo Silveira, who played electric guitar on much of Ouro Negro, recorded a 2002 duo concert with pianist Luiz Avellar devoted largely to the music of Milton Nascimento. The resulting Live (Adventure) finds Silveira in good form on nylon-string guitar, riding solid tempos and crisp melodic figures with Avellar on pieces like "Maria, Maria" and the relatively jazzy "Nuvem Cigano." Silveira goes it alone on the lilting and concise "Travessia"; Avellar reciprocates with the classically tinged "Saudade dos Avioes da Panair." A change in mood follows, as percussionist Robertinho Silva joins the pair for the remaining five numbers, beginning with Nascimento's famous "Vera Cruz." They give "Fe Cega, Faca Amolada (Blind Faith, Sharp Knife)" a powerful, rock-influenced reading. Avellar lights up the minor-key 5/4 quasi-blues of "Saidas e Bandeiras" with quick, probing lines. The disc closes with nearly 12 minutes of expansive blowing on "Cor de Rosa," which brings Don Grolnick's "Pools" strongly to mind. true 247 2007-06-07T14:05:44-04:00 15364 87 200412 true 0 97 2004-12-01T00:00:00-05:00

Ricardo Silveira, who played electric guitar on much of Ouro Negro, recorded a 2002 duo concert with pianist Luiz Avellar devoted largely to the music of Milton Nascimento. The resulting Live (Adventure) finds Silveira in good form on nylon-string guitar, riding solid tempos and crisp melodic figures with Avellar on pieces like "Maria, Maria" and the relatively jazzy "Nuvem Cigano." Silveira goes it alone on the lilting and concise "Travessia"; Avellar reciprocates with the classically tinged "Saudade dos Avioes da Panair." A change in mood follows, as percussionist Robertinho Silva joins the pair for the remaining five numbers, beginning with Nascimento's famous "Vera Cruz." They give "Fe Cega, Faca Amolada (Blind Faith, Sharp Knife)" a powerful, rock-influenced reading. Avellar lights up the minor-key 5/4 quasi-blues of "Saidas e Bandeiras" with quick, probing lines. The disc closes with nearly 12 minutes of expansive blowing on "Cor de Rosa," which brings Don Grolnick's "Pools" strongly to mind.

2009-03-02T00:24:23-05:00

4 Brizzi do Brasil (Amiata), not unlike the Moacir Santos compilation, features guests performing the music of one man-in this case the Italian composer Aldo Brizzi, who makes his home in Brazil's Bahia region. But these tracks, all produced and arranged by Brizzi himself, are far more eccentric and modern than Santos'. Originally conceived as a musical, this project morphed into an experimental sort of world-pop album, with cameos by Gilberto Gil, Caetano Veloso, Carlinhos Brown and many others. Some tracks wouldn't be out of place in a hip club, others in a Chinese opera. Voices range from Teresa Salgueiro's Kate Bush-like warble, to Virginia Rodrigues' quasi-Gregorian vibe, to Arnaldo Antunes' hip-hop attack. Each piece yields its own sonic universe. The ideas themselves are fascinating; together they make for an uneven listening experience. But "Este Era un Gato," a ballad sung in English by Ala dos Namorados, sends one off in a favorable mood. true 247 2007-06-07T14:05:44-04:00 15365 87 200412 true 0 97 2004-12-01T00:00:00-05:00

Brizzi do Brasil (Amiata), not unlike the Moacir Santos compilation, features guests performing the music of one man-in this case the Italian composer Aldo Brizzi, who makes his home in Brazil's Bahia region. But these tracks, all produced and arranged by Brizzi himself, are far more eccentric and modern than Santos'. Originally conceived as a musical, this project morphed into an experimental sort of world-pop album, with cameos by Gilberto Gil, Caetano Veloso, Carlinhos Brown and many others. Some tracks wouldn't be out of place in a hip club, others in a Chinese opera. Voices range from Teresa Salgueiro's Kate Bush-like warble, to Virginia Rodrigues' quasi-Gregorian vibe, to Arnaldo Antunes' hip-hop attack. Each piece yields its own sonic universe. The ideas themselves are fascinating; together they make for an uneven listening experience. But "Este Era un Gato," a ballad sung in English by Ala dos Namorados, sends one off in a favorable mood.

2009-03-02T00:24:23-05:00

4 The Rio-born composer and pianist Weber Iago's Children of the Wind (Adven-ture) is strongly reminiscent of Oregon. This isn't surprising given that Paul McCandless is playing oboe, with Caito Marcondes on tabla and caxixi (along with Iago on piano and Rogerio Botter Maio on bass). Iago doesn't stay in Oregon for long, though: "The Making of a Path" is a meditative solo piano piece, followed by "Sonata Brasileira," a radiant duet with flutist Keith Underwood. McCandless then overlays four different reed instruments on the brief "Sara," another affecting duo, with Iago on piano and pipe organ. All this leads up to the 30-minute title suite, which is preceded by a freely improvised, three-movement "Prologue." The suite features seven or eight instruments in different combinations and unfolds in four parts. Underwood and cellist Joanna Blendulf are prominent in this multilayered and captivating story, which is informed, like all of Iago's work, by an advanced harmonic logic. true 247 2007-06-07T14:05:44-04:00 15366 87 200412 true 0 97 2004-12-01T00:00:00-05:00

The Rio-born composer and pianist Weber Iago's Children of the Wind (Adven-ture) is strongly reminiscent of Oregon. This isn't surprising given that Paul McCandless is playing oboe, with Caito Marcondes on tabla and caxixi (along with Iago on piano and Rogerio Botter Maio on bass). Iago doesn't stay in Oregon for long, though: "The Making of a Path" is a meditative solo piano piece, followed by "Sonata Brasileira," a radiant duet with flutist Keith Underwood. McCandless then overlays four different reed instruments on the brief "Sara," another affecting duo, with Iago on piano and pipe organ. All this leads up to the 30-minute title suite, which is preceded by a freely improvised, three-movement "Prologue." The suite features seven or eight instruments in different combinations and unfolds in four parts. Underwood and cellist Joanna Blendulf are prominent in this multilayered and captivating story, which is informed, like all of Iago's work, by an advanced harmonic logic.

2009-03-02T00:24:23-05:00

4 One wouldn't expect a fellow named Ed Johnson to sing as though Portuguese were his first language. But this nylon-string guitarist and vocalist, with his octet Novo Tempo, has fashioned an authentic Brazilian jazz-pop sound from his home base in Palo Alto, Calif. Fittingly for such a locale, the music on his third release, Movimento (Cumulus), is sunny and upbeat, lushly orchestrated and produced but not sugary (except when Johnson sings in English). Harmonic nuances abound, along with richly layered choruses and tight ensemble playing (the group features bass and drums, electric guitar, piano, percussion, sax and trumpet). Johnson's voice is pleasantly plain, with a highly developed falsetto. Most of the compositions are Johnson's, including the goosebump-worthy "Exceto Nos," but the band also adapts Gerry Mulligan's "O Bom Alvinho" (a tribute to Hermeto Pascoal) as well as Jobim's classic "A Felicidade." Guitarist Scott Sorkin also weighs in with the laid-back "For T." Reedist Kristen Strom and trumpet/flugelhornist John Worley turn in a number of strong solos. true 247 2007-06-07T14:05:44-04:00 15367 87 200412 true 0 97 2004-12-01T00:00:00-05:00

One wouldn't expect a fellow named Ed Johnson to sing as though Portuguese were his first language. But this nylon-string guitarist and vocalist, with his octet Novo Tempo, has fashioned an authentic Brazilian jazz-pop sound from his home base in Palo Alto, Calif. Fittingly for such a locale, the music on his third release, Movimento (Cumulus), is sunny and upbeat, lushly orchestrated and produced but not sugary (except when Johnson sings in English). Harmonic nuances abound, along with richly layered choruses and tight ensemble playing (the group features bass and drums, electric guitar, piano, percussion, sax and trumpet). Johnson's voice is pleasantly plain, with a highly developed falsetto. Most of the compositions are Johnson's, including the goosebump-worthy "Exceto Nos," but the band also adapts Gerry Mulligan's "O Bom Alvinho" (a tribute to Hermeto Pascoal) as well as Jobim's classic "A Felicidade." Guitarist Scott Sorkin also weighs in with the laid-back "For T." Reedist Kristen Strom and trumpet/flugelhornist John Worley turn in a number of strong solos.

2009-03-02T00:24:23-05:00

4 Paradoxically, Orquesta Popular de Camara, for all its indigenous instruments and folkloric allusions, sounds overripe and self-conscious next to Johnson's Ivan Lins-ish pop. Granted, the ensemble-including bandolim, accordion, country viola, flutes and saxes, two cellos, bass, piano, vocals and percussion-yields an alluring range of sounds on its self-titled Adventure label debut (first released in Brazil in 1998). Special guest Nana Vasconcelos, with his subtle vocalizations, brings to mind early-'80s Pat Metheny Group. But the compositions, written and/or arranged mainly by the group's members, tend to meander unmemorably. The darting arpeggios and 11/8 rhythms of "Parafuso (Screw)," by bandolim player Ronem Altman, are an exception, and the carnivalesque ending of "Gaucho-Corta Jaca" is a fun surprise. Ditto the knotty transitional passages during "Suite Para Pular Cama," by pianist Benjamim Taubkin. The rest doesn't sustain as much interest, despite its geographical reach from Spain to Turkmenistan. true 247 2007-06-07T14:05:44-04:00 15368 87 200412 true 0 97 2004-12-01T00:00:00-05:00

Paradoxically, Orquesta Popular de Camara, for all its indigenous instruments and folkloric allusions, sounds overripe and self-conscious next to Johnson's Ivan Lins-ish pop. Granted, the ensemble-including bandolim, accordion, country viola, flutes and saxes, two cellos, bass, piano, vocals and percussion-yields an alluring range of sounds on its self-titled Adventure label debut (first released in Brazil in 1998). Special guest Nana Vasconcelos, with his subtle vocalizations, brings to mind early-'80s Pat Metheny Group. But the compositions, written and/or arranged mainly by the group's members, tend to meander unmemorably. The darting arpeggios and 11/8 rhythms of "Parafuso (Screw)," by bandolim player Ronem Altman, are an exception, and the carnivalesque ending of "Gaucho-Corta Jaca" is a fun surprise. Ditto the knotty transitional passages during "Suite Para Pular Cama," by pianist Benjamim Taubkin. The rest doesn't sustain as much interest, despite its geographical reach from Spain to Turkmenistan.

2009-03-02T00:24:23-05:00

4 Yatrata (Clavebop) is a vivacious, well-sculpted effort from the Cadence Trio, featuring three Brazilian contenders: pianist Helio Alves, electric bassist Itaiguara and drummer Portinho. The session opens with the Tania Maria-penned title track, emphasizing heavy chops over a blues-based form. After a perky reading of Edu Lobo's bossa "Aleluia," Randy Brecker, Robin Eubanks and guitarist Romero Lubambo drop in to add ensemble color and brief but effective solos on Portinho's infectious "In Motion." The horn players return for a calm look at Noel Rosa's "Feitio de Oracao" and a parting blowout over McCoy Tyner's "Effendi." Lubambo, the American jazz scene's leading nylon-string specialist, turns in memorable performances on Lena Pesce's "Corruira Saltitante" (a wonderfully sparse chorinho) and Ze do Norte's uptempo "Mulher Rendeira." Alves offers a deep and dark trio reading of the Lobo ballad "Cancao do Amanhecer" and shines on three varied originals. If you're spending freely, Yatrata is a worthy companion to Alves' lastest solo outing on Reservoir, Portrait in Black and White. true 247 2007-06-07T14:05:44-04:00 15369 87 200412 true 0 97 2004-12-01T00:00:00-05:00

Yatrata (Clavebop) is a vivacious, well-sculpted effort from the Cadence Trio, featuring three Brazilian contenders: pianist Helio Alves, electric bassist Itaiguara and drummer Portinho. The session opens with the Tania Maria-penned title track, emphasizing heavy chops over a blues-based form. After a perky reading of Edu Lobo's bossa "Aleluia," Randy Brecker, Robin Eubanks and guitarist Romero Lubambo drop in to add ensemble color and brief but effective solos on Portinho's infectious "In Motion." The horn players return for a calm look at Noel Rosa's "Feitio de Oracao" and a parting blowout over McCoy Tyner's "Effendi." Lubambo, the American jazz scene's leading nylon-string specialist, turns in memorable performances on Lena Pesce's "Corruira Saltitante" (a wonderfully sparse chorinho) and Ze do Norte's uptempo "Mulher Rendeira." Alves offers a deep and dark trio reading of the Lobo ballad "Cancao do Amanhecer" and shines on three varied originals. If you're spending freely, Yatrata is a worthy companion to Alves' lastest solo outing on Reservoir, Portrait in Black and White.

2009-03-02T00:24:23-05:00

4 The new self-titled CD on Adventure by Mike Marshall & Choro Famoso features the famed bluegrass mandolinist in a Brazilian setting, with a light-on-its-feet chamber group. The first seven tracks feature Marshall with Carlos Oliveira on nylon-string guitar, Andy Connell on clarinet and soprano sax, and Michael Spiro and Brian Rice on percussion. Oliveira switches to seven-string on the final three, joined by guitarist Jamie Bell, reedist Harvey Wainapel and three percussionists. The music of Jacob do Bandolim ("Cochichando," "Receita de Samba," "Noites Cariocas") is emphasized, along with that of Paulinho da Viola ("Sarau Para Radames," the excellent mandolin/guitar duet "Choro Negro"). There's a distinctly old-world feel to this choro set-especially when overdubbed reeds create a sort of accordion effect. Marshall's chops give the 40-minute session most of its bite. true 247 2007-06-07T14:05:44-04:00 15370 87 200412 true 0 97 2004-12-01T00:00:00-05:00

The new self-titled CD on Adventure by Mike Marshall & Choro Famoso features the famed bluegrass mandolinist in a Brazilian setting, with a light-on-its-feet chamber group. The first seven tracks feature Marshall with Carlos Oliveira on nylon-string guitar, Andy Connell on clarinet and soprano sax, and Michael Spiro and Brian Rice on percussion. Oliveira switches to seven-string on the final three, joined by guitarist Jamie Bell, reedist Harvey Wainapel and three percussionists. The music of Jacob do Bandolim ("Cochichando," "Receita de Samba," "Noites Cariocas") is emphasized, along with that of Paulinho da Viola ("Sarau Para Radames," the excellent mandolin/guitar duet "Choro Negro"). There's a distinctly old-world feel to this choro set-especially when overdubbed reeds create a sort of accordion effect. Marshall's chops give the 40-minute session most of its bite.

2009-03-02T00:24:23-05:00

4 Only two pieces on guitarist Rick Stone's refreshing Samba de Novembro (Jazzand) are Brazilian in flavor. The upbeat title track cycles through a series of fetching modulations, while the slower "Rain Forest" lends an air of mystery. But Stone's focus, even on the Brazilian tunes, is straightahead jazz. His custom archtop sounds exquisite, and so do his partners on this recording-pianist Tardo Hammer, bassist Yosuke Inoue and drummer Matt Wilson. Stone is a relentless quote-fiend on "Blues Enough," one of two hard-bop blues originals. His deft, contrapuntal intros and subtle reharmonizations on "My Romance" and "I Can't Get Started" (both trio cuts) are a pleasure. He duets with Hammer on Kenny Werner's "Autumn in Three" and the original "In Loving Memory," and gives Bill Evans' "Song for Helen" a fine unaccompanied gloss. Inoue's "West Side Waltz" is another trio highlight, along with Monk's "Played Twice." Stone's axe work is articulate but never rigid, impeccably clean yet well-versed in dirt. true 247 2007-06-07T14:05:44-04:00 15371 87 200412 true 0 97 2004-12-01T00:00:00-05:00

Only two pieces on guitarist Rick Stone's refreshing Samba de Novembro (Jazzand) are Brazilian in flavor. The upbeat title track cycles through a series of fetching modulations, while the slower "Rain Forest" lends an air of mystery. But Stone's focus, even on the Brazilian tunes, is straightahead jazz. His custom archtop sounds exquisite, and so do his partners on this recording-pianist Tardo Hammer, bassist Yosuke Inoue and drummer Matt Wilson. Stone is a relentless quote-fiend on "Blues Enough," one of two hard-bop blues originals. His deft, contrapuntal intros and subtle reharmonizations on "My Romance" and "I Can't Get Started" (both trio cuts) are a pleasure. He duets with Hammer on Kenny Werner's "Autumn in Three" and the original "In Loving Memory," and gives Bill Evans' "Song for Helen" a fine unaccompanied gloss. Inoue's "West Side Waltz" is another trio highlight, along with Monk's "Played Twice." Stone's axe work is articulate but never rigid, impeccably clean yet well-versed in dirt.

2009-03-02T00:24:23-05:00

4 If Brazilian music has an official instrument, it is the nylon-string guitar, so we begin with Carlos Barbosa-Lima's Frenesi (ZoHo). Lima is a classical virtuoso, but over the last 20 years he's explored the music of Scott Joplin, the Beatles and many others. This lyrical session, previously released as Natalia by the Khaeon label (ZoHo's predecessor), focuses on music by an array of Latin American composers. We hear Lima in solo settings or with John Benitez on bass (four tracks), Gustavo Colina on the cuatro (five tracks) and Edgardo Aponte on percussion (four tracks). Beginning with "Chega de Saudade" and ending with "Don't Cry for Me Argentina" (a pretty song, let's admit), Lima gives loving attention to every melody and produces a beautiful, bell-like tone. He and Benitez don't always jell-the time feel on the opener is a bit rough, and Lima's bass notes, in conjunction with Benitez's, can sometimes muddy the waters. Lima's solo performances, particularly on a pair of contrasting pieces by the Cuban modernist Leo Brouwer, are far more satisfying. The cautro/guitar duets, mainly on pieces by Antonio Lauro ("Natalia," "El Nino," "Angostura"), are wonderfully lighthearted, with the quality of Baroque parlor music. In May 2005 look out for Lima's Carioca, which will feature more of these. true 247 2007-06-07T14:05:44-04:00 15197 87 200412 true 0 97 2004-12-01T00:00:00-05:00

If Brazilian music has an official instrument, it is the nylon-string guitar, so we begin with Carlos Barbosa-Lima's Frenesi (ZoHo). Lima is a classical virtuoso, but over the last 20 years he's explored the music of Scott Joplin, the Beatles and many others. This lyrical session, previously released as Natalia by the Khaeon label (ZoHo's predecessor), focuses on music by an array of Latin American composers. We hear Lima in solo settings or with John Benitez on bass (four tracks), Gustavo Colina on the cuatro (five tracks) and Edgardo Aponte on percussion (four tracks). Beginning with "Chega de Saudade" and ending with "Don't Cry for Me Argentina" (a pretty song, let's admit), Lima gives loving attention to every melody and produces a beautiful, bell-like tone. He and Benitez don't always jell-the time feel on the opener is a bit rough, and Lima's bass notes, in conjunction with Benitez's, can sometimes muddy the waters. Lima's solo performances, particularly on a pair of contrasting pieces by the Cuban modernist Leo Brouwer, are far more satisfying. The cautro/guitar duets, mainly on pieces by Antonio Lauro ("Natalia," "El Nino," "Angostura"), are wonderfully lighthearted, with the quality of Baroque parlor music. In May 2005 look out for Lima's Carioca, which will feature more of these.

2009-03-02T00:24:16-05:00