Music Reviews: Marisa Monte’s Colecao and David Feldman’s Horizonte: Two From Brazil

By Ernest Barteldes

Colecao

Marisa Monte

Universal Music

David Feldman

Horizonte

Self-released

marisa_monte_-_colec3a7c3a3o

Marisa Monte is not what you would call a conventional performer – in spite of having a very successful career spanning almost three decades (yes, her debut was released in 1989), she was reportedly not too happy with the idea of releasing a collection of her greatest hits. However, since her contract with Universal Music (which merged with EMI in 2011) called for a compilation, the solution was to put together a selection of lesser-known tunes that either appeared as duets in other performers’ albums or in movie soundtracks – plus a handful that had never seen the light of day until then.

Being the perfectionist that Monte is, this is no hastily thrown-together compilation but a carefully curated tune selection. A couple of those tracks might be well-known to World Music fans, such her duet with David Byrne on the Jobim classic “Waters of March” that appeared on the first Red, Hot and Rio album in 1996 – it is a welcome update on the bossa nova compositions, filled with electronic sounds and the Afro-Brazilian percussion of Carlinhos Brown. Another is the gentle balad “Ilusion,” a bilingual (English/Portuguese duet with Mexican singer Julieta Venegas from the latter’s MTV Unplugged disc.

Among the highlights is “Nu Com a Minha Musica,” a Caetano Veloso composition originally featured on the criminally ignored Red, Hot & Rio 2, a celebration of the Tropicalia Generation led by Veloso, Gilberto Gil, Tom Ze and others. Also great is “Chuva No Mar,” a duet with Portuguese fado singer Carminho.

Because Monte is such a versatile singer, many fans don’t realize how good she is at belting out a traditional samba – in fact, she has done considerable effortsto record voices from samba, and “Volta Meu Amor” and “Dizem Que o Amor” are excellent examples of that – she loses herself in the music with zero pretension and emerges with very enjoyable moments.

david_feldman_horizonte

I first encountered the sounds of pianist David Feldman as part of the Brazilian side of Scott Feiner’s “Pandeiro Jazz” project (he recorded his second album of that concept with a band based in Rio). A few years later, he participated in drummer Duduka Da Fonseca’s contemporary-driven trio. In recent years I heard he’d been performing Stateside, but I didn’t have the chance to catch him live.

In spite of his English-sounding name, Feldman was born in Rio and lived in New York for a number of years following his graaduation from the New School of Jazz and Cotemporary Music until he returned to Brazil, where he has a solid career both as a bandleader and a sideman with the likes of Leny Andrade, Maria Rita and Leo Gandeldman, to name a few.

On “Horizonte,” Feldman showcases his bossa nova chops in tunes like “Tetê,” a gentle samba that evokes memories of mid-career Jobim with a touch of Dorival Caymmi, featuring guitarist Toninho Horta on guitar and vocals. “Esqueceram de Mim no Aeroporto,” however, goes into more contemporary direction. Marcio Bahia’s drums have rich polyrythms that complement Feldman’s groove in a perfect manner – bassist Andre Vasconcelos completes the backdrop with gusto with his bassline (plus an accomplished solo halfway through).

Ceu e Mar” follows a similar direction – a modern piece with clear influence from samba jazz, specially via the rhythm section, who keeps the feel in Rio even if Feldman takes the music somewhere else. “Sliding Ways,” on the other hand, sounds like a jazz homage to gafiera samba, the kind played in ballrooms in Brazil. Trombonist Raul de Souza guests, giving the tune a hummable feel rarely found in jazz albums these days.

Music Review: “Fio da Memoria” by Luisa Maita

a0273735417_16-351x351

By Ernest Barteldes

Six years is a long time to wait between albums for a new artist, but Sao Paulo-born Luisa Maita seemed to have made the right choice in this case.  Since the release of her much acclaimed debut album Lero Lero (Cumbancha), she did a lot of touring (including many stateside appearances), collaborated with various Brazilian musicians and collected various awards in recognition of that first album.

The formula of Lero-Lero was quite simple: a modern take on bossa and samba-inspired tunes with a creative edge.  When I heard that album, she reminded me a bit of Marisa Monte, who does a lot of experimentalism with her music but keeps a firm grip on more traditional beats.  She could have simply stayed the course and done more of that, but she clearly decided to go into a completely different direction with her second album.

Fio da Memoria” is more of a rock-fusion album:  distorted guitars are front and center, but the rhythm is pure Brazil. For instance, “Olé” has a lot of electronics going on, but the percussion is clearly influenced by the sounds of Northeastern Brazil, while “Porão” has a Maracatu feel. The title track is a refreshing electric samba (close to the work of +2 , the leaderless music collective formed by Moreno Veloso, Kassin and Domenico Lanceloti), while “Folia” is pure Bahia samba, with a full percussive group behind Maita’s voice – and little else.

“Fio da Memoria” takes a few plays to totally sink in – though most of it is fun to listen to, it is also music that makes you think thanks to its clever arrangements and the way the instruments are played – there are quite a few surprises as the music plays. An example of this is “Volta,” a tune that begins with layered vocals and a curious line –  until the drums come in behind a three-part harmony  that take you into a 70s-influenced slow funk.

In a year filled with so much music that made little sense, “Fio da Memoria” is quite refreshing – the music is both smart and enjoyable, and makes this one of the best World Music releases of 2016.

 

Outdoor Music: What to hear in July

by Ernest Barteldes

 

Last month I wrote about what to hear in June – since I was away in Poland for half of the month and thanks to the weekend glitches of the MTA, I was only able to hear one, which I recently reviewed for All About Jazz (I was going to run it in these pages, but I felt it would reach more readers there – I am not greedy). But now it’s time to look into July.

Please note that I am only writing about the free shows here – there are some interesting benefit concerts this month, but I chose to shine a light on the ones anyone can attend without shelling out.

king-sunny-ade

King Sunny Ade

I wouldn’t normally bother about shows during the Independence Day Weekend – everyone’s going to be somewhere else (myself included), but I do have some great recommendations for the next couple of weeks. But please note that the Nigerian legend King Sunny Ade will be at Summerstage on July 3 o what is his first North American tour since 2009  – so in case you will not be sunning yourself, don’t miss that show.

On  Thursday, July 7th,  a performance not to be missed is an evening of Indian-inspired music that begins with DJ Rekha (one of the leading Bangra MCs out there), and two of my personal favorite musicians: Karsh Kale, one of the most inventive songwriters I have ever heard.

About a decade ago, he joined forces with sitarist Anoushka Shankar (the daughter of Ravi Shankar and half sister of Norah Jones) for one of Breathing Under Water, one of the most brilliant World Music albums released in the 21st Century.  Closing the evening is the Sunny Jain-led Red Baraat, dubbed “one of the best party band around.”

I am sure to be there, even if I have an early start on Friday.

The second weekend in  July marks the highly anticipated (as far as I am concerned)  Latin Alternative Music Conference, an event that brings together media, musicians and labels for a smorgasbord of showcases, concerts and industry-related panel discussions – the most interesting for the general public being the free concerts they sponsor both at Summerstage and Celebrate Brooklyn.

On July 8, Rodrigo Amarante,  the co-founder of Brazilian rock band Los Hermanos and Orquestra Imperial (a samba supergroup that also features Moreno Veloso), takes the stage at Rumsey Playfield to showcase music from his debut solo album “Cavalo” (Horse). The evening also features Mexico’s Leon Carregui, one of this year’s breakthrough Latin artists. The next day, head over to Brooklyn to hear local Latin artists Buscabulla and Hurray for the Riff Raff and of course the headlining artist – Mexico’s Carla Morrison.

There aren’t many living jazz singers who I would say are among the greatest in history, but Diane Reeves (Queensbridge Park, July 27)  is surely among them.  Sex and The City fans will remember her belting out “Is That All There Is” on the season 5 finale, but I have paid attention to her for quite a while. She is incredibly versatile and tackles various genres without losing her signature style.  Opening for her is DJ Greg Caz, arguably the the most musically open-minded DJ in New York City – he not only loves music but has a deep knowledge of it that baffles me at times.

gregory20porter20liquid20spirit20photo2028129

Gregory Porter

Closing my recommendations for July is Gregory Porter (Celebrate Brooklyn, July 28) – his deep baritone and has you at hello, as I discovered when I first heard about him via the Starbucks app (gone are the days that they gave out music, thanks to their current partnership with Spotify). I heard him last year at Summerstage and was fascinated at his command of the stage and his captivating personality, and am eager to hear his music again in a live format.

Single Review: Karar by Duke Guillaume

By Ernest Barteldes

  • dukeguillaume5

    “Karar” by Duke Guillaume

For those familiar with saxophonist and bandleader Duke Guillaume’s devotional work both as a solo artist and with The Metropolitan Big Band, this single is quite a departure. “Karar” seems to draw inspiration from the sonic mix more closely identified with South Florida, blending electronics with classic jazz and Latin-esque sensibilities (which probably explains the cover, which pictures the musician embracing the sun and the beach), tending to follow more a dance vibe than trying to sound too improvisational

While the main melody keeps on a straight dance beat, things get quite interesting in the chorus, where a Latin samba-reggae mood kicks in, taking you away from Florida and more into the streets of Bahia, where the Afro-inspired drums play as the crowds follow them through the narrow streets of the Historical District every Tuesday night. I also felt a bit of Puerto Rico’s reggaeton into the mix – a beat that has yet to be explored by jazz musicians.

You can check out the track below:

 

Concert Review: Laura Cheadle Band at Pianos

IMG_2706 (2)

Laura Cheadle Family Band

Pianos

Saturday, March 5th

New York, NY

 

Backed by James “Papa” Cheadle on keyboards, a Tina Young on drums and her own electric guitar, South Jersey-born Laura Cheadle took to the stage of New York’s Pianos opening with B.B. King’s 1980 hit “The Thrill Is Gone,” played in a faster groove than the original recording, showcasing her vocal range and rhythm guitar. Given the intimate setting, she ventured into the audience, encouraging everyone to dance along with her. She followed that with a very personal take on The Beatles’ “Come Together”, taking it into a more bluesy direction, contrasting with Lennon’s more psychedelic feel. Her mother was present at the gig, so she dedicated an inspired rendition of Stevie Wonder’s “Love The Little Things About You” to her.

She then featured a few originals including a funk-laden tune about the end of a love affair, and also debuted a new tune called “Blues Hangs Out,” which got great applause from the audience, and then did a nice cover of James Brown’s “I Feel Good,” sticking close to the original. This was the first time I had heard Cheadle do so many covers in a single set. She also included a take on the classic soul tune “Train, Train,” a song that she said her parents – who recently celebrated their anniversary – danced to early in their relationship.

The stripped-down format (no lead guitar or extra keyboards, usually handled by her two brothers) specially showcased “Papa” Cheadle’s talents. He not only handles the keyboards, but also adds the bass textures to the music. He is an incredibly talented artist, but I do think that he would sound even better if Laura Cheadle added a bass player to her ensemble. Quite a few years ago she did have a bassist, but apparently things didn’t work out, and since Mr. Cheadle does handle the low frequencies on his keys (as The Doors did) I guess they probably decided that it was best to keep things that way.

Laura Cheadle is a highly gifted singer and songwriter with fantastic rapport with the audience. She is one of the few artists I have seen who integrates her family into the entire picture, acknowledging not only her father and musical director but all of those who have helped make who she has become.