LAMC Shows at Summerstage and Celebrate Brooklyn

by Ernest Barteldes

I wish I had more time to attend everything that goes on at LAMC, but the truth is that this blog has not yet become profitable, and frankly I would rather not deal with some of the editors that have taken over some of the publications I used to write for (and the editors that were there before, they have all moved on to something else – as have I in a way).

So I did submit reviews of shows I attended at the venues above as part of the annual Latin Alternative Music Conference, but I’d like to share some of the more visual moments of those two evenings – stay tuned for actual reviews on All About Jazz soon.

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Hurray for The Riffraff played a very interesting World Music Set

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Hurray for the Riffraff at Celebrate Brooklyn

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More from Hurray to the Riffraff

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At Summerstage, Rodrigo Amarante… uh.. not really rocked anything. Just  navel-gazed for his entire set

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Tried to get what this dude was about, but he avoided anything anybody knew

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I tried to get it but… no

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Disc Review: Gal Costa/Estratosférica

By Ernest Barteldes

Distorted guitars and rock drums kick off Brazilian singer Gal Costa’s 30th studio album, almost making a statement about the fact that the singer is not staying within the bossa nova comfort zone that she is best known to American audiences. The song, entitled “Sem Medo Nem Esperança” was penned by Antonio Cicero and Arthur Nogueira could be described as visceral and daring.

Costa takes full use of her vocal range, allowing her voice to crack at certain points. On an interview with Brazil’s G1 website, she said that she personally chose the tune to be the opener “because of Antonio Cicero’s lyrics that is really about my moment, it’s fuck-tastic. It’s an autobiographical song, it talks about me – it’s as if I were talking to people. Cicero did something that Caetano Veloso knows how to do well: to write for me, to say what is true for me.”

Gal Costa’s more traditional fans will not be disappointed – unlike her previous disc “Recanto” (Universal Music, 2011); she doesn’t really go into much experimentation. There are some hummable sambas, such as the Mallu-penned lead single “Quando Você Olha Pra Ela,” which has a mellow arrangement that reminds listeners of the material she recorded in the mid-70s after her early Tropicalismo phase. Another great moment is “Amor Se Acalme,” a mellow ballad by Marisa Monte, Arnaldo Antunes and Cezar Mendes.  The tune is quite characteristic of Monte’s work: lots of words crammed in a few bars and then long notes on a single vowel – this is certain to appear on local radio stations in the near future.

Some tunes left my head scratching – “Muita Sorte” has a very nice melody, but the mostly electronic arrangement does not do it justice. The same thing can be said about “Por Baixo,” a Tom Zé composition filled with extraneous sounds behind Gal Costa’s sincere delivery.

On the other hand, there are songs that are amazingly written – “Dez Anjos” is collaboration between Milton Nascimento and young singer-songwriter Criolo (who as of this writing is on a Tim Maia tribute tour with Ivete Sangalo) that is melodically and lyrically beautiful. Also notable is “Espelho d’Agua,” a Marcelo Camelo-Thiago Camelo (who frequently write for Maria Rita) rock ballad that has a well-constructed acoustic arrangement.

“Estratosférica” was produced by Kassim and Moreno Veloso of The +2’s, who gave the album a fresh feel without going too crazy on the arrangements. It is quite accessible, reaching out to younger fans without losing touch with her more classic fans – thus the presence of the bonus track “Ilusão à Toa,” a pre-bossa nova era song by the underrated Johnny Alf that could have been part of 2004’s “Todas as Canções e Eu,” which was dedicated to songs of the 1940s and 50s.

Gal Costa

Estratosférica

Universal Music Brasil

Available for download on Amazon and iTunes.