Brazil - Luna Kafé - Full Moon 14 - 12/14/97
O Cair Da Tarde
I think I would definitely stay ahead if I did not say anything
about this release. However, that would not be fair to you. Suffice
it to say that whatever I write here will not do justice to Ney
Matogrosso's O Cair Da Tarde.
This CD brings together two of Brazil's greatest composers: Heitor
Villa-Lobos and Antônio Carlos Jobim (a.k.a. Tom Jobim). Ney
Matogrosso's decision to combine their music in one release is rather
obvious as Tom Jobim himself said:
"Villa-Lobos is like my father, my everything. I feel
like including one of Villa-Lobos' song in my album. It's more than
a homage, it's to make the album more beautiful. To make me feel
that there was someone who liked music more than I do."
With O Cair Da Tarde, Ney Matogrosso shows different depths
of that influence. The best way to experience this phenomenon is to
play the CD and listen intently to every note, every sigh.
In addition to Ney's voice, the instrumental accompaniment is
absolutely perfect. Leandro Braga plays the piano and did all the
arrangements. His artistry will blow you away. You will feel this
is as much his album as Ney's. To add more to an already perfect
combination, Ricardo Silveira brings his guitar playing to these
tracks. He is in better form than ever before. Another favorite of
mine, Márico Montarroyos lavishes these recordings with his
flugelhorn. He is capable of producing a sound that enhances the
musical ambience of these songs. To top it all, Uakti creates the
rain forest and special sounds evoked so often in Villa-Lobos
compositions. It is hard to imagine this album without Uakti.
Cair Da Tarde (Dusk) and Modinha (Song) open this
release. Two songs, two eras, one majestic piece with hardly any
noticeable transition between tracks. The proposal to create an
impeccable release is clearly stamped with these opening tracks. When
Zé Nogueira's soprano sax plays the introduction for Tema
De Amor De Gabriela (Love Theme of "Gabriela"), there's a certain
languor that sets the tone to Ney's tender phrasing. Melodia
Sentimental (Sentimental Melody) has a light drumming crescendo
after its slow and peaceful beginning. As the loved one is awakened
by this love poem, the music reaches its highest point.
Canção em Modo Menor (Song in a Minor Mode)
serves as an introduction to Prelúdio No. 3 (Prelude
No. 3). While the former talks about sad mornings without the loved
one, the latter uses a bird as a messenger to the loved one. Uakti's
sound effects are ethereal. Though Caicó received its
definitive performance in Mílton Nascimento's voice, Ney's
performance is not ordinary. With Cirandas (Children's Songs),
Uakti reigns again. The interplay between voice and instruments is
exactly like children playing. These are songs all Brazilians grew up
singing. The feeling in this arrangement is innocent and pure. From
the playful mood of Cirandas, we move into a more up-tempo
Trenzinho Do Caipira (Countryman's Little Train). The
instrumentation, especially piano and percussion, is astounding.
There's no sluggishness, but only a vibrant and bold machine. Without
letting the tempo down, the last two songs close this magnificent CD.
Águas De Março (Waters of March) is more
samba-like, whereas Pato Preto (Black Duck) receives
forró rhythms after Leandro Braga's Linus-and-Lucy-ish piano
Ney Matogrosso outdid himself with his creative mind for this
release. This is undeniably one of the best releases this year,
probably the best.
Copyright © 1997 Egídio Leitão