We all know samba and anyone who has delved
even superficially into Brazilian music could have hardly failed
to note the plethora of styles that can reflect the different
regions of the country, or the world or unique combinations of
both, both old and new. The sensual musicality that runs through
the veins of the people personalises everything. To a large extent
Divas do Brasil, a double CD compilation that features 31 songs
by 31 songstresses concentrates on the wonderful Brazilian songbook
with compositions by some of the vast country’s greatest
composers interpreted by many of its greatest singers.
CD 1 has a more recent approach reflected in the production technology.
The opener Zelia Duncan’s catchy back-beated Alma is followed
by a trifecta of velvet-toned ballads from Ana Carolina, Ivete
Sangalo and Leila Moreno which were it not for the beauty of the
voices and compositions might be straight out of karaoke land,
an albeit exquisite one. But wait a bit and watch the flower unfold.
The recent resurgence of bossa nova as a template of the new cool
is represented by some convincing recastings by Mirton/Ceumar,
Ione Papas (her bouncing samba Sao Coisas Nossas is a cracker)
and Metro/Virginie, culminating in the intergalactic space-walk
of Bebel Gilberto’s Samba Da Bencao’s, a classic fusion
of bossa and technology which followers of the new genre will
certainly know.
Then another trio of lucidly felt ballads by Consuelo de Paula,
Marcia Salomon and Tutti Bae before one number each from Cassir
Eller and Alzir Espindola, both bolstered by a blues-rock back-beat.
Zizi Possi’s entry A Paz, a composition by Gilberto Gil
and Joao Donato emotes over floating tabla beats. The title Karma
Secular of Angelo do Ro’s wistful ballad would probably
imply wankery in the American market-place but the electronic
arrangement and composition are superbly musical. Kudos should
go to the producers of this set because the second CD maintains
an extremely high quality of sound production even on older classics,
such as the Astrud Gilberto/ Stan Getz masterpiece Corcovado.
The late, great Elis Regina’s Romaria was also a great place
to start as I have loved this song since first hearing in the
early 90’s. Leny Andrade’s husky bossa-jazz interpretation
of another Jobim classic Wave is probably as good as the genre
gets. Roaming the range from playful classical structures (Eliete
Negreiros), tangoish bandoneon (Clara Becker), pop (Sandra Sa),
ballads and bossa, the passing of time has probably given many
the edge in the claim for classic status. Daniela Mercury’s
Swing da Cor, a huge hit for her in the early 90’s beefs
it up a notch with some afro-bloco but fits in well due to the
song’s innate melodicism. I love Jurema’s O Coco,
which sounds to me like forro goes to Africa, but I’m not
sure if that one does. No matter. I looked through the window
and watched the winter rain beating on the pane as Elba Ramalho
set the final phase with a wistful ballad accompanied by haunting
accordion and acoustic guitar. That and the rain and me safe in
a world apart like the audience(s) on the final 3 live performances,
one each by Myriam Peracchi, Monica Salmaso and Celine Imbert.
The singing overtones of the warm string, woodwind and flute arrangements
and the voices bouncing palpably throughout the hall seemed to
evoke a world of intimacy…yet a firmly Brazilian one. Celine
Imbert’s Por Toda A Minha Vida has an almost operatic flavour…hardly
a genre of which I am enamoured but here the diva’s brass
breastplate has been replaced by fragile silk that invites not
protects. All three performances as well as Elba’s are impossibly
beautiful. Richard Jasiutowicz
