Catina DeLuna & Otmaro Ruíz: Lado B Brazilian Project 2

Catina DeLuna and Otmaro Ruiz have once again teamed up to explore the rich tapestry of Brazilian music in Lado B Brazilian Project 2. As a follow-up to their earlier exploration of this repertoire, this album sees the duo delve even deeper into Brazil's lyrical and melodic treasures, producing results that are both innovative and rooted in tradition. They have assembled a stellar band to perform Ruíz's arrangements, including two carry-overs from their first edition: guitarist Larry Koonse and bassist Edwin Livingston, along with Brazilian drumming legend Edu Ribeiro, percussionist Gregory Beyer, and Los Angeles woodwind virtuoso Bob Sheppard.

The foundation for this musical journey lies in the careful selection of material. DeLuna and Ruíz have chosen songs whose inherent beauty, whether through poignant lyrics or enduring melodies, can withstand bold reimagining. The set opens with Antonio Carlos Jobim's "Passarim," a melancholic piece that compares mankind's destruction of nature to fleeting love. Ruíz's inventive arrangement combines harmonic sophistication with a flowing, lyrical pulse, supporting DeLuna's poised and expressive vocal phrasing. "Mar e Lua" is a tragic love story as told by DeLuna, woven around Ruíz's thoughtful arrangement, enhanced by Carol Robbins's splendid harp playing.

"Requebre Que Eu Dou Um Doce" is a lively highlight propelled by an infectious yet refined choro rhythm. DeLuna offers vocalese alongside Sheppard's agile clarinet and the acoustic guitar of Bruno Mangueira. Two masters of Brazilian music, Ivan Lins and Vitor Martins, collaborated to create the poignant "Choro Das Águas." In this sensitive interpretation, DeLuna's tender delivery is complemented by Sheppard's lyrical woodwinds and vocalist Fabio Cadore, whose accompaniment enriches the arrangement. Another iconic Jobim piece, "Águas de Março," stands perhaps as the most daring transformation on the release. Ruíz reimagines the tune with shifting harmonies and surprising rhythmic twists, incorporating Sheppard's flute and Jimmy Branly's Udu clay pot to bring fresh vitality to the song.

Throughout, Ruíz's arrangements are the key to the session's success. They respect the melodic integrity of each piece while opening them to new harmonic and rhythmic possibilities. Additionally, they provide ample space for each collaborator to make a personal statement. For example, the closing tracks, "Meu Silêncio" and "Vatapá," demonstrate the breadth of the project's vision. The former is a sombre, introspective number, spotlighting DeLuna's nuanced vocal control, gracefully enabled by the deep tone of acoustic bassist Darek Oles. The latter bursts forth with percussive energy as DeLuca and Ruíz take control of the number in a vibrant duo performance. This recording celebrates Brazil's musical heritage, not as a museum piece but as a living, evolving art form.

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