For Vasconcelos, Guinga provides a thread between today and Jobim and even Brazilian classical composer Heitor Villa-Lobos through to "deep music of Brazil since colonial times." Several other Brazilian musicians guest on the record, contributing to the collective vision that Vasconcelos and her musicians brought with them. One suspects that this is the key to the music's success. It has a depth and passion that belies its deceptive lightness.
Gente and The São Paulo Tapes are special records. They make you feel good. The only way I can put it is that they lift you spiritually. It would be nice to think that music like this might provide a soundtrack for a healthier, more creative way of living in our world. However, as Vasconcelos says, "With globalisation, pop and rock, they are like a herb that grows really easily and takes over everything else in the garden. People get used to that one herb, so they cannot appreciate any other. If that rock beat is all you know, maybe it is hard for you to hear and feel the rhythms of Brazil."
Then, of course, there is the cosy, entangled relationship between the media and record companies, who, as she says, "are just thinking of money." Yet, those who seek and find music like this will feel enriched and come back for more. The state of things is no reason to give up and Mônica Vasconcelos isn't quitting any time soon. The nonet Nóis may be no more but the London Bossa Collective, as Vasconcelos calls the new band, has replaced it. Brazilian musicand lyrics continue to march to a different drum.
"When I fell in love with musicI was 13, I remember the exact dayall I wanted to do was to sing," she says. I wanted to be the 'interpreter,' like in the old times. There were the singersand the composers. I never expected to be writing songs. But I arrived here, found these guys and they gave me their music. I had to write lyrics, turn my experience into words. Nobody else could translate my experience, my vision other than myself. So, I did it. And it was a steep learning curve. I do cringe when I hear some of the early ones. Less so now. I actually feel proud of a few of them. In a quiet way."
And where does Vasconcelos go from here?
"Well, I have assembled a bunch of musician dudes, plus a performance poet, to create resistance music for the 21st century. I am so looking forward to this. I never feel ready. My role models are so high, up there but I am not running away from the challenge."
The São Paulo TapesBrazilian Resistance Songs MOVAS 005 Gente Nóis 4 Candid CCD79784 Nóis Dois Mônica Vasconcelos MOVAS 002 Nóis Mônica Vasconcelos MOVAS 001
I was first exposed to jazz by my father, who was a rabid fan when he was younger, in the early to mid 1950's. We lived in NYC and he was a regular at places like the Village Vanguard and Birdland. One of his favorite stories involved meeting Charlie Parker and Miles on 52nd St
I was first exposed to jazz by my father, who was a rabid fan when he was younger, in the early to mid 1950's. We lived in NYC and he was a regular at places like the Village Vanguard and Birdland. One of his favorite stories involved meeting Charlie Parker and Miles on 52nd St. Needless to say, Jazz and Blues were always on the stereo in our home. I was steeped in these exciting sounds, and they make up some of my earliest memories.