If there's a recording that could instantly transport you to a balmy tropical island with your favorite beverage in hand, then this wonderful collaboration between Brazilian guitarists Ricardo Silveira and Vinicius Cantuaria should do the job quite nicely with a few unexpected surprises.
Each has amassed a level of rock-star like acclaim in their respective careers with numerous individual projects and collaborations such as Cantuária's and Bill Frisell's Lagrimas Mexicanas (E1 Music, 2011) and this year's Atlanticos (Adventure Music) featuring Silveira and Roberto Taufic. While those were noteworthy, their first alliance in RSVC is sheer bliss.
Enticing vocals and infectious rhythms are a given in the ultra-suave "Sessão Das Onze (Wanderley)" and the copacetic "Perritos." Yet there are also unusual detours along the way in "A La Dori" with its tranquil escapism and "Dia De Sol (Sunny Day)" which mixes folk music with small doses of electronic psychedelic affects.
The two performers are consummate artisans. A skillful troubadour, Cantuária's voice pours out fragrant lyrics in "Mais Nada (Nothing More)" while Silveira's electric guitar produces spaghetti western-like trimmings or the way the two acoustic guitars negotiate the melody within the rustic "Matuto." A sense of alluring isolation completes the program with "Trilha Polar (Polar Trail)" marked by Cantuária's tender crooning and Silveira's tantalizing touches. A long overdue meeting of two masters; this is a gorgeous recording.
Track Listing: Preciso Falar Com Você (We Need To Talk); Sessão Das Onze (Wanderley); A La Dori; Perritos; Pé Direito (Right Foot); Dia De Sol (Sunny Day); Mais Nada (Nothing More); Matuto; É O Fim (It's The End);Trilha Polar (Polar Trail).
I was first exposed to jazz when I was tiny. My earliest memory is watching Ella Fitzgerald scat on a Christmas special when I was no older than four. Like many who are from tiny towns, my first extended exposure was listening to the high school jazz band when I was a kid
I was first exposed to jazz when I was tiny. My earliest memory is watching Ella Fitzgerald scat on a Christmas special when I was no older than four. Like many who are from tiny towns, my first extended exposure was listening to the high school jazz band when I was a kid. For some reason I remember an arrangement of Hey Jude they did. My first real exposure was Stan Kenton in the Smithville, MO high school gym. Kenton and the band director there were old friends, so he would play there from time to time. My dad took me without telling me where we were going and it was the only show he ever took me to. I remember that Bobby Shew played Send In Clowns and I damn near levitated I was so excited. The huge sound and amazing chords floored me. I believe I was 13 at the time. I immediately started practicing and taking lessons. Music became a passion and nearly a career. I also listened to Dick Wright's Jazz Show on KANU every night. I can't even start to explain what I learned lying in bed listening to Dick talk about jazz. I met him once when I was struggling to put together a solo for Joy Spring playing in a combo at KU. Stopped by his office and asked for recommendations. He showed up at my jazz ensemble rehearsal the next day with a tape with example solos. What a kind man Dick Wright was.
My advice to new listeners is to stop worrying about what music is important and focus on music you like. I spent quite a bit of my music life listening to important music I didn't necessarily like. Must say I have quite a bit more fun now listening to music that I deeply enjoy. Some of it is even important.
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