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What happens when Brazil's reigning pop diva joins forces with cerebral rocker Arnaldo Antunes and ultra-hip percussionist Carlinhos Brown? That's a trick question, really, since they've gotten together before. The result was the superb Rose and Charcoal (Metro Blue, 1994), released under Monte's name, but featuring all of the Tribalistas trio in major roles.
Their latest venture is somewhat less successful - given the hype about "secret" recording sessions, supposed overt connections with the Tropicália movement of the late 1960s (which was characterized by high-flown intellectualism and social protest, among other things), and the usual media frenzy accompanying Monte's work, that's a given - or is it? Much depends on your ability to see past myriad banner headlines and over-the-top accolades.
So here's what the album is (to me, at least): well-crafted pop, tailor-made for the dance floor. And here's what it isn't : an ideological manifesto (like Tropicália ou Panis et Circensis ), as some believe. Arnaldo Antunes' lyrics are one of this disc's greatest pleasures - he's an outstanding poet, and it shows. Though the mood is often celebratory (love, Carnaval, parading with your samba school), there's a persistent melancholy undertone that would do an existentialist proud. For example:
Lay on my breast and devour me In life all that is left is to go on A risk, a step, a gesture down the river
Love is ugly it looks like addiction it walks the highway free of obligation
Although a few of the cuts are downright silly, they may well be conscious emulations of some of the barmier songs recorded by the Tropicalistas. But enough '60s nostalgia - Tribalistas is both in (and of) the moment, and it's a pretty hopeful summation at that.
(Translations by Arto Lindsay, courtesy of Metro Blue Records.)
Track Listing: 1. Carnavália; 2. Um a Um; 3. Velha Infáncia; 4. Passe em Casa; 5. O Amor É Feio; 6. É Você; 7.
Carnalismo; 8. Mary Cristo; 9. Anjo da Guarda; 10. Lá de Longe; 11. Pecado É lhe Deixar de Molho;
12. Já Sei Namorar; 13. Tribalistas
Personnel: Arnaldo Antunes, vocals, apito de samba, handclaps; Carlinhos Brown, vocals, berimbau, pandeiro, cuica, reco-reco, caxixi, repique, caixa, zarb, timba, moringa, surdo, agogo, cajon, djembe, congas, plastic bucket, cymbals, electronic percussion pad/samples, afoxe, shakers, toy piano, handbell, music box, apito de samba, glockenspiel, bass, vibraphone, sampling, Hammond keyboard, nylon and steel-string acoutic guitars, electric guitar, handclaps, baixolão, spoon, ashtray, effects, miscellaneous percussion; Marisa Monte, vocals, nylon-string acoustic guitar, cajon, Dustbuster, harmonica, toy trumpet, apito de samba, accordion, emery board, handclaps, effects; Dadi Carvalho, steel-string acoustic guitar, 12-string guitar, electric guitar, bass, e-bow, Hammond keyboards, piano, accordion, cavaquinho, bandolim, apito de samba, vocals; Cézar
Mendes, nylon-string guitar; Margareth Menezes, vocals, nylon and steel string acoutic guitars; Dora Buarque de Hollanda, voice (9)
Year Released: 2002
| Record Label: Metro Blue
| Style: Beyond Jazz
I was first exposed to jazz when I was studying at the University of Puerto Rico. Nearby, I found a little record shop where the music coming from the store (Taller de Jazz Don Pedro) made me stop. I walked down the short stairs and towards the music and learned that the music playing was Clifford Brown and Max Roach
I was first exposed to jazz when I was studying at the University of Puerto Rico. Nearby, I found a little record shop where the music coming from the store (Taller de Jazz Don Pedro) made me stop. I walked down the short stairs and towards the music and learned that the music playing was Clifford Brown and Max Roach. I fell in love with it. I wondered around until the owner (Pedro Soto) asked if I needed help. He then introduced me to John Coltrane, Miles Davis, Gerry Mulligan and the rest is history. I walked out of the store with my first jazz recording: Clifford Brown and Max Roach at Basin Street.