Brazil
has long conjured blissful imagery. Ever since Gilberto and Getz released ‘The
Girl From Ipanema’ in 1964, bossa nova’s elegant smoothness has been thought to
be indicative of the world’s fifth largest nation. While financial disaster
nearly destroyed the land just a few years ago, recent reforms have made it one
of the planet’s fastest growing economies. “As goes the culture, so the music,”
says BossaCucaNova’s DJ Marcelinho DaLua.
“We are
living through a new economic freedom,” he says, “which is causing people to
feel confident and enjoy new opportunities. Today the music scene is not
limited to São Paulo, Rio de Janeiro and Recife. Other spots and rhythms are
being exposed via the media and unwrapped to the public, which is certainly
going to get even better during the World Cup.”
Celebrating
fifteen years together, the boys of Grammy-nominated BossaCucaNova—founded by
Márcio Menescal (son of bossa nova pioneer Roberto Menescal),DaLua and record
producer/sound engineer Alex Moreira—utilize this optimistic nationalism as the
foundation of their latest album, Our Kind Of Bossa (Six Degrees Records). The
upbeat eleven-track record features numerous guests, focusing equally on
Brazil’s other homegrown concoction: samba.
The vibe
kicks right off with a tribute to a northern neighbor. ‘Adeus America’ features
legendary MPB band Os Cariocas, a vocal outfit formed in 1942 by Ismael Neto,
alongside singer Wilson Simoninha. Longtime friend Marlon Sette lays down a
sinuous trombone line, while the recently deceased guitarist Oscar Castro
Nevescontributes a classic performance.
Maria
Rita, one of the country’s most recognizable vocalists, joins the David Feldman
Trio on a cover of Chico Baurque’s ‘Deixa a Menina.’ The piano-driven groove
provides the perfect bedrock for Rita’s seductive and playful vocals. The keys
return front and center on the Ray Charles-inspired ‘Balança,’ featuring
vocalist Cris Delanno. This original track is one of their most danceable in
recent memory.
“While
dreaming up a variety of possibilities, instruments, musicians and singers, we
tried to sense what would be the most suitable for every song,” says Márcio
Menescal. “We let our minds fly freely—even if they go too far away—and are
very happy with who we’ve collaborated with. There are also cases where we
invite people we meet on the road or in the studio that we know would shine on
this or that song.”
Singer
Emílio Santiago, who cut his teeth on Polydor Records in 1973 and was a force
in Brazilian music until his passing in March 2013, certainly shines above the
shimmering string section on ‘E Preciso Perdoar.’ The João Gilberto classic is
given a psychedelic treatment by conductor Flávio Mendes—Dado Brother fittingly
cites famed Motown producer Norman Whitfield, who was responsible for smash
hits by Marvin Gaye, the Temptations and Gladys Knight, as an influence.
From
melodies to rhythms, samba helps to define this new step forward by
BossaCucaNova. Cris Delanno returns to croon side-by-side with Carnaval
masterMartinho da Vila on ‘Segure Tudo.’ An advocate for Afro-Brazilian issues
and an outspoken member of the Brazilian Communist Party, da Vila’s gruff
vocals pair well with Delanno’s effervescent lightness.
The band
keeps it upbeat on ‘Waldomiro Pena,’ a Jorge Ben composition sung by São Paulo
native Wilson Simoninha. DJ scratches, Leo Gandelman’s funky horns and a
cavalcade of percussion roll through on this upbeat steamer. The band aptly
describes it as “Stones + Tower of Power + Rio de Janerio.” Rounding out the
covers, the sexy samba “Deixa pra lá” features Teresa Cristina delivering a
beautiful vocal performance, while Mendes’s guitar and horn contributions by
Dirceu Leite andRodrigo Sha complete this exceptional take on a national
classic.
“We
conduct research on a daily basis,” says Alex Moreira, discussing the cover
songs they’ve chosen on this album. “DJ DaLua spends hours visiting second hand
music shops around the world in search of old vinyl LPs. Every one of us makes
suggestions, presenting rare MPB tracks and adding them to our playlist. During
the recording sessions we opt for the coolest ones. We also talk to our master,
Roberto Menescal, who offers tips and advice.”
The
album closes on a funky note: Maurício Tapajós and Paulo César Pinheiroturn up
the heat on “Tô voltando,” a celebration of Brazilian identity and culture.
Roberto Menescal adds strings while Zé Carlos adds the best guitar line on the
album, reminiscent of old Jorge Ben soccer anthems the nation so loves.
Beginning with a tribute and returning home to end succinctly describes
Brazil’s cultural plight over the last decade, with an energy and vibe
BossaCucaNova captures and delivers exquisitely.
“After
15 years on the road, we are more than a big band—we are a large family!” says
an excited Menescal. The current line-up has been together over a decade now:
DJ DaLua, Moreira on keyboards, and Menescal on bass, along with
percussionistDado Brother and vocalist Cris Delanno. The band also rotates in
Flávio Mendes on guitars and vocals and Rodrigo Sha on vocals, sax and flute.
“Somehow
we keep doing it our own way, with our own beat, in a unique studio process and
production that makes this band so special and timeless,” he concludes. “We
play and produce wholeheartedly, and the albums are consistent. Above all we
end up learning a lot and getting better in the studio, as well as growing
personally, which gives us a more solid result at work.”
Upcoming appearace: BossaCucaNova w/sp. guests Cris Delanno & DadoBrother Sunday, September 7, 2014 /Highline Ballroom • 431 W 16th St. New York, NY
~ Six
Degrees Records
