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Bixiga 70 (2013)

Bixiga 70

Durante um bom tempo, música instrumental no Brasil era sinônimo de trabalhos muito refinados e pouco acessíveis ao ouvinte médio. A banda paulistana Bixiga 70 está ajudando a retomar a pegada mais dançante e para cima dessa importante vertente da música brasileira.

A semente da banda surgiu durante a gravação da música "Grito de Paz", que iria integrar um trabalho do tecladista Maurício Fleury. "Íamos gravar apenas uma faixa e acabamos criando uma banda", relembra o músico, bem-humorado.

Em comum, os dez músicos tinham o fato de participarem frequentemente de gravações no estúdio Traquitana, localizado no número 70 da rua Treze de Maio, coração do tradicional bairro do Bexiga.
Dessa forma, mergulharam de cabeça no trabalho e gravaram seu primeiro disco em 2011. O segundo acaba de sair, e reflete as inúmeras horas de ensaios e de shows feitos nesses dois anos.
O som feito pelo Bixiga 70 investe em música africana, brasileira, soul, funk e o que mais vier, e sempre sai das pesquisas e jam sessions feitas por seus integrantes.
Eles se autoproduzem e também cuidam do lado empresarial. "Temos parceiros, mas tudo é decidido por nós", diz Maurício.
A parceria com o Traquitana se mostrou fundamental na viabilização do grupo. "Tudo gira em torno do estúdio, e não precisar se preocupar em pagar as horas que usamos nos ajudou a crescer muito", explica o tecladista.
O objetivo básico do Bixiga 70, que já fez shows em seis países, é se aproximar da forma mais direta possível do público. Para isso, tocam nos mais diferentes espaços e oferecem seus discos em diversos formatos, incluindo downloads gratuitos.
"Se for para baixar, mesmo de forma gratuita, que seja com qualidade", diz o guitarrista Cris Scabello.

Ricardo Herz Trio - Aqui é meu lá (2012)

Aqui é meu lá

O violinista Ricardo Herz lançou em 2012 seu quarto CD, Aqui é o Meu Lá. O  trabalho traz composições próprias e sonoridade dada pelo Ricardo Herz Trio, que conta com o baterista e percussionista Pedro Ito e com o violonista Michi Ruzitschka.
Com direção musical de Benjamim Taubkin e lançamento pelo selo Scubidu Records, o projeto é fruto da pesquisa de Herz na música brasileira, mesclando-a com diversos ritmos do mundo. A partir dessa inspiração, o artista teve a liberdade de criar a sua própria música: melodias, que mesmo passeando por outras terras, trazem a familiaridade do quintal de casa.
São 12 faixas, sendo onze autorais – que incluem homenagens para Dominguinhos e Garoto – e uma versão para Odeon, clássico de Ernesto Nazareth. O álbum, como não poderia deixar de ser, é a base do repertório do show.
“Cada composição veio de uma inspiração diferente. O disco tem dois forrós, um choro, um chamamé… As melodias são alegres e têm uma simplicidade vinda da canção popular. A ideia é que o público possa sair cantando. A partir deste pensamento, iniciei a composição do álbum”, diz o violinista, que retorna ao Brasil, após viver um ano em Boston, nos Estados Unidos e outros oito em Paris, na França. Neste período, também participou de festivais no México, Malásia, Holanda, Rússia, Israel, Dinamarca Itália e Romênia.
Para Herz, a experiência no exterior foi fundamental para expandir seu conhecimento sobre outras culturas musicais. “Tive a oportunidade de viver oito anos na França me dedicando à música popular e, neste tempo, tive contato com vários estilos, como o jazz, a música africana e, principalmente, o forró, na Orquestra do Fubá. Foi lá que desenvolvi minha linguagem de violino na música popular”, relembra.
Submetida a tantas influências e experiências, a sonoridade marcante do trio – violino, bateria e violão sete cordas – está ainda mais apurada. “Aqui é o Meu Lá” traz momentos de virtuosismo e outros com mais cadência, além de solos bastante elaborados. Todo o material foi gravado ao vivo em estúdio.
A lista dos músicos convidados para o álbum inclui o próprio Benjamim Taubkin, que tocou piano em uma das faixas, o contrabaixista João Taubkin e Danilo Morais, na voz e violão. Os três estarão também no palco, que contará com projeções e iluminação do estúdio Laborg. “Será um show muito especial. O lançamento oficial  é a festa de coroação de um trabalho de dois anos, desde a concepção até a chegada do disco.”, completa.

Kitty, Daisy & Lewis - Smoking in haven (2011)

Smoking in haven

Extremadamente jóvenes (Kitty, 15; Lewis, 18; Daisy, 20 años) y llenos de talento, aparecen en la escena inglesa sin llamar mucho la atención.
Por ALEJANDRO ARTECHE

Ahí los tienes a los tres. Monísimos, hechos un pincel con su ropita vintage. Son como muñequitos de tarta de cumpleaños vestidos de rockabillys cincuenteros. Ves la portada de su primer disco y parece una recopilación de la Sun records o una reedición de un grupo desconocido de Kentucky que no llegó a triunfar hace 60 años y que algún loco ha descubierto y ha vuelto a poner en circulación, pero no. Kitty, Daisy y Lewis, los tres hermanos Dorham, son de este siglo, adolescentes menores de edad y vienen de Londres.

Entre toda la revolución sesentera y soulera que asola Inglaterra en estos momentos, la aparición de un trío rockabilly en el más puro estilo de los años 50 ha explotado en la escena musical inglesa como una carga de profundidad. El Reino Unido ha tenido gran tradición de bandas rockanroleras, sobre todo en los 80, con grupos que cuidaban el sonido y la estética vintage como Roman Holliday, o Boot hill foot tappers.

La película nos la han vendido muy bien. Tres hermanos menores de edad amantes del rock n roll y la estética cincuentona, que compran su ropa en tiendas vintage y van vestidos siempre como si vivieran en un 'rebelde sin causa' non stop.

Además, los chicos (la menor tiene sólo 14 años) son coleccionistas compulsivos de discos de 78 rpm de rockabilly y tienen la cultura musical suficiente para atreverse a versionear a Muddy Watters o adaptar al rockabilly a los Canned Heat en el maravilloso y energético 'Going up the country' que abre su primer disco.

Por si fuera poco, los mocosos tocan la batería, contrabajo, guitarra, piano... Vale. O estos niños son unos superdotados o aquí huele a muerto y yo no he sido. Indagando un poco descubrimos que, en directo, junto a ellos llevan como músico de acompañamiento a... ¡su madre! Claro que su madre no es una madre cualquiera, la buena mujer fue batería en los primeros 80 de los Raincoats, uno de los cientos de grupos punk que asolaron Inglaterra y en el que entró como sustituta de la española Palm Olive, que se fue a tocar con las Slits. De los Raincoats tambien salió gente que luego formó parte de grupos básicos como los Barracudas o PIL.

Vale que por parte de los padres pueden haber heredado toda la cultura musical y que algo hayan influido en su estética. No es lo mismo que, cuando eres pequeño, tus padres te pongan discos de Julio Iglesias, que crezcas escuchando a Elvis, Sex Pistols o Stray Cats entre chupas de cuero y crestas, que entre zapatos castellanos y lacostes. También es cierto que, normalmente, los hijos de padres modernos, por rebeldía, salen ultraconservadores, pero hay veces en que la norma se rompe.

Yo quiero creer que, aunque influenciados por sus padres, Kitty, Daisy y Lewis han formado el trío porque les gusta la música que hacen. Nadie se pone a formar un grupo y tocar el ukelele, contrabajo, batería de pie, piano, guitarra, armónica, steel guitar (sí, los chicos tocan todo eso y más) obligados.

Una pista fundamental para descubrir cuando alguien hace algo forzado o por pose es su forma de vestir. Un tupé, un traje de los 50, unos zapatos bicolores, una falda con cancàn... Eso, si no lo llevas creyendo en la ropa y en lo que representa, canta a tongo desde kilómetros y con estos chicos esto no ocurre.

Laura Mvula - Sing to the Moon (2013)

Sing to the Moon

Birmingham singer Laura Mvula has been garnering plenty of adoring reviews across the pond. Even before her debut album Sing to the Moon was released in Britain, she was shortlisted for the prestigious Critics Choice Award at the 2013 BRIT awards. Since the album was released, Mvula’s bright-hued retro-soul has been praised to the heavens for originality while simultaneously being compared to the luminary likes of Nina Simone and David Axelrod. Much of the praise is richly deserved. Sing to the Moon, which was just released here in the States, is a triumph of arrangement and melody: Songs like opener “Like the Morning Dew”, or the gorgeous title track, combine earworm hooks with beautiful, uniquely shaped verses, and showcase the open-hearted faith in the world that is clearly Mvula’s calling card. Even when her lyrics communicate melancholy, it seems the singer has no choice but to sound defiantly anti-blue.
The formal complexity of Mvula’s best songs is testament to an education at the esteemed Birmingham Conservatoire, whose graduates often stray towards jazz, opera, and classical composition. You can hear that training in the stately processional entrance of “Make Me Lovely”, which soon blooms into a full-fledged, powerful chorus, or in the prettily drawn piano and alternating tones of “I Don’t Know What the Weather Will Be”. Beyond her studied compositional ear, Mvula’s voice is also a winning draw. There’s a hitch in her dusky alto that recalls a mix of Jill Scott and a demure version of Amy Winehouse. Her voice is classically beautiful but there’s enough oddity-- a sort of gravelly undertone-- in her pronunciation to keep it interesting throughout the album.
A lot of anonymity is built into Mvula’s topics of choice: beauty, love, faith, heartbreak, and hardship are all discussed on the album with the same generalized air. This can be a strength when it comes to pop songwriting-- the stories here are universal enough to be broadly relatable. But Mvula shines when she gets a bit more personal: She shows a snappy attitude on the show tune-like “That’s Alright”, an affirmation of her faith in who she is, which doubles as one of the most exciting tracks here. Mvula sounds best on her more upbeat songs, so it's a shame there are so few of them.
It’s an odd choice, given the success of singles "Green Garden" and "Like the Morning Dew", to fill the album with so many slow-burning, hopeful anthems. Though they show off Mvula’s vocal talents as well as anything else here, over the full record they can become mundane and somewhat repetitious. “Is There Anybody Out There?” and “Father Father” might work as one-offs for someone encountering Mvula’s voice and compositional abilities for the first time. But they sink in comparison to the songs they follow, leaving the album with almost 10 minutes of under-utilized space.
Mvula's music hearkens back to an earlier era than that of her many British contemporaries: She hovers on the edge of pop, but the majority of her songs are too reserved to fully break through. Mvula's debut is filled with visceral and musical beauty--that is its strong spot. Once she rids her work of thematic repetition and lyrical mundanity, she'll be on to something truly special.

Carmen Souza - Kachupada

Kachupada

Born into a Cape Verdean family in Portugal, Carmen Souza began her career as a gospel singer at the age of 17. After meeting her longtime collaborator Theo Pas'çal, she has recorded several well received albums, which showcase her blend of traditional jazz, Creole and Cape Verdean sounds.
Her latest is Kachupada, named after a favourite West African stew that blends a variety of ingredients.

From batuke to modern jazz, gospel to Creole, you bring a tremendous amount of influences to your music. Can you describe how you distill these influences?
They are so natural that I don't really think too much about them, it's almost as if it was other native languages that I speak. Music is about communication, and you express yourself in the language that is familiar to you. So when I'm composing I just express whatever comes from the inspired moment and then I play with these ideas together with the lyric and the message that I want to send out. And that's how music flows.
Tell us about working with Theo Pas'çal over the years. What is the collaboration process? It's been tremendous working with someone that has so much knowledge, because in the end you are not only learning about just music, you are learning lessons of life and that will endure forever. When we first started working together, I was only 17 years old and he was already an established musician with solo albums and a real innovator in the music and the groups that he produced in Portugal. It has been 12 years already; [they've been] full of challenges, a lot of growing up, maturity of our own sound together as composers. In all our productions there is never a pre-production; what we feel in the moment, the energy and inspiration and the spontaneous note is what we capture.
We are now working on a different project that involves me more in a instrumentalist point of view. The voice is still there, and I will continue to explore my natural instrument but right now I'm searching to find my voice as a pianist as well ... so we are developing a project where we gather several influences from Cape Verde to Portugal, North Africa and the Lusophone countries. It's almost like the history of our origin, which is Portuguese ... the places that Portugal discovered, the images and the feelings that they had finding other worlds. It's almost like bringing the whole world together in the music. I'm very excited about it.
For someone new to the music of Cape Verde, what three albums would you suggest for a quick education?
I would definitely recommend Tubaroes, Voz de Cabo Verde and Cesaria Evora.
Tubaroes were one of the most popular bands in Cape Verde, the great Ildo Lobo was their vocalist and guitar player. From the '70s to the '90s they were a cult band touring around the world.
Voz de Cabo Verde — at some point they had a very political message and they joined the independence movement singing songs about Amilcar Cabral.
And Cesaria there is no [introduction] needed for her, she was just great.