Guitarist Carlos Barbosa-Lima leads a band of heralded Brazilian musicians on Delicado, a set honoring the traditions of Rio de Janeiro as the center of Brazilian jazz. Fellow guitarist, Larry Del Casale, who often plays with Barbosa-Lima in a duo, joins as well as the Grammy-nominated rhythm section of Duduka Da Fonseca (percussion) and Nilson Matta (bass). Pianist Helio Alves climbs aboard for six of the 15 tunes of music originally born in Africa but shaped by the cultural aspects of Rio – bossa nova, samba, and choro.
This music is romantic, joyful, and surprisingly accessible given the complexity of some of the arrangements. Four of the tunes were composed by Brazilian guitarist and friend of Barbosa-Lima, the late Luiz Bonda, best known for his compositions in the film Black Orpheus, some of which are here. Three owe to the most famous Brazilian composer of all, Antonio Carlos Jobim. For some readers this may serve as a kind of introduction to Brazilian music so we will touch on each of the pieces briefly.
“Tico Tico” is the name of a migrating bird that came from Portugal to Brazil and settled in the early 1900s. This piece, an international hit in ‘40s, was arranged for two guitars as Da Froncesca adds interesting percussion. The title track exemplifies the choro music form and was also a major international hit (‘50s). Here both guitars play the melody as Barbosa-Lima handles the bass line with percussion and piano joining. Some may recognize Bonfa’s “Samba De Orfeu” as it was played during the climax of the Orfeu tragedy in the major 1959 film, Black Orpheus. Jobim’s samba “A Felicidade” is also from Black Orpheus, giving the feel of the famous Carnaval as does Bonfa’s “Manha de Carnaval.” This is played during the part of the movie when Orfeu, the main protagonist, loses everything but wants to keep his guitar. It is acknowledged as one of the most beautiful songs ever written in Brazil.
”Odeon” merges polka into a style that composer Ernesto Nazareth termed “tango brasileiro,” meant as a tribute to the first movie theater in Rio in the twentieth century and played by Barbosa-Lima solo. “Interragando” has elements of classical as the original format is played over a jongo rhythm in a question and answer mode. “Feitico Da Vila” is about a northern section of Rio and incorporates polyphony, where melodies and harmonies are blended. “Samba do Aviao” is another Jobim tune and in this one Barbosa-Lima adds some rhythmic intricacies. “Chovendo na Roseira,” has long been considered a Jobim masterpiece with solos here from both guitarists.
On “Prelude to Canto de Ossanha” Da Fonseca introduces the berimbau, a one-stringed percussion instrument that looks like a hunting bow. His solo inevitably leads to a melodically rich piece. “Canto de Ossanha” has Afro-Brazilian roots as Barbosa-Lima bends guitar strings to create a percussive effect. “Eu Nao Existo Sem Voce is a haunting piece from Jobim where both guitars exchange leads. “Tristeza” is another popular tune around Carnaval time, and here Barbosa-Lima also adds some classical elements and builds to an exuberant ending.
Here’s Barbosa-Lima’s sometimes duo partner Larry Del Casale commenting on the session – “Carlos is a giant amongst guitarists. His arrangements on Delicado are subtle, sophisticated and virtuosic, taking his harmonic language to a new level. To expand on these arrangements, we enlisted some of the greatest Brazilian jazz musicians performing and recording today.”
If you love acoustic, melodic guitar music and/or recall the music from Black Orpheus you should give this a listen. You’ll be rewarded.
Photo by Francisco Pinto
