This duo of trombonist, singer, and songwriter Natalie Cressman and guitarist, composer, and vocalist Ian Faquini have forged their partnership through two successful albums, 2022’s Auburn Whisper (covered here) and 2019’s Setting Rays of Summer. The instrumental pairing is indeed rare and Cressman and Faquini are likely the only ones rendering Brazilian music as a duo on these instruments.
On their return with Guinga, they collaborate with Faquini’s mentor and muse, the iconic Brazilian composer, vocalist, and guitarist Guinga, naming the album after him. These are mostly Guinga’s compositions, and he appears on four tracks. Cressman, a longtime member of the Trey Anastasio Band met Faquini before each had turned ten at Brazil Camp in the Redwoods. The two met at Brazil Camp again as adults and bonded both musically and personally. Faquini was especially struck when he met, Guinga, at the same camp at the age of 15 and has stayed focused on Brazilian music ever since. You could say that this recording was predestined, forged in that early relationship between Faquini and Guinga.
Guinga has carved out his singular reputation by fusing the major Brazilian forms of samba and baião within the larger frameworks of jazz, rock, classical, and popular music. Though distinctly Brazilian, he has managed to develop a universal appeal that spans cultures and genres. Opener “Contradição (Contradiction),” in one sense could speak to the polarity of the lower register tones of a trombone and the delicate ambiance of a classical guitar, yet in any case it’s the first one that Faquini and Guinga wrote together. Cressman layers her trombone parts while Guinga’s vocals weave through the song. Guinga next appears on “Lavagem de Conceição,” combining the baião rhythm from northern Brazil with the ceremonial spirit of lavagem or “washing,” a common religious ritual originally established by enslaved West Africans. Guinga gains support on background vocals from his partner Anna Paes and Cressman’s mother Sandy Cressman. On “Par Constante” (Constant Pair), Guinga plays the guitar, duetting with Cressman who delivers the soothing melody adapted from Ellington’s “In a Sentimental Mood” as Guinga lightly swings, serving as a bassist of sorts by plucking the upper strings. This affection for Ellington’s compositions arises again in “Ellingtoniania” with Guinga on guitar in support of Cressman’s lush tones.
The remaining ten tracks, all composed or co-written by Guinga, are rendered by the duo. “Bolero de Satã (Satan’s Bolero)” was a hit for Guinga during the 1970’s. The angular “Aria de Opereta” (Operetta Aria) is a stronger feature for the guitarist who displays his classical chops before Cressman enters with a mournful melody. “Delírio Carioca” (Carioca Delirium) and “Ramo de Delírios” (Bouquet of Delirium) are the epitome of Brazilian romanticism with every movement of Faquini on the frets heard distinctly in this immaculate recording even when, as in most cases, it’s Cressman as the primary melodic voice. Mercifully, the tempo ratchets up with the rhythmic “Por Trás de Brás de Pina” (Behind Brás de Pina), as Cressman exhibits her mastery of the instrument with intricate sixteenth notes as if navigating narrow streets and alleys. By contrast, the sublimely gentle “Garoa e Maresia” (Mist and Sea Air) nods to Rio’s beaches with a wonderful intro by Faquini followed by one of the album’s stronger duet sequences.
Cressman finally sings on the album’s most emotional track, Segredo de Dadá” (Dadá’s Secret), penned by Faquini during the pandemic while yearning for Brazil and his grandmother, Guinga adapted the lyrics to include his desire to return to the Bay Area again. “Viola Variada” (Varied “Guitar”) has the duo trading lines in a lively dance between the two contrasting instruments. In closing with “Vô Alfredo” (Grandpa Alfredo), we last arrive at that requisite Carnaval feel with rhythms from northeastern Brazil combined with a stately articulation of classical strains. This quiet, sophisticated music is rare these days.
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What a sublime review of a sublime album.