This Brazilian composer and guitarist floored me with his previous “Aline” release, a jazz-rock with decidedly local intonations, that breezy, relaxed, smiling shine that permeates throughout that land’s dazzling culture . The remarkable Jefferson Ferreira is back on bass guitar and Luciano Bolobang is now manning the drum kit, as well as special guests Benito Crivellaro on piano, accordionist André Machado and percussionist Rafael Pavao and thankfully, it forges ahead as if a segue to that wonderful previous album.
A fifteen-track extravaganza, loaded up with assorted snippets as well as more drawn-out efforts, thus forming the bulk of this breezy affair that still has the audacity of pushing the boundaries of energy when required. The instrumental technique is first rate, the rubbery bass guitar carving delightfully, giving the electric guitar all the opportunity to seduce, shudder, sensitize and stun, and needless to say, the percussive work is worthy of Brazilian culture . Five shorter pieces kick off the proceedings, from the syncopated lushness of the opening “Emergency Exit” , where both bass and guitar illustrate the above-mentioned comment to the fullest, to the harder-edged bluesy romp on “Paradoxo” (clever title that!), the pace and temp keep the attention span alert and content. You may have already guessed that “Tempo III” would indicate a lullaby, ticking clock notwithstanding, a pastoral reverie that surely induces daydreaming, if only for a moment. The compositions are thickened up on the next two pieces, the tropical flutter of “O Lago dos Afazeres II” suddenly transforms itself into quite the hurricane, blasting into harder climes and then settling into a bass-fronted, marshalling drum parade (not too far from Wishbone Ash’s amazing “FUBB”. Sweetness and delicacy are found on the aromatic “Banana Flower”, an acoustic masterstroke of genius, that still emotes from serenity to overt passion at the whim of Cristiano’s muse.
Clocking in at over 6 minutes “Parece ser Simples” is a moody piece that possesses that laid-back quality that defines the local mindset, a heady concentration on restraint, emotional discourse and a strong sense of feelgood. Both acoustic and electric guitars get to express a vast variety of sensations, expertly layered without any hint of obtrusiveness or bloating, a natural flow just like the grand Parana River, all 4,880kms of it!
A detour into a group of kaleidoscope emanations appears on the horizon, as the accordion makes its entrance courtesy of guest André Machado on the luxuriant and enchanting “A Grande Enchente de 2024”, quickly bullied aside by the turbo-charged fury of “Xylocopa Suspecta”, a thrilling 2 minute ride where both the bass and the electric guitar entwine into a bombastic acceleration that will boggle many minds, followed by a more groove oriented slickness on the percussive enhanced (Rafael Coimbra) “Mr Green Giving Life For”, the suave choppiness is stunning, as the bass exudes reptilian tendencies.
“Narration” in the gorgeous soft lilt of Brazilian Portuguese leads into the second chunkier 6-minute piece , emitting a more experimental side on “Hexagonal” ,perhaps alluding to the geographic shape of the country, an extended showcase for weaving rhythmic shifts to interlock within the robust spine of that incredible bass line (ed: poetry again?). The coolest part is how the shrill guitar riffs emulate the Andy Summers style of playing, and how contemplative the arrangement becomes as it keeps evolving the sonic yearning.
Back to gentle contemplation on the bucolic beauty of the acoustic guitar and the accordion, behaving like rapt lovers walking in the sun-drenched fields, “Santa Cecilia” provides that legendary smile that oozes panacea, the healing quality that music can provide without side effects other than happiness. Utterly magical!
Two more vignettes in the vaporously sedate “Untitled” and its polar opposite, the acrobatics-driven “Circus”, rekindling memories of early Jan Akkerman solo albums. The final piano-led “Memories from Somewhere” reaches into a completely alternative neo-classical realm, hopelessly romantic and utterly compelling , letting Benito Crivellaro shine intensely. Credit to Cristiano for having the spotlight on his guest as a final composition , a true example of a musical ‘jogo bonito’. Incredible!
Here is an artist that clearly merits an abundant following, creating music that has no numbers to fill in with paint, offering the unshakable impression of effortless fluidity and inspiration. Original and immaculate.
4.5 trauma escapes
