Newsgroup: it.arti.musica.rock
Titolo: Interessante per amanti del brasile

http://www.rootsworld.com/brazil/brazil1.html
CAETANO VELOSO
Estrangeiro
Elektra - 1989
Caetano Veloso's music is rooted in the '60s, not the Woodstock variety, but
in Brazil where there was also real social and political turmoil, Along with
Gilberto Gil, Gal Costa and Maria Bethania, he forged a new Brazilian style
out of the bossa nova and the samba by fusing it to Dada poetry, rock,
psychedelia and jazz. The result was dubbed "tropicalismo" and reaction on
the left was vicious, pointing to the bastardizing of Brazilian culture,
while the right was equally afraid of their popularity and theirveiled
political message. This led to incarceration and eventual exile for Gil and
Veloso, but upon his return Veloso once again blasted into new terrain, this
time taking on the music of his native Rahia and once again upsetting the
traditionalists with new ideas and strange influences.
And so his career has careened to this record, "The Stranger." His lyrical
sense has stayed as twisted as ever, and on a few cuts in English you get a
taste of his poetry, especially "Outros Romanticos" with its recitation of
the smoky Brazilian lyric, and the more romantic but equally hazy "Jasper."
Estrangeiro roams from samba to rock to reggae and zouk, but typical of the
music of Brazil, it has a smoothness that sometimes belies its power. What
unites and ignites this recording is Veloso's singing, always fighting to
break and then reunite the rhythm of the band, and ultimately always
dominating the song. The poet you'll have to read in the translations, but
the poetry comes through on every song, riding on the persuasive voice of
Caetano Veloso. - CF (1989)
TOM ZE
The Hips Of Tradition: The Return of Tom Ze
Luaka Bop/Sire
Hips. Good word for this music. It calls for dancing. It calls for thought.
It portends newness, but in a cool, contrived sort of way. The Hips of
Tradition sometimes sway, sometimes jerk, but in all of Tom Ze's work, there
is some sort of movement, unexpected, clearly defined motion. Thank god,
there is also humor, an element I find increasingly necessary in countering
a daily dose of American (and no doubt worldly) life. Ze credits a wild
pantheon of influences; poets, scientists and science fictionists like
Augusto de Campos, William Faulkner, Arthur C. Clarke and Thomas Edison. He
welds those varied sources onto a music that pays passing tribute to
everything from European deconstruction through rap and rock to the
smoothest samba Rio has to offer. He does it with a remarkable lack of
pretension for one whose poetic vision is so complex, intellectual and
informed, and he makes it happen with a benign countenance, a grin and a
wince.
The Hips Of Tradition carry a wild child in their curves; the industrial
swell of "Fliperama," the futuristic samba of "Ogodo, Ano 2000," the swaying
sweetness of "Sem A Letre 'A'," the post-punk pretensions of "Sofre De
Juventude," the goofy affront of his duet with David Byrne in "Jingle Do
Disco." The Hips of Tradition are broad enough to carry all of these
children, aware of their roots and yet unconcerned by the limitations of
history. Tom Ze knows where he comes from, but he doesn't let it keep him
from going where he needs to go. He is riding The Hips Of Tradition into the
future of pop music.
Caetano Veloso
Livro
Polygram Latino
The debate began long before Bob Dylan first strapped on an electric guitar:
Can you modernize traditional music? Each year the argument bubbles anew as
musicians from around the world bring the music of their particular culture
to the international marketplace. Can they tinker with their heritage
without squandering it? Purists may turn up their noses each time a young
hotshot takes his or her traditional music out for a spin, but some
performers have updated older forms with wonderful results.
No country seems more musically omnivorous than Brazil, which itself can be
seen as an extraordinary mishmosh of European, African and indigenous
cultures. In recent years, Brazilian musicians have easily incorporated
hiphop and reggae into their musical stew as generations before them did
with rock and jazz.
Caetano Veloso was one of the preeminent exponents of Brazil's
border-leaping Tropicalismo movement of the late 1960s. Now past fifty,
Veloso shows he is still marvelously inventive on 'Livro,' where he manages
to sound lushly romantic and starkly modern, primitive and sophisticated --
often at the same time.
On each song, Veloso constructs a rhythmic foundation with the hand-played
percussion instruments of his native state of Bahia. On top of this, Veloso
layers anything from heavily distorted guitars to swaths of strings and his
own lullabye-soft voice. The result are romantic songs that move with an
inexorable swing, and modern-sounding songs that propell their intellectual
arrangements with muscular, tribal-sounding beats. While one or two songs
may be a bit out for some, overall this is one of Veloso's strongest albums,
a masterful melding of old and new. - Marty Lipp

 Elektra - 1989
Dev'essere bravo tale Veloso.... ah, se avessi qualche cd suo in più...... :-ppp
--
Enrico 'magic' - 
mma...@tiscali.it
 -
"You don't need a weather man to
   know which way the wind blows"

 
http://www.rootsworld.com/brazil/brazil1.html
-cut-
sarò in Brasile fra un mesetto, a tessere delicate trame diplomatiche.
Chi fosse interessato a materiale di difficile reperibilità qui da noi, può
contattarmi in pvt.
K, boa viagem

 contattarmi in pvt.
Que inveja, cassete!
buon viaggio
Davide