Tudo Azul


    Marisa Monte was ideally placed to undust and release samba gems that have fallen on the wayside in this last half-century. Her father Carlos Monte had been one of the directors of one of Rio’s most illustrious samba schools, founded in 1935. Bathed in the music composed by the likes of Chico Santa, Venture and Alvaiade, Marisa took it upon herself to breathe new life into songs that were part of Brazil’s rich musical heritage but that never had been recorded.
    The result is 18 little musical nuggets and four bonus tracks that pay homage to these influential composers. Eight years after its Brazilian release, Red Circle Music had the bright idea of putting the hit album onto the international market. The Portela Samba School had a instant impact on dozens of high-profile Brazilian artists including the likes of Caetano Veloso, Lenine and Arto Lindsey (who translates the album lyrics into English, but the booklet has unfortunately not been made available to this reviewer). With songs like “Volta Meu Amor” (featuring Marisa Monte’s voice), “Corri Pra Ver” and “Sempre Teu Amor”, it’s easy to see why. The elder statesmen assembled here are disarmingly powerful in combining trademarks styles like choro and the cuica in classic sambas that have aged like vintage wine. With the subtle arrangements for Paulao’s seven-chord guitar, the biting rhythms of David’s pandeiro tambourine, and the infectious cavaquinho-playing of Jair, there is a solid musical bedrock with which the vocals toy.
    The album title will also tickle a smile out of Carioca dwellers. Tudo azul (“all is blue”) reflects the colour that symbolises the Portella school and is an old Brazilian expression meaning “all is well”. Ninety years after what is generally acknowledged as the first samba recording, “Pelo Telefone”, this album is an apt and touching homage to the durability and vitality of Brazil’s national music style. It also brings overdue recognition to retired sambistas (the “Velha Guarda” whose average age is 70) who marked their country’s musical landscape.

February 13th 2008

Daniel Brown