Luis Gonzaga
Sabido
(Kardum)
The late Luis Gonzaga is the godfather of Northeastern Brazil's
partying forro' music. The songs in this collection, performed in various
characteristic rhythms, were recorded between 1941-47.
Like most forro' music, the accordion is the dominant instrument
here and Gonzaga plays with supple virtuosity as well as infectious joy.
Though the music is over 50 years old, it stands up well. Since
this was pop music --not folkloric --there is a directness that still speaks
to us today. These short bouncy tunes also have a relatively stripped
down sound; the music eschews fancy production flourishes, such as
sugary strings, that might not have stood the test of time.
Considering the age of the recordings, the sound quality a little
muffled but good: there are virtually no pops and clicks. The liner notes
are serviceably, mostly telling Gonzaga's life story, though more on the
songs themselves would have been even better.
The heyday of forro' has passed forever, but recordings like this
fortunately enable us to continue to enjoy its simple message of fun and
happiness.
Luiz Carlos Borges
Gaucho Rider
(Cross Currents)
Is geography destiny? It seems to be for Borges, who comes
from Rio Grande Do Sul, the area where Brazil rubs its bunda against
Argentina's slightly colder shoulder.
This accordion-driven music has the effervescence of Brazil's
northeastern forro, but some cuts also have a smoldering drama
reminiscent of tango.
Borges calls this gaucho music (named for the herdsmen of
southern Brazil) and is accompanied by the jazz band called Alma. The
result is mostly-instrumental music that is charming and easy-going.