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Vinicius Cantuária: Tucumã

 A l b u m   D e t a i l s


Label: Verve Records
Released: 1999.03.16
Time:
 46:22
Category: Electronic, Latin, Bossanova
Producer(s): Hans Wendl, Soli, Vinicius Cantuária
Rating:
Media type: CD
Web address: www.vinicius.com
Appears with:
Purchase date: 2015
Price in €: 1,00





 S o n g s ,   T r a c k s


[1] Amor Brasileiro (Vinicius Cantuária) - 5:07
[2] Maravilhar (Arto Lindsay, Vinicius Cantuária) - 3:46
[3] Sanfona (Arto Lindsay, Vinicius Cantuária) - 3:41
[4] Aracajú (Caetano Veloso, Tomás Improta, Vinicius Cantuária) - 5:17
[5] Aviso Ao Navegante (Vinicius Cantuária) - 3:34
[6] Pra Gil (Vinicius Cantuária) - 4:41
[7] Tucumã (Vinicius Cantuária) - 6:20
[8] Retirante (Vinicius Cantuária) - 4:09
[9] Igarapé (Vinicius Cantuária) - 2:03
[10] Jóia (Caetano Veloso) - 3:47
[11] Vivo Isolado Do Mundo (Alcides Dias Lopes) - 3:57

 A r t i s t s ,   P e r s o n n e l


Vinicius Cantuária - Vocals, Acoustic Guitar, Percussion, Piano, Sampler, Indian Wood Flute, Drums, Keybpards, Producer

Bill Frisell - Electric Guitar on [1,7]
Michael Leonhart - Trumpet on [1,5]
Joey Baron - Drums on [2,4,5,7]
Mauro Refosco - Percussion on [2]
Steve Cohen - Bass on [3], Executive Producer on [3]
Erik Friedlander - Cello on [3,5-7,9,11]
Davi Vieira - Percussion on [3,8]
Marivaldo Dos Santos - Percussion on [3,8]
Sean Lennon - Bass on [4,6,10]
Peter Apfelbaum - Tenor Saxophone on [5], Horns Arrangement on [5]
Josh Roseman - Trombone on [5]
Lois Martin - Viola on [7]
Joyce Hammann - Violin on [7]
Mark Feldman - Violin on [7]
Laurie Anderson - Vocals & Violin on [8]
Nana Vasconcelos - Berimbau & Panela on [10]
Arto Lindsay - Electric Guitar on [11]

Soli - Priducer, Engineer
Hans Wendl - Producer
Lee Townsend - Executive Producer
Matthew Kane - Additional Engineer
Dave Robbins - Assistant Engineer
Kenji Shimoda - Assistant Engineer
Matt Gold - Assistant Engineer
Patrick Dillett - Mixing, Additional Engineer
Ken Lee - Mastering
Diego Cortez - Art Direction
Noel Grey - Artist Coordination
Theodora Kuslan - Release Coordinator
Tony Morgan - Design

 C o m m e n t s ,   N o t e s


1999 CD Verve Records ‎314 559 863-2

Recorded at Forest Sound and Shelter Island Studios, New York.
Mixed at Kampo Studios, New York.
Mastered at Rocket Lab, San Francisco.
Track 9 is dedicated to Ryuichi Sakamoto.



Bossa nova has a deceptively easy-on-the-ear feel. The harmonic twists and turns, the compact rhythmic variations, the tricky melodies all seem smoothed out by the whispering of the words, the soft touch. In moving beyond bossa nova, singer, guitarist, percussionist, and songwriter Vinicius Cantuária takes a similar strategy. Working with an impressive group of guests, including Laurie Anderson, Bill Frisell, Arto Lindsay, Sean Lennon, Nana Vasconcelos--the list is long--Cantuária offers music that reveals itself bit by bit, in the details. His opening "Amor Brasileiro," a bossa nova, includes a quirky guitar and a Milesian trumpet; "Maravilhar" suggests a sly tribute to Getz/Gilberto. Every piece has a peculiar twist, and the overall effect is at once familiar and fresh: the urgency of "Sanfona"; the slightly sinister, obsessive "Retirante"; the slightly off-kilter "Aviso do Navegante." The music is easy on the ear, all right, but you will want to take a closer listen--it is worthy.

Fernando Gonzalez - Amazon.com



Orthodoxy is certainly no issue on Tucuma - a reverence for Jobim and a string of writing credits for Gilberto Gil and Gal Costa don't preclude the Brooklyn-based Brazilian from experimenting with a cadre of New York progressives. These meditations, enriched by the quaint atmospherics of improvisors like cellist Erik Friedlander, drummer Joey Baron, percussionist Nan Vasconcelos, and guitarist Bill Frisell, find Cantuaria a tad somber and utterly sensual. He's a plaintive modernist concocting a naturally cosmopolitan sound that's a bit more even-keeled than his pal Arto Lindsay's samba-skronk. Though not as formally groundbreaking as the press rhetoric would have you believe - please recall that Caetano Veloso's Lindsay-produced discs of the late '80s were flecked with sanguine psychedelia - Tucuma futzes with convention as playfully as its creator toys with the soccer ball on the disc's liner shots. Agility is everywhere. Bossa and its variants are ripe for a little modification, and like Mitchell Froom tweaking the Latin Playboys' stuff, Cantuaria proves he's got a knack for orchestrating ephemera. The sampled tag at the close of "Aracaja" hints of the Beatles' "Revolution #9," and the swirling strings and horn punctuations of "Aviso ao Navegante" create a tension not often considered part of the style's lexicon. Symbolizing a kind of suave that derives its cool from inherent daring, Cantuaria, like eccentric Tom Z and loverman Veloso, is just the kind of catchy experimentalist the music needs.

JAZZIZ Magazine Copyright © 2000, Milor Entertainment, Inc.



If it is true that the best and most lasting innovations draw much of their deep strength from the past, then Vinicius Cantuaria may have a lock on the future of Brazilian music. Here the Brazilian singer/songwriter/instrumentalist conjures up a fascinating record, deeply rooted in the bossa nova yet infused with a cool, studied Generation X sensibility, a willingness to explore new combinations of sound, and the ability to lose itself in strange places. Many of these songs are incantations where the European and contemporary spices are applied ever so subtly -- a string quartet darkly colors the title track, Erik Friedlander's cello adds warm undercurrents, Cantuaria's electronic samples delicately add mysterious shadows. Yet at the same time, the bossa nova rhythm is almost always there swinging away, gently driving the music underneath Cantuaria's warm Portuguese vocals. More importantly, these songs tap deeply into the Brazilian sense of saudade (roughly translated, yearning) to a remarkable degree. Cantuaria receives totally simpatico Anglo help from Bill Frisell, who adds pearl-like electric guitar to "Amor Brasileiro"; Peter Apfelbaum, whose subtle and pithy tenor sax enhances "Maravilhar"; and Sean Lennon, whose unobtrusive electric bass underpins three numbers. The most striking track, "Retirante," definitively ties Brazil and the American avant-garde together as Cantuaria alternates his Portuguese vocals with Laurie Anderson's characteristic arch speech-song and quietly shattering violins. Tucuma may well be the breakthrough that the hype claims it is.

Richard S. Ginell - All Music Guide



Whatever we think we know about Bossa Nova, it's a malleable thing, a style that has deep roots, a cool experimental spirit, and extendable ambitions. Therein lies the secret message of Vinicius Cantuaria's fascinating album Tucuma (Verve TK; 4636), a powerful but also entrancingly subtle statement by an artist with deep Brazilian roots with feelers open to the influence of his adopted home of New York City.

So, while Cantuaria is well-known for his tunesmithing, for the likes of Caetano Veloso, Gilberto Gil and others, for this song set, he teams up with a list of chance-y and sensitive players that includes past collaborator Arto Lindsay, guitarist-of-choice Bill Frisell, drummer Joey Baron, cellist Erik Friedlander, percussionist Nan Vasconcelos, and saxist Peter Apfelbaum. Add to the list cameos by Laurie Anderson, as vocalist and violinist on "Retirante," and Sean Lennon as bassist on a few songs, and you have a Brazilian album with an unusual, and surprisingly complementary American spin.

The title track itself is a bewitching study, an elegant and mysterious brood over a droning tonality, its simple melody twisting through insinuating violin parts, Frisell's loopy guitar musings, and Baron's pulse. Throughout the album, Cantuaria sings with his characteristic musky understatement, and plays guitar and other instruments, and manages to gently push musical definitions around without losing Bossa's gentle heart.

Josef Woodard - May 1999
© 1999–2015 JazzTimes, Inc



The cultural resurgence of bossa nova in America is a good thing: Brazilian pop music is simply too beautiful to be forever branded "Girl From Ipanema"-style kitsch. It's fitting, then, that star Brazilian songwriter Vinicius Cantuaria has for the past several years called New York home. His simple, gorgeous music has resonated with hipsters, as evinced by the great line-up that plays on his latest record, Tucuma. Working with Cantuaria are such jazz stalwarts as guitarist Bill Frisell, drummer Joey Baron, violinist Erik Friedlander, fellow Brazilian Nana Vasconcelos, Brazilian transplant Arto Lindsay, occasional bassist Sean Lennon, and, on one track, Laurie Anderson. Yet the album rarely strays from Cantuaria's sedate voice and uncomplicated acoustic-guitar work, achieving with "Amor Brasileiro" and "Maravilhar" an emotional directness that transcends the language barrier, though the lyrics are printed in both Portuguese and English. It's on "Sanfona" and "Aviso ao Navegante" that Cantuaria's more individualistic, non-traditional influences stand out: The songs feature some surprisingly snazzy elements, including cool synthesizer work on the former and Friedlander's haunting cello on the latter. Tucuma is less exciting than Cantuaria's last album, Sol Na Casa—which featured a lot of input from composer Ryuichi Sakamoto—but it's also more organic. Tucuma's tracks range from breezy originals to a couple of collaborations with Lindsay, whose own recent output has been steeped in the bossa nova, but the album is clearly Cantuaria's show. Even when he's teamed with Vasconcelos for a cover of Caetano Veloso's "Joia," it's his mellow voice that stays on top.

Joshua Klein - Apr 19, 2002
© Copyright 2015 Onion Inc.



Spin (5/99, pp.148-150) - 8 (out of 10) - "...it's Cantuaria's softly expressive voice and guitar that define this intense walk through a warm dark night of song, where--in the wistful tradition of saudade--`strong, Brazilian, around-the-house love' and happiness lie just over the horizon..."

Entertainment Weekly (6/4/99, p.87) - "...Cantuaria's evocotive song settings mess with convention, while remaining grounded in melodic logic." - Rating: B+

Uncut (1/00, p.99) - 3 stars out of 5 - "...Cantuaria here pushes his finger-picking figures into experimental areas, creating tracks of unusual design..."

The Wire (1/00, p.67) - Included in Wire Magazine's "50 Records Of The Year ['99]"

The Wire (3/99, p.58) - "...Some of these songs have an air of magic realism about them, the hallicinatory clarity sharpened still further by odd details and subliminal movement....TUCUMA will repay deep listening..."

CMJ (3/15/99, p.3) - "A sensual mix of Brazilian folk and cool jazz, bossa nova posesses a bueaty and sophistication unlike any other ethnic music..."
 

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