Obrigado Brazil - Dark Publications

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Editorial Reviews:

Amazon.com
This enchanting, flavorful CD finds the ever curious Yo-Yo Ma traveling to South America, and Brazil in particular. The music varies from classical to samba to bossa nova; the combinations range from guitar, flute, and cello to female voice (the remarkable Rosa Passos), cello, guitar, percussion, piano, and bass; to simple cello and piano; to cello and two guitars. The overriding element is rhythm; each selection has a beat which is both infectious and sensual, but the contexts are splendidly varied. "Dansa brasileira" has a Debussy-like, impressionistic flavor, "Dansa negra" is sultry with an easy melody, "1 x 0" is a dance scored for guitar, percussion, and cello with a solo clarinet riff. It's impossible to get bored or tired listening to this creative CD; it's unique--just like Yo-Yo Ma himself--and endlessly surprising. It may not be quite what we'd call "classical" music, but it is many kinds of music, and they all will delight. The other musicians are as impressive on their instruments as Ma is with his cello, and that's saying a great deal. --Robert Levine

Customer Reviews: Read 28 more reviews...

5 out of 5 stars

Yo-Yo's best "classical crossover" CD yet. August 31, 2003
107 out of 108 found this review helpful

It's been enjoyable for me to experience Yo-Yo Ma's excursions into "not quite classical" music, and to take note of how much better he gets with each such foray, and how those forays have introduced me to other great musicians.

It was through Yo-Yo's first such foray, "Appalachia Waltz," that I initially became familiar with the fiddling of Mark O'Connor and the bass playing of Edgar Meyer, two artists I've since become well-acquainted with, collecting all of their works. And, if this early foray of Yo-Yo's was somewhat tentative on his part, in terms of adapting to new styles of playing, he has only gotten better - measurably better, in fact - since then.

"Obrigado Brazil" is the sequel to Yo-Yo's wildly successful "Soul of the Tango" album, and I think it surpasses it in every respect, not least of which is his constantly improving skill at absorbing and subsuming "world music" genres and styles. Moreover, the variety of Brazilian music on this album is far wider - and the music itself much more laid-back - than the tangos of that earlier effort. (There is a near-monochromatic tension in the rhythms and sharp accents of the tango, as a musical form, that can tend to give the music a sense of "sameness"; a little can go a far way. This is hardly the case for the mellower range of styles present in Brazilian music, which is much more of an amalgam of the many cultural styles of Brazil than the more restricted - and heavily stylized - tango form.)

For this project, Yo-Yo has brought along a few artists who collaborated on the "Soul of the Tango" project: Kathryn Stott, the pianist on both, and Oscar Castro-Neves, the great Brazilian guitarist who not only got in some of the best guitar licks on "Tango" but produced that album as well. Other well-known Brazilian and world music artists include Cyro Baptista, Paulo Braga, Romero Lubambo and Nilson Matta (who collaborated with Oscar and with Paul Winter on their "Brazilian Days" album), the guitarists Sergio and Odair Assad, Rosa Passos (a wonderful Brazilian vocalist seemingly the equal of Astrud Gilberto or Luciana Souza), Paquito D'Rivera on clarinet, and, last but far from least, Egberto Gismonti, a phenomenally gifted composer and instrumentalist, here offering up two of his own works in duets with Yo-Yo (one on piano and one on guitar and flute).

With sixteen great tracks (not a one of them less than outstanding), it is very hard to play favorites. But there are a few that stand out above the others for me, so I'll say a few words about these. First would be "Chega De Saudade" by the great Antonio Carlos Jobim, with Rosa Passos on vocals and guitar. "Saudade" is a uniquely Portuguese word for "longing" that has no direct English equivalent; the music, however, says it all.

Second would be the well-known Heitor Villa-Lobos tune "Alma Brasileira," arranged as a duet for cello and piano (Kathryn Stott). Anyone familiar with the work of Villa-Lobos, Brazil's greatest composer, would recognize this track even without referring to the track titles.

Third, simply because it is simply "great fun," would be "Brasileirinho," a "street samba" (common at Carnival time), arranged for cello, clarinet, piano, guitar, bass and lots of riotous percussion. A typically joyous Carnival "romp."

And finally, what I believe to be the very best track on the album, "Bodas De Prata & Quatro Cantos," an extended (nearly 10-minute) work by Egberto Gismonti for cello and piano (with Gismonti on keyboards). I first ran across the music of Gismonti when a friend, knowing that I liked Brazilian music, "gifted" me with a few of his albums acquired while he was in Brazil. Gismonti is a prodigiously talented composer and instrumentalist who needs to be better known in the U.S. Perhaps this track on "Obrigado Brazil" will be the key that opens the door for American listeners. The work is virtuosic in every respect (Yo-Yo and Egberto pull out all the stops in performing it), and it certainly engaged my "classical" side for its full duration.

"Obrigado Brazil" samples all of the multicultural styles of Brazilian musics. But, if there is a "spiritual godfather" overlooking the artistic efforts and the perfecting of Yo-Yo's Brazilian styles, so that he is "at home" with the genres (particularly Bossa Nova and samba) in this project, I think that godfather is Oscar Castro-Neves. I sense his artistic influence throughout, most particularly in Yo-Yo's very Brazilian way with phrasing and articulation. And why not? They worked so closely together on "Tango" that such a relationship is both understandable and natural.

In an earlier review, of Regina Carter's "Paganini: After a Dream" album, I had offered up the opinion that Ms. Carter had the best inside shot at a "best classical crossover" Grammy. Hmm... Now I'm not so sure. But I'm sure that the Grammy race for this category will be interesting, with both Yo-Yo and Regina having such great albums for the event.

Bob Zeidler

5 out of 5 stars

A great overview of the Brazilian spirit September 26, 2003
54 out of 57 found this review helpful

I was blessed to spend almost 2 years in the beautiful country of Brazil. I learned the language and loved the people. I'm a musician myself and have been recently discovering the beautiful sounds of Heitor Villa-Lobos. This CD has 2 of his pieces as well as a fantastic selection, ranging from the smooth jazz of A. Jobim to the more traditionals sounds of Paxinguinha with the samba. There's nothing like jazz sung by a native of Rio and there's nothing so wonderful as the samba.

I admire the selection of music on this CD as it covers a wide variety of genres and a large chunk of Brazilian history. Several of the newer pieces were also quite enjoyable, especially because they were performed by the composers themselves.

Of course, Yo-Yo Ma outdoes himself again. His playing is impeccable as is his ability to become part of the larger ensemble. I'm so glad he's willing to blend in and let us hear all the different and beautiful aspects of this music. He's truly a class act as well as an astonishingly accurate and polished musician!

2 out of 5 stars Once more...with feeling..... April 10, 2004
22 out of 29 found this review helpful

Let me say first that I really wanted to like this cd. When I saw the title "Obrigado Brazil" I believed that I would adore this album since I'm a huge fan of Brazilian music, but after my first listen I was highly disappointed.

Usually, Brazilian music is inviting - the performances are emotionally honest, open, and warm. But, I can't find that vitality on many of Obrigado Brazil's songs. The artists' performances are mechanical. Although they are technically sound because they play all the correct notes, they are unconvincing because emotionally they are dry, inhibited, and uninspired. Even renown Brazilian singer Rosa Passos's voice failed to inspire on Jobim's classic "Chega de Saudade."

I'm surprised -- and then not surprised - - at the four or five star ratings for this bland album. I realize there are many who are not well aquainted with the Brazilian standards - - or other artists' interpretations of these classics. For me, the classics never get old as long as the artist's interpretation is well-done and done with vitality.

I've heard much better interpretations. If you're a fan of Yo Yo Ma or Rossa Passos, then I probably would add this to complete my collection. Bu if you're looking for emotionally honest "classical" performances - - I'd try Morelenbaum(squared) and Ryuichi Sakamoto's tribute to Composer Antonio Carlos Jobim's "A Day in New York" which is much, much better than Obrigado Brazil. They perform the standards not only with precision, but with alegria(happiness).

5 out of 5 stars Intergrated August 1, 2003
17 out of 19 found this review helpful

Two classical gurus told me that they were not a fan of this particular CD. They even said that the genre is a classical. I dissent; I actually enjoy listening to this CD and believe it is not entirely classical music. Yo-Yo Ma fuses his classical training with Brazilian style jazz that is easy for listeners who are not astute to classical music and/or jazz. Thus, it is the perfect CD for people who are starting out with classical and/or jazz music. For advanced listeners, it is relaxing, mellow, and playful, simultaneously. Every phrase is well developed with warmth and care. It is also a nice change of (music) palette. Usually, whenever Yo-Yo Ma endeavours into a new genre, he encompasses himself with the genre's most prominent musicians. Listen to the CD and purchase it. It speaks for itself. Enjoy!

5 out of 5 stars Yo-Yo Ma is Amazing! September 5, 2003
14 out of 15 found this review helpful

I was fortunate enough to see a live concert featuring the songs from the Obrigado Brazil cd. It was one of the most incredible musical experiences of my life! Yo-Yo Ma is an amazing musician - you know that he's great when you realize that you can understand the entire meaning and purpose of a song that doesn't even have lyrics. My personal favorite on this cd is track 9 - Menino. It is a gorgeous melody that the composers at the concert said was about a young boy. I still get tears in my eyes just listening to the cd. I would strongly recommend this cd, even if you are not a huge classical music fan - it is wonderful! :)

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