I was hooked from el (the) get go by Alex's flute intro and her exuberant vocal on Gil Gilberto's Ladeira Da Preguica. By contrast, Alex's Catalog is suitably dreamy, the voice feeding those moments, late at night, when you're not quite asleep nor fully awake. It can be the highest or the lowest part of your day.
Nothing dreamy about Moreira's Tombo in 7/4. Flute and piano bounce notes and phrases off each other with a reflective break in the middle and, after the twists and turns that are inevitable in 7/4 time, they switch to a 4/4 samba beat closing down with the flute growling amidst other strange sounds.
Detour Ahead is as beautiful as any recording of Herb Ellis' emotive ballad (co-composed with John Frigo and Lou Carter). Special mention of Alex's husband José's contribution on piano.
When I see a piece by Thundercat on the track listing, I know that I can bet my bottom Brazilian real that it is going to be full of surprises and Captain Stupido is no exception. Flute, voice, piano and synth all go into the melting pot.
Alex's original The Riddle with the line: Growing old gets to everyone is a beautifully realistic lyric enhanced by voice and flute. Love it even though agreeing with the sentiments jar!
Poente by Luisa and André Lacerde doesn't cut it with me. Maybe if I knew what the lyric was all about it would have helped.
Wayne Shorter's Dance Cadaverous has both flute and piano stretching out. It's deep and sombre, catching Shorter's imagery of corpses doing a macabre movements.
If you're into Latin and want more than chic bossa novas and sanitized sambas then this is for you. Available via the usual on-line barrow-boys from Friday Aug. 14. Lance
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