Caetano

Caetano Veloso - Cores, Nomes (1982) {Philips 838 464-2 rel 1989}
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© 1982, 1989 Philips / PolyGram Brasil | 838 464-2
Jazz / Brazilian Jazz / Música popular brasileira / Brazilian Traditions / Brazilian Pop

An album of pure, crystalline beauty. Very peaceful, though there are some up-tempo tracks like Ele Me Deu Um Beijo Na Boca (a very curious one with interesting lyrics) and Sina, with a reggae flavour. But what I liked best are the slow romantic songs. Queixa, Coqueiro de Itapoa, Sete Mil Vezes, Sonhos - all of them have their very special depth of sentiment, very unique charm… but the best one is definitely Trem das Cores.

The repertoire for violin and piano is among the richest in the panorama of classical chamber music. History of this repertoire dates back to the origins of the piano in the eighteenth century with its features evolving in parallel with instrumental modifications and aesthetic taste.

Caetano Veloso - Caetano Veloso (1971) {Philips–Universal 838 561-2 rel 2006}
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© 1971, 2006 Philips / Universal | 838 561-2
MPB / Tropicalia / Folk Rock / Melancholy / Brazilian Traditions

One look at the doleful expression that Caetano Veloso wears on the cover of his third self-titled album, from 1971, and it's clear that the listener is in for a bummer. It's a dead-eyed look that says, "Friend, sit down, have a drink, and listen to my weary tale." And a weary homesick tale it is, for the man who only a few years earlier had been one of the catalysts in a revolution that sent the Brazilian music world on the psychedelic Beatles-lovin' roller coaster of Tropicalia was now living in the U.K. in a government-imposed exile. Gone are the Day-Glo flashes of his earlier albums, replaced by the realism of a revolutionary whose dreams have been shuttered.

Caetano Veloso & Ivan Sacerdote - Caetano Veloso & Ivan Sacerdote (2020) {Universal Music}
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© 2020 Uns Produções / Universal Music International
Música popular brasileira / MPB / Tropicalia / Brazilian Traditions / World Music

It is difficult to find someone who owns a work as complete in Brazilian music as Caetano Veloso. The singer, acclaimed in all corners of the planet where he stepped, reaches the age of 70 in full activity and creating new stories. When it comes to reframing then, he also does well. An example of this is the album “Caetano Veloso & Ivan Sacerdote”, released this Thursday (16th).

Caetano Veloso e Gilberto Gil - Tropicalia 2 (1993) {PolyGram-Philips 518 178-2}
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© 1993 PolyGram / Philips | 518 178-2
Música popular brasileira / MPB / Tropicalia / Brazilian Traditions / Brazilian Pop / World Music

Between harsh criticism (due to the retro opportunistic use of Tropicália), and sectarian defense, Tropicália 2 yielded a Caetano Veloso/Gilberto Gil tour through E.U.A. and Europe one year after this release. The reference to Tropicália was used as a safe-conduct for the duo's incursions in electronics, axé music (the contemporary and pragmatic sound of Bahia) and other commercial exploitation – since under Tropicália everything goes (or used to go, some 30 years ago). The album opens with "Haiti," a dry percussive electronic pattern over which Caetano and Gil speak verses dealing with racism; "Cinema Novo" is a beautiful samba, whose lyrics "explain" and greet the Brazilian cinema movement which gained the world. "Nossa Gente" brings the percussive sounds of axé music together with funk brass attacks.

Caetano Veloso and David Byrne - Live At Carnegie Hall (2012) {Nonesuch 7559-79880-7}
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© 2012 Nonesuch Records / Warner | 7559-79880-7
Rock / Latin Jazz / Música Popular Brasileira / Alternative Pop

Longtime friends and collaborators Caetano Veloso and David Byrne joined forces for a special Carnegie Hall concert broadcast on National Public Radio in the spring of 2004. Eight years later, Live at Carnegie Hall is released, containing highlights from this stripped-down, primarily acoustic meeting of one of Tropicalia's biggest artists with one of the pillars of art rock. Sequenced in the order the concert was played, the disc begins with a solo set by Veloso ending with his cover of the Talking Heads' "The Revolution" to segue into Byrne's set. While not exactly a hushed affair, there's a quietly breezy feeling throughout the recording. Veloso's incredibly smooth voice is the definition of Brazilian pop: laid-back and welcoming at all times.