The end of the 20th century brought much confusion to MPB, which doesn't have a defined line to follow. But this can be good, in the sense that it proportioned an approximation with Brazilian roots, lost in the so-called Brazilian rock, which dominated from the '80s and began to recede in the '90s, proving being incapable (with some exceptions like Lobão in some moments) of promoting a true synthesis between Brazilian and American music. Releases like this one, dedicated to acoustic interpretations for the root rhythms of samba (originated in Bahia and Rio de Janeiro), baião (Northeast), and seresta (one of the first commercial styles of the beginning of the century, this is romantic, doleful, and heavily inspired in
Bel Canto) are possible due to this socio-musical conditions. Always involving a great deal of daring and love for music, it will predictably find difficulties to reach the masses, more likely staying restricted to true lovers of Brazilian music.
The work relies on the strong instrumental backing of the regional small ensembles (generally consisting of cavaquinho, bandolim, pandeiro, violão, and seven-string violão), where instead of literal transcriptions they used re-creations, which instilled life and a breathing quality to old hits like "Azulão" (Jayme Ovalle/Manuel Bandeira). The song, which is repeatedly performed by every choir in Brazil in the same melancholic way, gains new possibilities in the energetic arrangement. "Na Pancada do Ganzá" (
Antônio Nóbrega/Wilson Freire) brings for the first time De Paula in a vibrant vocal interpretation in the authentic coco embolado. Even having a good timbre (though nasal) and intonation, she has a propensity for romantic/longing renditions, which sometimes lack versatility and a broader dynamic range. An example of this is "Jequitinhonha," where her placid singing clashes with the energetic instrumental accompaniment. The album is suited for Brazilian music lovers, using strong melodies and the inventive instrumental creations of that country. In the best tradition of modinha, the first genre to be engendered in Brazil, De Paula translates almost all rhythms to sorrowful singing, which can be good or bad, depending of the listener. A sincere release that restores jewels of delicate and expressive beauty. ~ Alvaro Neder