Brazilian Duos - CD

ENGLISH

Luciana Souza's second record for Sunnyside, Brazilian Duos, is a departure in two respects. First, the gifted vocalist is backed not by a jazz quartet, but rather by three different acoustic guitarists — Romero Lubambo, Marco Pereira (playing eight-string), and Walter Santos (her father). Second, Souza turns away from original material and toward classic Brazilian songs by figures like Dori Caymmi, Luiz Gonzaga, Djavan, Jobim, Toninho Horta, and her parents, Walter Santos and Tereza Souza. The range of moods is astounding, from the tongue-twisting virtuosity of the opening "Baião Medley " and the playfulness of "O Bolo " to the heartbreaking strains of "Pra Dizer Adeus, " "Docemente, " and "Suas Mãos. " Souza's voice, poised and attractive enough on its own, becomes a thing of transcendent beauty when matched with these sparse yet vibrant accompaniments. (David R. Adler)<br /> <br /> Reviews:<br /> <br /> GRAMMY NOMINATED - 2002, category Jazz vocal.<br /> <br /> "Luciana Souza's new album, "Brazilian Duos", presents a set of lithe, poignant, voice-and-guitar partnerships covering old sambas, bossa novas, progressive Brazilian pop and baiàos, a democratic music of city and country, of different eras and classes...<br /> Ms. Souza, who grew up in Brazil and became a jazz performer and educator in New York, came back to her roots with this CD. Her midrange voice is amazingly controlled; it doesn't put on airs, either with belting or smokiness. It is alert, directed, with undertones of calm conversation. It's the sound of a well-rested intelligence. She makes good singing seem incredibly easy...<br /> She chose songs well, material by Luis Gonzaga, Edú Lobo, Jacó do Banbolim, Antonio Carlos Jobim, and the songwriting team of her parents, Walter Santos and Teresa Souza.<br /> <br /> She applies a touch of jazz technique to this music, with bounding, wordless improvisations in her clear voice, but not too much. These are idiomatic renderings cleanly re-arranged by Ms. Souza for voice and guitar without changing the essence of the originals..."<br /> Ben Ratliff (The New York Times)