Ney Matogrosso: O Cair da Tarde

I think I would definitely stay ahead if I did not say anything about this release. However, that would not be fair to you. Suffice it to say that whatever I write here will not do justice to Ney Matogrosso's O Cair da Tarde. This CD brings together two of Brazil's greatest composers: Heitor Villa-Lobos and Antônio Carlos Jobim (a.k.a, Tom Jobim). Ney Matogrosso's decision to combine their music in one release is rather obvious as Tom Jobim himself said:

"Villa-Lobos is like my father, my everything. I feel like including one of Villa-Lobos' song in my album. It's more than a homage, it's to make the album more beautiful. To make me feel that there was someone who liked music more than I do."

With O Cair da Tarde, Ney Matogrosso shows different depths of that influence. The best way to experience this phenomenon is to play the CD and listen intently to every note, every sigh.

In addition to Ney's voice, the instrumental accompaniment is absolutely perfect. Leandro Braga plays the piano and is in charge of all the arrangements. His artistry will blow you away. You will feel this is as much his album as Ney's. To add more to an already perfect combination, Ricardo Silveira brings his smooth guitar playing to all tracks. He is in better form than ever before. Another favorite of mine, Márcio Montarroyos lavishes this recording with his magic flugelhorn. He is capable of producing a sound that enhances the musical ambiance of these songs. To top it all, Uakti creates the rain forest and special sounds evoked so often in Villa-Lobos compositions. It is hard to imagine this album without that group.

"Cair da Tarde" and "Modinha" open this release. Two songs, two eras, one majestic piece with hardly any noticeable transition between tracks. The proposal to create an impeccable release is clearly stamped with these opening tracks. When Zé Nogueira's soprano sax plays the introduction for "Tema de Amor de Gabriela," there's a certain languor that sets the tone to Ney's tender phrasing. "Melodia Sentimental" has a light drumming crescendo after its slow and peaceful beginning. As the loved one is awakened by this love poem, the music reaches its highest point. "Canção em Modo Menor" serves as an introduction to "Prelúdio Nº. 3." While the former talks about sad mornings without the loved one, the latter uses a bird as a messenger to the loved one. Uakti's sound effects are ethereal. Though "Caicó" received its definitive performance in Milton Nascimento's voice, Ney's performance is not ordinary. With "Cirandas," Uakti reigns again. The interplay between voice and instruments is exactly like children playing. These are songs all Brazilians grew up singing. The feeling in this arrangement is innocent and pure. From the playful mood of "Cirandas," we move into a more uptempo "Trenzinho do Caipira." The instrumentation, especially piano and percussion, is astounding. There's no sluggishness, but only a vibrant and bold musical machine. Without letting the tempo down, the last two songs close this magnificent CD. "Águas de Março" is more samba-like, whereas "Pato Preto" receives forró rhythms after Leandro Braga's Linus-and-Lucy-ish piano introduction.

Ney Matogrosso outdid his creative mind for this release. This is undeniably one of his best releases.

Ney Matogrosso O Cair da Tarde Mercury 536 266-2 (1997) Time: 51'19"
Click to enlarge cover I think I would definitely stay ahead if I did not say anything about this release. However, that would not be fair to you. Suffice it to say that whatever I write here will not do justice to Ney Matogrosso's O Cair da Tarde. This CD brings together two of Brazil's greatest composers: Heitor Villa-Lobos and Antônio Carlos Jobim (a.k.a, Tom Jobim). Ney Matogrosso's decision to combine their music in one release is rather obvious as Tom Jobim himself said: "Villa-Lobos is like my father, my everything. I feel like including one of Villa-Lobos' song in my album. It's more than a homage, it's to make the album more beautiful. To make me feel that there was someone who liked music more than I do." With O Cair da Tarde, Ney Matogrosso shows different depths of that influence. The best way to experience this phenomenon is to play the CD and listen intently to every note, every sigh. In addition to Ney's voice, the instrumental accompaniment is absolutely perfect. Leandro Braga plays the piano and is in charge of all the arrangements. His artistry will blow you away. You will feel this is as much his album as Ney's. To add more to an already perfect combination, Ricardo Silveira brings his smooth guitar playing to all tracks. He is in better form than ever before. Another favorite of mine, Márcio Montarroyos lavishes this recording with his magic flugelhorn. He is capable of producing a sound that enhances the musical ambiance of these songs. To top it all, Uakti creates the rain forest and special sounds evoked so often in Villa-Lobos compositions. It is hard to imagine this album without that group. "Cair da Tarde" and "Modinha" open this release. Two songs, two eras, one majestic piece with hardly any noticeable transition between tracks. The proposal to create an impeccable release is clearly stamped with these opening tracks. When Zé Nogueira's soprano sax plays the introduction for "Tema de Amor de Gabriela," there's a certain languor that sets the tone to Ney's tender phrasing. "Melodia Sentimental" has a light drumming crescendo after its slow and peaceful beginning. As the loved one is awakened by this love poem, the music reaches its highest point. "Canção em Modo Menor" serves as an introduction to "Prelúdio Nº. 3." While the former talks about sad mornings without the loved one, the latter uses a bird as a messenger to the loved one. Uakti's sound effects are ethereal. Though "Caicó" received its definitive performance in Milton Nascimento's voice, Ney's performance is not ordinary. With "Cirandas," Uakti reigns again. The interplay between voice and instruments is exactly like children playing. These are songs all Brazilians grew up singing. The feeling in this arrangement is innocent and pure. From the playful mood of "Cirandas," we move into a more uptempo "Trenzinho do Caipira." The instrumentation, especially piano and percussion, is astounding. There's no sluggishness, but only a vibrant and bold musical machine. Without letting the tempo down, the last two songs close this magnificent CD. "Águas de Março" is more samba-like, whereas "Pato Preto" receives forró rhythms after Leandro Braga's Linus-and-Lucy-ish piano introduction. Ney Matogrosso outdid his creative mind for this release. This is undeniably one of his best releases. Egídio Leitão November 2003 A modified version of this review first appeared in Luna Kafé, December 1997.
Track listing:
Cair da Tarde (Heitor Villa-Lobos - Dora Vasconcellos) Modinha (Tom Jobim - Vinícius de Moraes) Veleiros (Heitor Villa-Lobos - Dora Vasconcellos) Tema de Amor de Gabriela (Tom Jobim) Modinha (Serestas) (Heitor Villa-Lobos - Manuel Bandeira) Sem Você (Tom Jobim - Vinícius de Moraes) Melodia Sentimental (Heitor Villa-Lobos - Dora Vasconcellos) Canção em Modo Menor (Tom Jobim - Vinícius de Moraes) Prelúdio Nº. 3 (Prelúdio da Solidão) (Heitor Villa-Lobos - Hermínio Bello de Carvalho) Caicó (Cantigas) - Folklore Cirandas: Se Essa Rua Fosse Minha / Terezinha de Jesus / Condessa / O Cravo Brigou com a Rosa (Instrumental) / A Maré Encheu / Passa, Passa, Gavião (Instrumental) Trenzinho do Caipira (Heitor Villa-Lobos on a poem by Ferreira Gullar) Águas de Março (Tom Jobim) Pato Preto (Tom Jobim)
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