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Chico Mello - Do Lado da Voz
Achado (Mello / Careqa) - Cara da barriga (Mello) - Pensando em ti (Martins / Nasser) - Mentir (Rosa) - Chrando em 2001 (Mello / Careqa) - Já cansei de pedir (Rosa) - Carolina (Buarque) - Eu te amo (Jobim - Buarque) - Valsa dourada (Mello) - Rosa (Pixinguinha) - Paramá (Mello / Costa)


Chico Mello - vocals, guitars, piano, percussion with:
Ségio M Albach - clarinets / Uli Bartel - violin / Helinho Brandão - bass / Guilherme Castro - electric bass / Ahmed Chouraqui - percussion / Armando Chu - percussion / José Dias de Moraes Neto - clarinets / Wolfgang Galler - synthesizer, bass, percussion / Michael Hauser - bass / Lothar Henzel - bandoneón / Levent - darabuka / Burkhard Schlothauer - violins, bass Mix: Chico Mello, Burkhard Schlothauer, Thilo Grahman, Ahmed Chouraqui, Gerhard Grell
total duration: 62:23

item no.:  TG 1008
retail price: € 15,40
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excerpt I

excerpt II  
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Chico Mello's remarkable new disc, Do Lado da Voz (From the Voice's Side), is his first all-song album. The recent interest in song stems from his studies of Dhrupad and his work with Silvia Ocougne. Since the early 1990's, he's elaborated unusual versions (or de-compositions, as he calls them) of well-known Brazilian songs of various eras. His novel and sometimes startling arrangements alter the songs' tempi, break their rhythm with pauses and repetitions, add samples of old recordings, and juxtapose instrumental dissonance against lyrical vocals, taking the songs out of their original contexts and transforming them into essentially new (re)creations. (…)
The other side of Do Lado da Voz consists of five compositions by Mello, to which he applies the same de-composition techniques. "Achado" and "Chorando em 2001" utilize multiplication of acoustic instruments to create an almost electronic ambient. The violins in "Achado" recall Steve Reich's "Different Trains," while the title plays with the name of the Brazilian writer Machado de Assis. "Cara da Barriga" and "Valsa Dourada" are triumphs of simplicity, employing silence as an integral element of the composition.
The disc ends on the alliterative "Paramá", where an electronic program of bass, drums, and synthesizer progressively alters the tempo.
Mello's voice is an extremely attractive tenor that he keeps mostly in high registers and low decibels, like a muted horn. It's as unique and intriguing as his musical voice.
Daniella Thompson in "Song of the South: How a city with no indigenous cultural roots is creating a musical legacy", article about Curitiba, for revista Brazzil


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