Vinicius Cantuaria

Psychedelic Rio

Sunnyside

Psychedelic Rio offers a refreshing departure from the cool strains of Brazilian music, most identified by cool and breezy bossa nova or the steamier, danceable samba. Brazilian composer, guitarist, and vocalist virtuoso Vinicius Cantuaria decided to radicalize these forms by going electric and turning up the amps in the vein of a power trio. He recruited the Italian bass-drum team of Paolo Andriolo and Roberto Rossi, both of whom are steeped in Brazilian genres, to join him in executing this concept. An expert acoustic guitarist, Cantuaria wields the Fender, utilizing its reverb and distortion capabilities to create a rawer, more open sound.  Brazilian music has rarely, if ever sounded like what this trio lays down.

Rossi’s insistent beats propel the opener, “Rio Negro,” penned by Cantuaria and the iconic Caetano Veloso.  As Cantuaria’s gentle, distinctly Brazilian vocal emerges, we are at first placed in the usual, expected place, that is until we hear his electric axe and Andriolo’s thumping electric bass. In “E Preciso Perdoar,” one of the album’s two cover tunes, rhythm immediately draws us in, while Cantuaria who again sings, lets his guitar do most of the talking, experimenting with reverb and distortion along the way.

Cantuaria co-wrote the lament “Uirapuru” with legendary percussionist Nana Vasconcelos, with the title referencing a bird heard but rarely seen in the Amazon. The leader’s original ballad, “Berlin” sinks even deeper into melancholy, as the tune considers the turmoil the city has endured and angels that seem to float in its silent night air. His guitar here is minimalist, with notes resonating and suspended in the ether, much like those same angels he’s envisioning. The vibe stays mellow and atmospheric on “Humanos,” with lyrics reminding us that us much as we may strive to be angelic, we rarely get there.

Gianluca Ballarin guests on keys to assist the trio in rendering one of Antonio Carlos Jobim’s most popular tunes (co-written with Vinicius de Moraes) “Insensatez.” Cantuaria’s guitar swirls around his sensuous vocals, creating a halo-like effect.  Guest Rafael Meninao adds accordion to the strutting “Nossa Estrada” as the leader sings about the vicissitudes of a relationship. Andriolo and Rossi collaborated in writing the close, “Verde Mata,” the most vibrant, and uplifting tune of the album, imbued with intoxicating percussion and sustained, reverberating guitar.

This is a good start, but the album plays more to the atmospheric guitar than the power trio side, which in the final analysis befits its title anyway. Those who long to revel in powered intensity may be a bit disappointed but considering the Brazilian genres, realize that Cantuaria’s approach offers possibilities as it is completely new.

• Jim Hynes

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