There are significant differences between adjacent South American countries Brazil and Uruguay. Size is the most readily obvious, and the degree of influence that results from sheer size would seem to be at least one key reason why the music of Brazil (the fifth largest country on the planet) is much more well known worldwide than that of its comparatively tiny neighbor Uruguay. But there is, of course, an array of highly enjoyable music from both places, and both have African musical roots intact and ever to be.
Miami is an epicenter of many a Latin music style, though you might not readily expect it to be home to a big band specializing in an expanded form of gafieira, a type of samba that started as couples’ dance music for the lower echelons in early 20th century Brazilian society before earning respect uptown. Under the direction of bassist Diogo Brown, Gafieira Rio Miami, many pieces strong and using every one of them in service of the dance floor, come out storming on their debut album Bring Back Samba (Brazilianaire Music, 2023).
Updated, sonically enriched versions of compositions by the likes of Joao Donato, Dori Caymmi, Baden Powell and many another notable soar as never before, graced with horns, keyboards, multi-player rhythm sections and a number of celebratory vocalists including a splendidly recurring Liz Rosa. A dozen tracks see to it that sub-genres pagode and chorinho get their due, and there’s sass and class galore in all samba facets throughout this top-notch release. (GafieiraRioMiami.com)
It’s through the title track of her album Tamborilero (Lulaworld Records, 2023) that Toronto-based Uruguayan singer Valeria Matzner testifies as to how much the traditional, African-based rhythms of candombe music have inspired her. She even lets the thunderous percussion have the last word on that song. The album offers other nods to tradition, but the variety among the songs also shows Matzner’s command of jazz phrasing and pan-Latin vibes, delivered in a richly nimble vocal style that ranges from sensual to shamanic.
Some of the rhythmic sensibilities echo those of Uruguay’s massive northern neighbor, others are simply freewheeling. Pianist/arranger Scott Metcalfe has matters well in hand when it comes to mapping out songs that groove hard and showcase a palette of featured instruments (flute, trombone, violin, trumpet, guitar, percussion specific to Uruguay and beyond) that enhance the elegant core of bass, keys, and drum set while unfailingly boosting Matzner’s voice to the highest heights possible. Be sure to stick around for the acoustic closing song, “Los Artistas,” a perfect cool-down piece for an album that brings the heat in every other respect. (valeriamatzner.com)
Author: Tom Orr
Tom Orr is a California-based writer whose talent and mental stability are of an equally questionable nature. His hobbies include ignoring trends, striking dramatic poses in front of his ever-tolerant wife and watching helplessly as his kids surpass him in all desirable traits.