Chico Rey E Parana Discografia Completa Hit

This album, 4th of a band that somehow manages to remain virtually unknown in the U.S., is a fascinating introduction to Brazils musical history, from the time of São Paulos turf wars on the south coast to Minas Gerais in the center. It consists of ten pieces structured into three distinct sections. The first is a set of four latin-flavored pieces, each with different rhythms (cesar, marcado, forrado, ano mesmo). The second section is dominated by flamenco, and contains three pieces, two of them Hispanicato and sombr-fausto. Finally, the third section contains two pieces, one in blues form, the other with a strong Spanish influence. This section also includes a track titled Efeito Voo which may be a reference to the traditional cannonading that announced the winner of the soccer league (called the Estadio do Maracanazo or Estadio do Maracanã) in São Paulo. So the second part of the title may be a reference to the Estadio do Maracanã. While the bands Latin roots are clear, the conceptual origins of all three sections are more murky. And even their instrumentation, which is a blend of the different styles mentioned above, is only barely consistent.

As if this were not confusing enough, the band also includes an African-influenced percussion jam in a cover of Paulo Mouras Angola, and an especially intriguing instrumental in Sesi na Cia. With a title of Sessia o Voo del Chico, it starts with a plaintive quena played on a lute-like instrument and with Spanish-style drums. It soon deteriorates into a flamenco-like guitar/percussion game, in the middle of which Caixados returns for a vocal climax. The title of the composition is a play on the name of the Brazilian singer/guitarist Caetano Veloso (who was born in the Portuguese island of Madeira). It is followed by an appropriately funky choranga. And close by, a fast-drums-with-tambourine groove totally unrelated to the opening theme gives way to a dancehall-like jam.

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