By Don Heckman
Studio City, CA. Brazilian music nights are not uncommon in Los Angeles. Not with the city’s substantial population of world class Brazilian players – along with the American musicians who have developed considerable competence with Brazilian music over the years.
The Lado B Project is a combination of both, blending a collection of players who brought a full palette of musical perspectives to a compelling musical evening. Their performance at Vitello’s on Wednesday night was a magical display, underscoring the rich, panoramic qualities of Brazilian music.
It could only have been done this way by some of L.A.’s most versatile musical artists.
Start with Brazilian-born singer/pianist/composer Catina DeLuna, whose many diverse activities include the founding in Sao Paulo of Serenata Braxileira, which specialized in classic Brazilian songs from the ‘20s and ‘30s. Singing solo, playing hand percussion, occasionally moving to the piano to accompany herself, she was the central focus for most of the songs.
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Add the eclectic Venezuelan pianist/accordionist/arranger Otmaro Ruiz, whose resume, overflowing with credits reaching from Herb Alpert and John McLaughlin to Arturo Sandoval and John McLaughlin, underscores his remarkable, genre-crossing skills. In addition to his solid piano accompaniment, he brought some atmospheric accordion playing to a few of the selections.
The guitar is an essential element in Brazilian music, and one couldn’t have asked for a more skilled player than guitarist Larry Koons, who is at the top of the list for virtually all music contractors, largely because he brings so much musicality to whatever genre of music he plays. On this night, he used acoustic guitar, roving freely across the many Brazilian rhythms filling the evening’s program.
The rhythm team added their own appealing qualities. Aaron Serfaty was a first call drummer in his native Venezuela before he moved to Los Angeles. And bassist Edwin Livingston, also with an impressive resume, lists the Marsalis brothers, David “Fathead” Newman, Natalie Cole and Stanley Jordan among his many associations.
Directed by DeLuna’s informative musical guidance, with Ruiz’s arrangements, Koonse’ authentic guitar work, and the propulsive rhythms of Serfaty and Livingston, the music came vividly to life. Much of it, reaching back to songs of the ‘20s and ‘30s, was unfamiliar to American audiences. But there was no denying its appeal – or, for that matter, the appeal of more easily identifiable songs from Antonio Carlos Jobim, among others.
The only thing missing was some background on the earlier musical selections. Printed programs are rarely present in night club performances. But a list of song titles, composers’ names and genre descriptions of the selections from the pre-WWII years would have further enhanced this otherwise fascinating evening.
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Photos by Faith Frenz.
The International Review of Music 