The Brazilian Funk Experience is an album packed like sardines with 20 vivacious and eclectically arranged rarities from Brazil between 1968 and 1980. These songs, claims the pioneer of the EMI-Odeon Vaults, Patrick Forge, are considered to be among the many branches of MPB (musica popular brasilia) that developed in the 60s. While Brazil was experiencing one of its most tumultuous and restrictive government regimes, musicians developed a creative scene countering the censorship, which just suffices to say that the more you tell someone not to do something, the more they are compelled to do it. The Brazilian funk experience illuminates multiple genre influences within Brazil and from without. The samba rhythm pervades just about every facet of this album, while, of course, African American inspired funk reigns as the predominant theme of every song. This ingenious fusion is apparent from the very beginning as the instrumental piece by Meirelles serves to open the flood gates with its guitar, trombone, synth and organ arrangement. Although I cannot interpret the lyrics because I do not understand Portuguese, I can determine that there is an equal representation of both men and women, at least in the music, MBP is inextricably linked to the politics of zealous leaders, and there are multiple musical marriages and experiments taking place on this compilation. The Brazilian Funk Experience is a unifying experience that is certainly worth the search and the time to listen.
My particular favorites on this compilation express an excitement and beauty that comes only from mixing multiple sounds together to create an innovative piece of music. “Garra”, by Marcos Valle, for instance sighs to convey percussive sounds, and the back up singers evoke a euphoric coolness to create a smooth piece unhindered by trouble or sorrows. Claudia’s canary-like voice in Baoba is the perfect contrast to the low instruments that play in sync, allowing the piece as a whole a richness that sends shivers up my spine. Another song that might give a similar effect is “Sai Dessa” by Elis Regina; pay attention to the electric guitar and vocals. “Cala Boca Menino”, by Joao Donato is a very strange coupling of an twangy distorted instrument and a nasally voice accompanied by a chorus of trumpets and a classic samba rhythm. This music is uplifting and bright. “Bola De Meia, Bola De Gude” by 14 Bis will certainly bring the shining sun with the featured whistler and the overarching ascending melody. “Aquele Um” is notable also for its laser keyboard solos juxtaposed with the more traditional samba. I believe the goal in playing this kind of music was to enjoy life and to honor beauty, whether it be in nature or in humanity. In any event there is something special in every nook and cranny of this compilation, and every round reveals yet another dimension of the Brazilian Funk Experience.
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