Brazilian Voices to the World
It has been a while since a vocal group in Brazil has created such a stir in the musical scene. Maybe the long standing tradition of good groups, such as Os Cariocas, Demônios da Garoa, Trio Esperança, Quarteto em Cy, MPB-4, Boca Livre and Arranco, just to name a few, makes it difficult for new names to be noticed. This is not certainly the case of BR6, a sextet comprised of Crismarie Hackenberg (mezzo), Deco Fiori (tenor), André Protasio (baritone), Eduardo Braga (baritone), Simô (bass) and Marcelo Manes (vocal percussion).
Combining influences from Brazilian groups as well as Take 6, BR6 released its first album to immediate critical acclaim. The album, Música Popular Brasileira A Cappella, was released in Brazil, Japan, the USA and Spain. Furthermore, recognition was almost instantaneous both in Brazil and abroad, particularly since the Contemporary A Cappella Society of America has raved about BR6. They received nominations in the CARA (The Contemporary A Cappella Recording Awards) 2005 Awards in the categories of Best Folk/World Album and Best Folk/World Song (for Cartola‘s “Disfarça e Chora”) and took home both prizes on April 2, 2005.
Recorded entirely with no instruments other than voices, Música Popular Brasileira A Cappella was produced by BR6 and entirely arranged by the group members. The carefully chosen repertoire and the innovative arrangements shine from the first to the last track. The CD opener pretty well defines the idea behind the album. “Batida Diferente” is indeed a different beat and one that will repeat throughout the release even when BR6 performs well known songs. A new generation that might have been living in another planet and never heard “Eu Sei Que Vou Te Amar” will likely think it is a brand new song. I simply love the arrangement and its fresh approach, including the intoxicating rhythm and the special vocal flugelhorn and guitar by Protasio and other special vocal effects by Braga. Once again, Protasio and Braga share a fun musical duel in the fast paced “Linha de Passe.” When you hear BR6’s arrangement for “Preciso Aprender a Ser Só,” you might ask yourself whether it is the Manhattan Transfer singing that classic gem, just like “A Nightingale Sang in Berkeley Square.” The tight harmonies and astounding blend — not to mention Hackenberg’s gorgeous solo — are out of this world. Her heavenly voice is featured again in the CARA 2005 award-winning “Disfarça e Chora” along with Simô’s deeper vocal texture.
BR6’s ability to create new arrangements to familiar tunes sets the group apart. It is virtually impossible to pick any of the group’s arrangers as better than the other. They are all excellent. BR6 appeals both to traditional listeners and a younger generation.
To learn more about BR6 and this album, you can visit its web site.
Música Popular Brasileira A Cappella
Biscoito Fino BF 582 (2004)
- Batida Diferente (Maurício Einhorn – Durval Ferreira)
- Eu Sei Que Vou Te Amar (Tom Jobim – Vinícius de Moraes)
- Linha de Passe (João Bosco – Aldir Blanc)
- Preciso Aprender a Ser Só (Marcos Valle – Paulo Sérgio Valle)
- Flora (Gilberto Gil)
- Upa Neguinho (Edu Lobo – Gianfrancesco Guarnieri)
- Falso Milagre do Amor (Ed Motta – Ronaldo Bastos) – Incidental music: Futuros Amantes (Chico Buarque)
- Disfarça e Chora (Cartola)
- Wave (Tom Jobim)
- O Morro Não Tem Vez (Tom Jobim – Vinícius de Moraes)
- O Barquinho (Roberto Menescal – Ronaldo Bôscoli) – Incidental music: Ah! Se Eu Pudesse (Roberto Menescal – Ronaldo Bôscoli)
- Diz Que Fui Por Aí (Zé Kéti)