Nó em Pingo D’Água: Interpreta Paulinho da Viola

Twice Classic

After a two-month US tour in 2003, Nó releases Nó em Pingo D’Água Interpreta Paulinho da Viola.

Paulinho da Viola, son of César Faria (of the choro group Época de Ouro), is no stranger to choro. His father used to bring the great choro performers, such as Pixinguinha and Jacob do Bandolim, to play at their home. Even though Paulinho is probably more well known for his sambas (“Amor à Natureza,” “Coração Leviano” and too many more to name here), he has, in fact, even released entire albums dedicated to choro (Paulinho da Viola e Ensemble, 1993; Memórias Chorando, 1976). Recorded by several Brazilian stars, such as Clara Nunes, Leila Pinheiro. Simone and Zé Luiz Mazziotti, Paulinho now receives an outstanding instrumental tribute through the talented minds and hands of these fine Nó em Pingo D’Água musicians.

Nó em Pingo D’Água Interpreta Paulinho da Viola is a collection of 11 Paulinho classics and one by his father. On the opening track, the group sets off to give each member a chance to prepare us for what the album will show. However, barely a minute and a half into the song, Celsinho’s pandeiro takes center stage. When Celsinho plays, it is like an orchestra — except that it’s only his pandeiro! Mário Sève’s soprano sax solo is yet another highlight in the same track, with a sound that is ultra smooth. As for Mário’s flute playing, as a friend of mine so perceptively put it, his sound is “the instrumental equivalent of Paulinho’s voice.” “Chuva Fina Também Molha” is a great opener and swings non-stop. In “Sarau pra Radamés,” Mário’s multi-layered saxes give the song a beautiful tone. He and Celsinho again seem to play off each other’s solos with superb ease while Rogério, Rodrigo and Papito carry the rhythm.

The CD is not only choro. With the “Maxixe do Galo,” the group puts their own twist to make that maxixe even more lively. The same goes with “Rosinha, Essa Menina.” To better understand Nó em Pingo D’Água, here is one fantastic example: “Sinal Fechado.” The arrangement captured the profound message of the song without the need of words. Especially with Papito’s melancholic bass solo and Rodrigo’s own crying mandolin lines, “Sinal Fechado” is outstanding. To change the tone and bring the listener back to Nó’s more traditional sound, “Escapulindo” jumps with life. Two very serene moments in this album are present with “Não Me Digas Não” and “Valsa Chorando.” The atmosphere created with these two arrangements will most certainly transport you back to a time of moonlit streets and gas lamps at the front porch. Both songs are serenely beautiful, and Cristovão Bastos’ piano accompaniment in the former adds an extra touch to the group. The only non-Paulinho da Viola song, “Choro em Ré Menor,” gives Papito yet another opportunity to showcase his bass solos. Closing the album, Rogério Souza’s introduction to “Timoneiro” will give you a most definite feeling of a Dorival Caymmi song. The gentle motion of the waves in some Caymmi songs permeates this Paulinho da Viola tune thanks to the beautiful instrumentation created

Arley Pereira’s notes are not hyperbolic in stating this is “Nó em Pingo D’Água in its best performance.” I must add that I thought so, too, with Nó na Garganta and Domingo na Geral. So, it is fair to assume that is only Nó’s best performance — for the moment! Enjoy Paulinho and Nó. Quoting Paulinho da Viola: “I do not live in the past. The past lives in me.” Be a part of this unforgettable moment that is Nó em Pingo D’Água Interpreta Paulinho da Viola.

ALBUM INFORMATION

Nó em Pingo D’Água
Nó em Pingo D’Água Interpreta Paulinho da Viola
Independent 0304NPD57 (2003)
Time: 50’53”

Tracks:

All tracks by Paulinho da Viola, except where noted.