Dirty Linen Magazine, August/September 2000
Baltimore, MD

Kátia Moraes and Sambaguru - wrenching heavy nails GINGA This is a relentlessly perky CD. Moraes and her international band of samba musicians keep the touch light and, for the most part, humorous on this collection of sambas, choros, and afoxŽs. Moraes has a bell-like voice with such a mischievous sense of phrasing that one doesnât have to speak Portuguese to be in on her jokes. Sambaguru is equally at home with the sensuous groove of the title track and the light, transparent sound of "Sarando." The drum-heavy "Convite Pra Bituca" (Invitation to Bituca) is a highlight, with its compelling groove. The last track, "Pai" (Dad) is a departure from the party atmosphere of the rest of the release. Itâs a heart-wrenching indictment of an absent father. Moraes nails the emotional impact on this one as confidently as she handles the lighter stuff. This one should be in any sambaphile's collection.

In the labyrinthine world of human emotions, few relationships are as delicate and complex as the one between father and daughter. During the first five years in the life of a baby girl, a father acts as a major catalyst by defining the way she will relate to men as an adult. If he fails to be emotionally present during these crucial years, the pain caused by his absence will haunt the daughter for the rest of her life. Singer-songwriter Kátia Moraes must know a thing or two about absent fathers. Otherwise, she could never have written the lyrics to “Pai”, the closing track of her brand-new album with the ensemble Sambaguru. The song offers a sublime coupling of nostalgic melody and meaningful lyric. It might even break your heart.

Throughout the remaining 12 cuts of Ginga, Moraes reveals herself as one of the most important Latin artists living and working in the United States today. One can only speculate what might have happened to her career had she stayed in her native Brazil, although it’s not hard to imagine her as a big star in her homeland. The opening “Pesca das Muié” rapidly fulfills all the expectations any well-educated gringo might harbor about Brazilian sounds - it’s frothy, infectious, and rhythmically challenging. The breathtaking “Estrelinha”, on the other hand, is a lilting, velvety duet with pianist Bill Brendle that matches the grandeur of anything written by Milton Nascimento. Interestingly, Moraes bypasses the bossa nova sound altogether. Instead, her sensibility is firmly planted in the late `60s Tropicalia movement, bringing back a time when musical titans such as Gilberto Gil, Gal Costa, and Caetano Veloso were at the peak of their powers.

Kátia Moraes should not be ignored. The fact that she can be found every weekend performing at Los Angeles hole-in-the-wall clubs like La Ve Lee (a place, by the way, where the Greek spinach pie alone is almost worth the price of the admission) doesn’t diminish her artistry one bit. Moraes’ passionately sensuous lyrics will send you running in search of a English-Portuguese dictionary. She’s stunning. Ignore Ginga at your own risk, and loss.

First-rate jazz-MPB vocals in the style of Elis Regina and Gal Costa. Moraes has a sweet, clear voice and sharp phrasing and is obviously well-versed in Brazilian musical history (the album opens with a homage to various musicians). Likewise, her band, Sambaguru, play tightly and with feeling, covering a wide variety of styles including jazz, samba, axé, and even a bit of Indian Classical, It has a few predictable pop foibles, but compared to much of the `70s MPB this is modeled on, this album is a paragon of restraint. Hopefully being based in LA, rather than in Rio, won’t count against these folks--they sound great, and deserve a wide audience. For more info, visit their website at http://www.katiamoraes.com

You have probably seen and heard quite a number of Brazilian singers or groups who choose to make a living outside of Brazil. Some or most of them choose a fairly easy path. They sing the traditional and tried-and-true type of Brazilian music. In that category you will find those singers and groups doing the works of Tom Jobim, Mílton Nascimento, João Bosco, Gonzaguinha, and many other Brazilian classic and contemporary composers. These singers are doing a terrific job in promoting Brazilian music abroad.

In addition to that category, there is a very small group of original performers. Those are the singers writing their own songs and showing the world the new Brazilian music. Among those, Kátia Moraes emerges as a strong and leading force. With original compositions penned by Kátia herself and fellow Brasil Nuts members, she establishes her own boundaries and defines new parameters for Brazilian music. With this unique release, Ten Feet and The Sun, Kátia Moraes travels the entire rainbow of Brazilian music and more. Her eclectic compositions and vivacious performances cleverly mix Portuguese and English lyrics efficiently.

It's a Lie, the CD's opening track, is a stylized Brazilian northeastern "forró" dealing with the disillusion and lies in a love affair. Bill Brendle's keyboard work and Tony Shogren zabumba percussion are astonishing. With Tonto (Fool), the bossa nova presence is more than the mentioning of Tom Jobim's name. The use of an accordion is original and effective, and Kátia's own vocal overdubs will make you reminisce of Basia's style in Astrud (from her Time and Tide release). Cidades (Cities) unites California and Rio de Janeiro, whereas Mãe África (Mother Africa) takes us back to our roots. Maracatony is Tony Shogren's own version of another Brazilian northeastern tradition, the maracatœ, a dance characterized by its predominant use of percussion instruments. Tony Shogren's himself is responsible for the exceptional performance of an array of instruments ranging from frying pans to atabaques. The result is a high-spirited dance. Closing the CD, Pagode no Maracanã (pagode is a samba style; Maracanã is the world's largest soccer stadium, in Rio de Janeiro) guest stars Luizinho Mila playing tan-tan and Claudinho Sorriso playing cavaquinho. This pagode samba is ebullient and full of excitement.

If you cannot find this release at your local dealer, please check out Kátia Moraes's home page.

Copyright © 1997 Egídio Leitão