by Phillip Wagner

This is the original (pre-edited) draft of an article which appeared in the July 02, 1997 issue of NUVO Newsweekly Magazine in Indianapolis, Indiana. Photo credits listed below.

A seemingly endless line of young concert goers queued up at the dressing room of Brazil's newest popular music sensation, Zelia Duncan. By the handful they were ushered into a back room of the rustic Rio de Janeiro Rival (ree-vahl) Theater, which has the look and feel of a something in-between a Cabaret and the early 1960s Liverpool "Cavern". In what could only have been described as "a family affair", young mothers had brought their children. Only in a city like Rio, I thought to myself, could one still expect to see an artist the calibre of Zelia Duncan perform before a small live audience in an intimate setting like the Rival. I ducked into the dressing room, camera in tow, escorted by a representative of the Rio Convention and Visitors Bureau. Myself and several other US journalists had been flown in for a week of sound exposure (pun intended) to the Rio tourist scene.

I was struck by the fact that Zelia, who had just completed an energetic 75 minute set without a break, appeared to be as fresh and relaxed as when she first took the stage. Each fan, in turn, was generously greeted with kisses to the cheeks and, occasionally, with a warm embrace. Each was treated as though they were clearly the most important person in the world. I slowly began to appreciate the fact that Brazilians and their popular music icons share a very genuine affection for one another. But the real story was the music itself. The "Girl from Ipanema" had put Rio de Janeiro on the international music map, but that was many years ago. Now Marisa Monte and, more recently, Zelia Duncan are re-energizing the music scene in Rio; and they're beginning to command an awful lot of attention. Evidence of this lies in the fact that this "ripple" in the international market can be detected here, deep in the American heartland.

The present 'queen' of Brazilian popular music is the strikingly beautiful and hypnotically graceful Marisa Monte whose first three CDs each sold between six and eight hundred thousand copies throughout Brazil, Europe, the United States, Latin America and Japan. Marisa's studio releases began with her second CD "Mais" (More), which was produced by guitarist Art Lindsay (Ambitious Lovers). I spoke with Marisa by telephone shortly after my arrival in Rio. She explained that Lindsay, whose parents were Portuguese, had lived in northeastern Brazil between the ages of 3 and 18. While attending University in New York "he became a reference for people doing Brazilian music since he knew and understood Brazilian culture and values". Before Marisa, Lindsay had produced music for the popular Gal Costa and for Caetano Veloso, revered throughout Brazil for the poetry and social consciousness of his lyrics. Marisa's third CD, "Blue, Yellow, Green, Rose and Charcoal", was released simultaneously in 48 countries in 1994 (yes, in Portuguese!), and led to consecutive European, US (New York, Boston, Washington, LA, Chicago, San Francisco, Miami and Minneapolis), Brazilian and (again) European tours. This critically acclaimed work includes a seductive version of Lou Reed's "Pale Blue Eyes" in English, and instrumental backup by a "who's who" of Brazil's most well respected musicians. Both "Rose and Charcoal" and her just released fourth CD "A Great Noise" were co-produced by Marisa and Lindsay. Some studio tracks for each were recorded in New York at Kampo Audio-Video with supporting instrumentation by Melvin Gibbs (bass), Bernie Worrel (keyboard/clarinet), Arthur Baron (trombone) and Peter Eskiund (trumpet). "A Great Noise" includes some live recordings, a terrific rendition of George Harrison's "Give me Love" ("Give me Peace on Earth"), and features graphic cover artistry based on the acclaimed erotic comic book illustrations of Carlos Zefiro. Zefiro, who passed away in 1992, was honored at the first International Comic-Book Biennial in Rio in 1991. Marisa's "A Great Noise" North American tour is currently underway. Marisa has already performed in San Francisco, LA, Montreal, NYC and Boston and she'll be in Washington DC (Birchmere) on 7/1 and Miami (Gusman Theater) on 7/3. A November tour of Tokyo, Nagoya and Osaka Japan follows.

The fact that Marisa Monte CDs have turned up in local (Indiana, are you kidding me?) half price book stores alongside Eric Clapton and Alannis Morrisette is symptomatic of Brazil's growing impact on international popular music. Her versatility is reflected by the fact that her four CDs include Brazilian pop-rock favorites, many more traditional Brazilian rhythms, an occasional American ("I heard it through the Grapevine") or British standard and even a selection from "Porgy and Bess". Her style is popular leaning toward Jazz. I found her in the Jazz Artists section at Waves Music in Castleton, but in the International section at Barnes and Nobles. Your best bet is simply to ask.

The Brazilian popular music of Marisa Monte, Zelia Duncan and Caetano Veloso is unencumbered by technology and reflects the personal passions and bared emotions that Brazilians are so famous for. "That's what I was looking for when I produced Rose and Charcoal" noted Marisa. "I like the human feeling, not the technological. It's very organic; there are no computers; only acoustic, percussion and voices". There are a plethora of "portable instruments very typical of hot weather countries" she adds, crediting the influence of African culture in Brazil. "That's why I invited (so many other) Brazilian artists to participate in the making of this CD; from different generations and different parts of Brazil".

Zelia Duncan's stronger delivery and "clearly more mainstream than samba" style contrasts with Marisa's softer approach, and is redefining Brazilian popular music for the 90s. "When I'm on stage I feel that every single thing inside of me goes out" she offered. "I can feel all my emotions blossoming like flowers - anger, serenity, masculine, feminine". New Orleans journalist John Demers suggested that "Zelia is what you would expect to get if you crossed Melissa Etheridge with Gloria Estefan". At times, like when she's performing her Reggae anthem, I would be more inclined to think of her as a cross between Jimmy Buffet and Natalie Merchant. In any guise, the result is powerful and compelling.

Zelia, now 31, traveled to Spain and Portugal this past February to promote the release of her second CD, "Intimidade", which the president of Warner Music in Brazil has just announced went Gold. I still haven't been able to find Intimidade locally, but Warner Music is only just beginning to introduce Zelia to North American audiences. Zelia wrote the lyrics for 11 of Intimidade's 12 songs. On June 19th she headlined a concert at New York's Central Park/Summer Stage; her first visit to the United States.

A lot of the songs in Zelia's Rival performance seemed to strike some special chord with her following, or have some kind of message. I noted that the fluctuating tempo of her performance, and the faces of her mesmerized fans, suggested that the lyrics were "speaking to people in such a way as they would speak to themselves". "That's how I would like to describe it" she responded, "but it wasn't always like that for me".

"I started singing at 16, and I began composing at 19. In 1991 I was invited to perform traditional Brazilian music, the works of other artists, at a hotel in Abu Dabi. In the morning I turned it down, but in the evening I accepted the offer. I really thought I was running away. But when I arrived I (eventually) encountered my own work. Prior to that time I only performed the work of other artists. But by the end of my contract I was performing my own work, and it was a great release for me."

It's been a great release for Brazil as well. Zelia's shows are utter magic for those in attendance and she seems as awed by her adoring supporters as they are of her. She's clearly enjoying the ride, but remains focused. Zelia, after all, IS redefining Brazilian popular music.

"The day by day life is the material I use for my work. The face of the 90's singers in Brazil has not been so recognizable as Brazilian music 'of the 90s'. I would like to think that in 30 years people will look back upon me and feel that I represent the 90's music in Brazil". No doubt they will.

Links

Marisa: http://www.marisamonte.com.br
Zelia: http://www.zeliaduncan.com.br

Photo credits: Color photos of Marisa by Jorge Rosenberg. Photo of Phillip and Zelia by Carol Rohr. Black and white photo of Marisa performing by Fa Gouvea. Black and white still photo of Marisa courtesy Marisa Monte. Black and white image of Zelia Duncan courtesy Warner Music. Color images of Zelia Duncan performing by Phillip Wagner.

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