Seu Jorge’s celebrated musical career transcends the borders of his home country, Brazil. Yet, oddly enough, more people might know him better from his film career.
Jorge has appeared in more than 20 films since 2002, including the critically acclaimed City of God. He is even better known for his role in the 2004 Wes Anderson film The Life Aquatic with Steve Zissou. He also appeared as a cowboy in another Anderson film, the more recently released Asteroid City from 2023.
Along with his considerable musical contribution in 2005 to The Life Aquatic with Steve Zissou, covering in acoustic Brazilian fashion and singing in Portuguese, songs written by David Bowie, as the character Pelé dos Santos, he has released six other studio albums since 2003, and after an eleven-year wait, has recently released what has to be considered his best and maybe even most accessible album to date.
Jorge is quite a talent, and his fans have been hoping for a new album for some time, but it’s hard to believe anyone thought he would make an album this extraordinary. Jorge has always been able to add a certain contemporary edge to his primarily Brazilian roots sound, and that is part of the secret to his success and crossover appeal.
On this new release, he doesn’t abandon that approach but has come up with an album that is a throwback to jazz and Brazilian releases, primarily from the 1960s, that added lush orchestral instrumentation to create music of timeless, romantic beauty. Many of those albums were on labels such as Verve and CTI and featured the orchestral arranging talents of Lalo Schifrin, Gary McFarland, Claus Ogerman, Don Sebesky, and Oliver Nelson.
This is not a question of bathing the arrangements in syrupy strings to water down the music, but instead of creating an enveloping soundscape that fortifies the romantic, almost cinematic effect of the songs, which orchestral arranger Miguel Atwood-Ferguson does perfectly. The album was co-produced by Jorge and uber-producer Mario Caldato Jr.
It’s a tricky tightrope walk to get these arrangements just right, and Jorge has the vocal power and subtlety to match them. There are also a few duets here, including Maria Rita joining Jorge on “Vento De Maio” and Zap Mama on “Far From the Sea.” The two standouts, though, are fellow Brazilian music legend Marisa Monte joining Jorge on “Quando Chego” and Beck joining Jorge on a cover of Nick Drake’s “River Man,” a truly inspired choice.
The gatefold album jacket, double-width, inner spread has the look and feel of one of those classic Verve album designs from the ’60s, and the vinyl comes in a poly-lined sleeve. Needless to say, the sound is impeccable. This is an extraordinary album, and although it is a fresh, contemporary take on roots Brazilian music, it is an instant classic and easily one of the best albums of the year.
GRADED ON A CURVE:
A
