In an age when cultural fads come and go with a seemingly too easy disposal, Vinicius Cantuaria showed the audience at the Moss Theatre that certain musical styles, such as the samba/bossa nova promulgated by Tom Jobim half a century ago, is not only as timeless as opera, but able to adapt to 21st Century sensibilities with ease. His 90 minute set with Helio Alves/p, Paul Socolow/b-perc and Adriano Santos/dr performed songs from latest album (“Vinicius Canta Antonio Carlos Jobim”) that effectively argued that the Jobim’s mix of infectious rhythm and elegant lyricism may have been the sounds that have saved jazz to this day from mindless cacophony.
With his alluring “soto voce” suavely caressing the lyrics over the soft pulse provided by the rhythm section, Cantuaria performed pieces like the gently waved “Insensatez” or peppy “Sem Pisar” with a voice that seductively held behind the beat like a vintage Lester Young sax solo. Socolow’s loping bass line teamed with Santos’ sashaying brushes to create a foamy wave of current while the leader happily delivered a pillow talk tone on “ So Danco Samba,” while on “Corcovado” he was so subliminal in voice that you had to ask yourself if he actually sang the lyrics, or was it your imagination on this dreamlike piece.
Most creatively, Cantuaria gives respect to the past master, but does not get tied down to mere imitation. With creative use of guitar pedals and knobs, he experimented with harmonics on pieces such as the funky “O Nome Dela” and veered into a segue of impressionist settings for his lyrics and ruminating chords. On “Vivo Sonhando,” Santos’ brushes joined with Socolow’s bass to form a breezy wind on a sandy beach as Alves caressed the ivories to produce gentle droplets of rain. On the folksy “Caminhos Cruzados” Cantuaria opened with percussion from Socolow and Santos to build up steam like The Little Train That Could” before Alves gently entered with sonic dashes as if adding paprika to a pasta sauce.
The show started to wind down with a “Procissao” that opened with dark and foreboding harmonics and a more assertive groove as Cantuaria built up energy with some clever guitar riffs, but as he demonstrated in the classic closer, “The Girl From Ipanema” is still the same lady, but with Vinicius Cantuaria, she’s now wearing a more modern outfit.
Upcoming shows sponsored by The Jazz Bakery include Danny Janklow w/ Tessa Souter Apr 08, Russell Malone Apr 15 and Peter Erskine May 12.