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© 2017 Cibele Codonho.

Fotos de Marco Aurélio Olimpio e Agnaldo Rocha Papa 

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PRESS

By Carlos Bozzo Junior

Without Notion - "Afinidade", by Ná Ozzetti

The Music in Letters invited the singer and composer Ná Ozzetti, 58, to participate in the series No Notion (see previous posts) that performs blind auditions of discs recently released in the Brazilian market.

The artist, who recorded 12 albums, heard "Afinidade", CD by singer Cibele Codonho, in a very familiar environment, Fernando Costa Park, known as Água Branca Park, in the western zone of São Paulo.

Ná Ozzetti has lived for 16 years at a site in Santa Clara, in the Serra do Japi neighborhood of Jundiaí, about 55 kilometers from the capital. "I was raised here in White Water, then I lived in Perdizes. I really like this place, I came here a lot, "said the artist.

The move from the capital to the interior improved the singer's quality of life and sharpened her ears. In Sao Paulo, Ná Ozzetti had to face the noise of motorcycles and cars that went up the slope of his street, announcing blocks before passing through his house, which in it caused a chronic insomnia. "I do not take medicine, so every 15 days I had to do an acupuncture session. It was the only thing that made me sleep, but it only lasted for 15 days. Then I had to put the needles again, "said the singer, who with the change from São Paulo was cured of insomnia and allergic rhinitis.

However, for the singer absolute silence does not exist, nor in the bush. According to her, there are bug sounds throughout the day, although it is possible to feel an immense depth in the silence behind the voices and sounds of the bicharada. "Here, in the city, one does not arrive in that deep silence, there is always a noise. There I realize that I sink into this silence, even though I hear other frequencies as well. "

The stillness of the night of the bush is always broken by the festival of sounds that inaugurates the day. It is Ná Ozzetti who tells how it is this morning and natural concert: "There, according to the sound of the roosters, then comes the jacus, and there is full of birds," said the singer, noting that some birds only give the sound of his grace in the afternoon, like the toucans she recognizes as having a "dry" corner. Trrrr, trrr, trrrr ", imitated them by trilling.

Twice a week, the artist leaves the woods and comes to the city driving and listening. "I study a lot in the car, not vocalise, that you can not do in the car, but when I have to learn new repertoire, the best place is the car," said Ozzetti, who, besides studying, takes advantage of the 40 minutes of the trip to listen to discs of other artists or the radio, which "loves", but when you hear "I get a fright," he said laughing.

It was in the car, in the parking lot of the park, that Ná Ozzetti held the audition proposed by Music in Letters. The artist commented that she has performed shows of her last albums, "Ná e Zé" (2015), with José Miguel Wisnik; "Thiago França" (2015), with the group Paso Torto, formed by Kiko Dinucci, Marcelo Cabral, Rodrigo Campos and Romulo Fróes; and "Balagandãs" (2009).

Concomitantly with the concerts, Ná Ozzetti is composing new songs and preparing parallel projects that encompass disparate visions. "These are projects that are in full conception. I have several ideas. I read a little with one idea and then another, so I never know what's going to happen before, "said the artist about a project that includes readings and a more experimental one, but" it's still too raw to explain what it is ".

The singer listened to the proposed record without having any tips from its authors, performers or musicians.

In the CD, Brazilian rhythms (samba, baião, ciranda) mix with jazz. Special guest appearances brighten the record, such as that of Mark Kibble, leader of the American vocal group Take 6. Kibble strikes a duet with Codonho on track six, "Love Dance / Remembrance" by Ivan Lins, Gilson Peranzzetta, Paul Williams and Vitor Martins. Filó Machado participates in track 13, "Vatapá", by Léa Freire and Joyce Moreno.

The photos of the cover and the CD cover are written by Marco Aurélio Olimpio (cover); Agnaldo Rocha Papa (cover of the booklet); Paulo Rapoport, Wanzza Vieira, Bruñel Galhego, Sandro Takahashi and Agnaldo Rocha Papa (photos of the musicians).

Graphic Design, Carlos Dränger; art direction, José Sebastião Maria de Souza; costumes, Elaine Navarini; personal stylist, Monica Regatto; makeup and hair, Mychele Peacock, Priscila Delfino Eleandro Pires.

Among the musicians, Pichu Borrelli (piano, synth, track 1, cuatro Venezuelan, electric and acoustic piano, track 2, acoustic piano, track 3, clavinet, synth, electric and acoustic piano, track 4, piano and cuatro venezuelano, track 5 , acoustic piano, track 6, keyboards, acoustic and electric piano, track 7, guitars, track 8, bass, acoustic and electric piano, track 9, piano and keyboard, track 10, piano, keyboard and ukulele, and acoustic piano, track 12).

Luis Cavalcante (electric bass and guitar, track 1, guitar, track 9, and electric bass in track 12). Fabio Canella (drums, tracks 1, 9 and 11). Douglas Alonso (percussion tracks 1, 2, 3, 5, 7, 8, 9, 10 and 11). Natan Marques (guitar, track 2). Carlinhos Antunes (Kora n'goni, track 2 and 8, four Venezuelan, track 8).Sidiel Vieira (electric bass, track 2, acoustic bass track 3, 5, 6, 7, 8 and 11). Sergio Machado (drums and mallets, track 2, 6, 7 and 10). Léa Freire (flutes, track 3, bass flute, track 6). Jorge Saavedra (drums, track 3, 5, and bongos, congas and drums, track 12). Filó Machado (guitar and voice, track 11). Roberto Sion (clarinet, track 4). Mauro Casellatto (clarone, track 4). Sizão Machado (acoustic bass, track 4). Michel Freidenson (organ B4, lane 10). Wilson Teixeira (alto sax, track 10). Lewis Nash (drums, track 4). Toninho Ferragutti, track 5). Walter Lacerda (flutes, tracks 5 and 7). Mark Kibble (vocals, track 6). Cibele Codonho (vocal, all tracks).

Read next, Ná Ozzetti's impressions on "Affinity," solo album by Cibele Codonho, with 12 tracks, musical direction and arrangements by Pichu Borrelli, production and mix of the two. The mastering was by Homero Lotito, the "bat man".

TRACK 1 "Casa de Marimbondo", by João Bosco and Aldir Blanc
"I found it very interesting. I have no idea who it is. I tried to recognize that tone, but I do not know it. Superinteresting this rhythmic thing. What I liked most about vocal performance was precisely the instrumental part of the voice. I loved the voice overlays. I do not know this music; must be its own composition, or unpublished. It reminds one something of Elis Regina, in the line of César Mariano. This piano and the way she sing, I think she has a lot of influence from Elis. But what I loved was the way she handles the vocalises, because it's a more personal thing. "

TRACK 2 "Things of Life" by Milton Nascimento and Fernando Brant
"Very good. I really enjoyed this instrumental work. I loved the bass [Sidiel Vieira] in this song and this piano, which is very much in line with César Mariano. I'm even curious to know who the singer is, who the musicians are, because I think it's really cool. From what I notice, despite being still in the second track, the album has a great unit, there is a band conceiving there. The impression is that it is a group work. In the first two tracks, it has the mark of a sound, a language, but let's hear the next ones. "


TRACK 3 "Rio Amazonas", by Dori Caymmi and Paulo César Pinheiro
"Beautiful! I loved that track. The music is beautiful and the arrangement is killer. On this track, she put her voice in a softer, more in-house arrangement. It may be that it's hers or a mix thing. It's a personal thing. I like it better because she sails along with the instruments. The arrangement also favors this, with the timbre of the flutes getting closer to the voice. The voice is highlighted, but it is together. This is a detail because the whole arrangement is beautiful, rich, full of events and different dynamics. This track makes us arrive, land on the disc. "

 

TRACK 5 "Amado", by Rafael Altério and Rita Altério
"Cool. A ranch march, right? A new element came in with another timbre, the accordion. Very beautiful to carry. I really enjoyed the drums command [Douglas Alonso percussion] as well. Here, I begin to realize that this is a record that has a proposal for the lyrics; They all talk about Brazil. I think there is something a little thematic, worried about Brazil. "

TRACK 6 "Love Dance / Remembrance", by Ivan Lins, Gilson Peranzzetta, Paul Williams and Vitor Martins
"Beautiful driving. I liked it at the beginning, with the introduction, of the way the music is conducted. A singer came in and I did not recognize him either. It was very beautiful this dialogue between the two voices. I notice a softness again. When the singer does a more gentle thing, having to like more of the timbre of the voice. The type of arrangement also helps. Here she's stuck on the instruments again. I like it. The singer does this too, but in another tessitura, which facilitates because the music does not have so many trebles. He is in this region and she is not. But it's cool because as it's at the sharp end, it softens by completing this range of texture. That driving was beautiful too. "

 

TRACK 7 "Vento Bravo", by Edu Lobo and Paulo César Pinheiro
"I think this is one of the tracks I liked the most. The music is beautiful and the arrangement wonderful. And her performance is sensational. I really liked it, really got me very much in the whole, with the flutes and percussion. All beautiful."


TRACK 8 "My Song", by Hugo Fattoruso
"Here comes a different instrument, ethnic [kora n'goni, African instrument played by Carlinhos Antunes], very sonorous, which I thought was a kalimba at the beginning, but with another tone and more harmonics. And the music is not driven by the piano like the others, but by that instrument. Well cool this track too. "


TRACK 9 "Two Hearts", by Johnny Alf
"Beautiful ballad. I liked the song. It follows this drive. The interpretation is beautiful. "


TRACK 10 "Mamãe Natureza", by Rita Lee
"Very good version. In this song by Rita Lee it is very difficult to escape from the original version and I found it cool that they took to another side more unexpected. The instruments 'piram' more than the song. The singer does some very cool jokes, but I think she could 'freak out' a little more on the song that is a slave. On other tracks I've heard her 'freaking out' more with other vocalises, but that's a personal thing. "

TRACK 11 "The Peace", by João Donato and Gilberto Gil
"Beautiful version. There is a beautiful guitar [ukulele played by Pichu Borrelli] that adds a lot to the piano. Very well done this arrangement. The interpretation is beautiful and the finalization too, because it is not expected by what leads you gently to another place. Excellent everything, arrangement and interpretation. "


TRACK 12 "Vatapá", by Léa Freire and Joyce Moreno
"Very good the track. It starts with vocals that I loved. The singer thrives on perfect vocals and performances. I kept an eye on the voice and the honeysuckle. I'm very curious to know who the musicians are. This group that is playing with her really is champion. It has very cool participation from that singer doing a vocalises at the end. I do not know who he is, nor is he the same as he sang in the previous track, in English, but I liked it. Very good indeed. "

TIMELINE EVALUATION

INTERPRETER
"Very good."

COMPOSITIONS
"Very good."

HARMONY
"Very good."

RHYTHM
"Very good."

MELODY
"Very good."

ARRANGEMENT
"Great."

SOUND (CAPTION, MIXING AND MASTERIZATION)
"Great."


GENERAL CONSIDERATIONS

"This record has excellence. It was very well recorded, worked and has a unit of arrangements, choice of repertoire and sonority, however much between a different instrument or another in the bands, besides having a unit also in the musical conception. It is an album that tells a story, not only about songs but a sound and musical story. A story of a journey, of a language. So the record has this excellence that makes it a disc. "

 

CD REVEALED

After the blind audition, it was revealed to Ná Ozzetti that "Affinity" is the solo album of singer Cibele Codonho. A brief history of the artist's career was also provided to Ná Ozzetti, as well as all other information about the CD, its participants and the technical file.

In the face of the revelations, Ná Ozzetti complemented his evaluation: "I want to say again that the album has this excellence, it's a disc. Her performance is powerful, especially in the instrumental thing of the voice. Powerful indeed, more than in the interpretation of songs. I'm saying this because my beach is more of the songs, I'm very much in the sense of words and so I have a ear more focused on this listening. I want her to understand that it is a very personal comment from anyone who has this experience. Who came from Grupo Rumo, with spoken song and so on. This record is beautiful. She is a great performer and the musicians are wonderful, incredible. I noticed that there is a rudder there and she is on the same level with vocal performance as an instrumentalist. In addition to being an excellent performer, she is very creative in vocal arrangements because they are nothing 'commonplace'. There's something very original about them. If I were her and had all that resourcefulness I would 'dunk' more on the vocal thing. It would make an almost instrumental album, 'freaking out' even on these vocals because they're beautiful. I would make a record with that same rudder, exploring these vocals a lot more. Although she has explored a lot, which gives a lot of value to the album. "

Asked if there is room for this record in the market, Ná Ozzetti replied: "Of course there is. It has place for everything in the market. The point is you get to get people. So you have to do a spreading job. The market is open and closed at the same time. If you think about the macro, it is restricted to a mass thing. In the case of this disc there is a national and very international market. This is a universal disk. "

On choosing the CD "Affinity" to be evaluated, Ná Ozzetti commented: "I liked it very much! It's a wonderful record, a discus like I said, performance excellence and everything. It is very well done and in a style that I barely hear. So much so that I did not know the interpreter, because my listening is very focused on other types of work. For me it was very cool to do this deep listening, track to track, where you have to pay attention and take that responsibility to realize all the details. I liked it very much."

 

EVALUATION OF NÁ OZZETTI
"Great"

Cover of the CD "Affinity" (Photo: Carlos Bozzo Junior)

CD AFFINITY
ARTIST Cibele Codonho
RECORDER Eldorado
HOW MUCH $ 25