A Cor do Som
A Cor do Som
1977
Why This Album Matters
A Cor do Som's self-titled debut album, released in 1977, is a fundamental piece in Brazilian music, marking the emergence of a group that dared to create an innovative and sophisticated sonic language. The album is a pioneer in Brazilian jazz fusion and national progressive rock, distinguishing itself through an organic fusion of instrumental virtuosity with the richness of regional rhythms, such as frevo, baião, and choro. This work stands out for its originality and the high technical skill of its musicians, establishing a new standard for Brazilian instrumental music. The peculiar blend of influences results in a vibrant and complex sound, which became the band's hallmark since its first work.
Context
The band A Cor do Som emerged in 1977 in Rio de Janeiro, from the retinue of musicians who accompanied Moraes Moreira after his departure from Novos Baianos. Members Dadi Carvalho, Mú Carvalho, Armandinho Macêdo and Gustavo Schroeter already brought solid experience from the national scene, experimenting with new sonic patterns that blended samba, rock, frevo, choro and baião, often defined as a post-Tropicalist movement. The group's name, A Cor do Som, was suggested by Caetano Veloso, inspired by a song by Moraes Moreira and Luiz Galvão. The year 1977 in Brazil was marked by the continuity of the military regime, which, under the so-called policy of 'slow, gradual and safe distension', was initiating a process of political opening, although censorship was still a reality. In this scenario, Brazilian Popular Music (MPB) played an important cultural and political role, being a vehicle for expression and reflection on Brazilian modernity.
Recording
The album was recorded at Estúdio Vice Versa in São Paulo and released by Atlantic Records, a label of the newly founded WEA in Brazil. Artistic direction was handled by Mazzola. Curiously, before signing with WEA, the group's sound was considered to have little commercial appeal by Polygram, which was not interested in the work. It was André Midani, upon founding WEA in Brazil, who heard the band's demo tape and was captivated, offering a three-year contract. This partnership with WEA would extend for nine years and result in ten albums. During the recordings, the group featured a trio of percussionists consisting of Joãozinho, Nenê da Cuíca and Ary Dias, with Ary Dias officially joining the band from the second album onwards.
Songs
Essentially instrumental, the repertoire of A Cor do Som's debut album comprises eleven tracks demonstrating the musicians' versatility and mastery. The compositions explore a rich sonic tapestry, blending choro, baião, frevo, and progressive rock. Among the tracks, innovative reinterpretations of classics stand out, such as Ernesto Nazareth's choro "Odeon", which takes on a lysergic-infused guise, and "Brejeiro", also by Nazareth, which received a progressive arrangement (originally recorded as "Double Morse" and later becoming "Pombo Correio" with lyrics by Moraes Moreira). The album also features an instrumental version of Caetano Veloso's song "Tigreza", as well as original compositions like "Arpoador" and the title track "A Cor do Som", which solidify the group's sonic identity.
Legacy
The album A Cor do Som received immediate recognition within the Brazilian avant-garde music scene, praised by specialist critics for its quality and originality. Although initial sales were not expressive enough for the record label at the time, which almost led to their dismissal before the third album, the artistic impact was undeniable. Its international repercussion was notable the year following its release, when the band was invited to perform at the prestigious Montreux Jazz Festival in Switzerland in 1978. This historic participation made A Cor do Som the first Brazilian musical group to appear at the event, resulting in the recording of a live album that consolidated their global reputation. The 1977 album is widely considered a precursor work of the modern Brazilian instrumental music movement, influencing generations of artists and establishing a landmark in the fusion of national rhythms with elements of jazz and rock.
Rankings
Tracks
Credits
Mazzola
A Cor Do Som
Guti Carvalho
Guti Carvalho, Marcus Vinicius
Andy Mills, Carlinhos, Deraldo, Don Lewis
Antonio Henrique Nitzsche, Ivan Cardoso
Antonio Henrique Nitzsche
Ivan Cardoso
Books
Analyses
Destrinchamos o primeiro álbum do A Cor do Som - VICE
vice.com
Para entender um pouco mais dessa obra, aproveitamos a ocasião do show para trocamos aquele ideião maneiro com o Mú Carvalho, compositor, tecladista e uma das cabeças do A Cor do Som.
Aquela Musica Apresenta "A Cor do Som - 1977"
aquelamusica.com
O disco é todo instrumental com exceção da música "A Cor do Som". Aqui, o grupo mostra toda sua influência de choro e baião ao misturar com o rock progressivo que era a tendência estética da época.
Tarati Taraguá: A Cor do Som (Jornal Hit Pop - 1977)
taratitaragua.blogspot.com
Mistura de baianos e cariocas, menos de um ano de idade, A Cor do Som faz um trabalho 'em cima de raízes nacionais, como choro, frevo e baião, com uma linguagem rock' - como eles explicam.
Indicação de Álbum - A Cor do Som 1977 (446/500) Cãotural - Bastter.com
bastter.com
A Cor do Som 1977 (446/500)A Cor do Som Choro Jazz Rock Armandinho seria o Steve Vai ou Jeff Beck brasileiro? Guardadas as proporções, seria tudo isso com menos propaganda, grandes gravadoras e fãs alucinados. Em compensação, com mais requebruliço e tempero.
Criatura de Sebo: A cor do som - 1977 - A cor do som
criaturadesebo.blogspot.com
Esse é o primeiro LP do grupo A cor do som com a formação que à época já vinha acompanhando os membros dos Novos Baianos, seja no conjunto ou em seus trabalhos solos.
Discogs
A Cor do Som – Discogs
discogs.com