Vinicius de Moraes en La Fusa
Maria Creuza, Vinícius de Moraes, Toquinho
1970
Why This Album Matters
Vinicius de Moraes en La Fusa, recorded in 1970 with Maria Creuza and Toquinho, is a timeless gem of Brazilian Popular Music, capturing the essence and magic of Vinicius's era-defining shows. The album is not just a musical record, but a living document of the cultural effervescence and spontaneity that permeated the Poetinha's performances, especially in his encounters with new talents. The intimate and welcoming atmosphere, which Vinicius himself described as an environment of bohemianism and great cordiality, is masterfully conveyed to the listener, transporting them to a memorable night in Buenos Aires. This work stands out for presenting a 'live' format which, despite being recorded in a studio with the nightclub's ambience, manages to convey a rare authenticity, almost as if the audience were present at the same table, witnessing the performance. The fusion of the voices of Vinicius, Maria Creuza and Toquinho, alongside the instrumental virtuosity, resulted in classic interpretations of iconic bossa nova and samba songs, solidifying the undeniable chemistry between the trio. It is an album that reflects Vinicius's ability to reinvent himself and to create new musical partnerships that would become legendary.
Context
Before the recording of Vinicius de Moraes en La Fusa, the Poetinha had already been performing a series of successful shows across South America. In February 1970, Maria Creuza, a talented singer from Bahia, had already joined Vinicius and Dorival Caymmi for shows in Punta del Este, Uruguay. For the Buenos Aires season, Vinicius invited Toquinho, a young and promising guitarist, to join the trio. Vinicius and Toquinho's arrival in the Argentine capital, aboard the ship Eugênio C, occurred just days before the 1970 World Cup final. On the same Sunday, after the victory of the Brazilian National Football Team, the trio opened their season of performances at the newly opened nightclub La Fusa, a cultural space in the Balvanera neighbourhood that quickly became a refuge for artists.
Recording
The album's recording was an ingenious and innovative process for its time. Alfredo Isidoro Radoszynski, music producer and founder of the Trova label, was enchanted by the trio's performances at La Fusa and proposed recording a live album. However, the nightclub's acoustics were not ideal for the desired sound quality. The solution found was to record the songs at Estudios ION, located in the Balvanera neighbourhood. To recreate La Fusa's vibrant atmosphere, the nightclub's ambient sound was recorded separately and added during mixing. Furthermore, about 30 people were invited to participate in the recording sessions at the studios, acting as a simulated audience, to reproduce the warmth and interaction with the public that Radoszynski considered essential. The recording work was intense, carried out over two July dawns, extending from midnight to 8 am. Vinicius de Moraes described these sessions as an environment of bohemianism and great cordiality, "where the essential elements were not lacking: bottles of whisky and beautiful women", which reflects the relaxed and creative spirit that permeated the album's production.
Songs
The repertoire of Vinicius de Moraes en La Fusa is a parade of bossa nova and samba classics, presented with the trio's characteristic elegance and intimacy. Tracks such as "A felicidade", "Garota de Ipanema" and "Eu sei que vou te amar", all partnerships between Vinicius and Tom Jobim, gain new nuances in the voices of Maria Creuza and Toquinho, who also excel on vocals. The album also revives the poetry and depth of "Samba em prelúdio", by Vinicius and Baden Powell, and the energy of "Que maravilha", a partnership between Toquinho and Jorge Ben. Vinicius's interaction with the audience, even if simulated, is palpable, especially in moments like the recitation of "Soneto da Fidelidade" during "Eu sei que vou te amar", which enchanted the Argentine public. Other highlights include striking interpretations of "Tomara", "Lamento no morro", and the fusion of "Berimbau" and "Consolação", demonstrating the trio's versatility in traversing different shades of Brazilian music. Maria Creuza's performance on songs like "A Felicidade" and "Catendê" is frequently praised, contributing significantly to the album's magic.
Legacy
Vinicius de Moraes en La Fusa was promptly released in August 1970 and achieved excellent sales, becoming both a commercial and critical success. The album's popularity was enduring, culminating in its gold record certification by the Cámara Argentina de Productores de Fonogramas y Videogramas in 2004. The album is widely considered one of the best live albums in Brazilian popular music, marking Vinicius's first appearance with his new musical partner, Toquinho, and solidifying his collaboration with Maria Creuza. Its recording is praised for its 'studio-like' sound quality, despite having the warmth of a live performance, with well-adjusted vocal interactions and harmonies that reveal the impeccable chemistry between the musicians. The album's impact extended for decades, being a reference for MPB and bossa nova fans, and is frequently cited as an essential work in the discographies of the artists involved.
Rankings
Tracks
Credits
Alfredo Radoszynski
Maria Creuza, Vinicius De Moraes
Mario "Mojarra" Fernandez
Enrique "Zurdo" Roizner
Toquinho
"Chango" Farías Gómez, Fernando Gelbard
Mike Ribas
Gerd Baumgartner
Oscar Zárate
Vinicius De Moraes
Horacio "Chivo" Borraro
Analyses
Vinicius de Moraes en La Fusa – Wikipedia
Wikipedia, the free encyclopaedia
Vinicius de Moraes - 1970 - Toquinho, Maria Creuza - La Fusa (Ao Vivo)
vinilcampina.blogspot.com
<p>Embora este disco tenha sido considerado como gravado ao vivo na Boate La Fusa, em Buenos Aires - Argentina, as músicas foram gravadas em estúdio, aproveitando-se as palmas realizadas na boate durante a temporada dos intérpretes, conforme nota na contracapa.
Vinícius de Moraes e Toquinho - Vinícius de Moraes en La Fusa con Maria ...
discosqueouvi.blogspot.com
Este é o primeiro registro gravado da grandiosa parceria entre Toquinho e Vinícius de Moraes. La Fusa foi uma famosa boate de Buenos Aires na entre os anos 60 e 70.
«La Fusa» Vinícius de Moraes, Maria Creuza & Toquinho
600discoslatam.com
Es así como gracias a la interpretación de estos clásicos por Vinícius, la guitarra de Toquinho y la hermosa voz de Maria Creuza, especialmente en "Catende", este registro se convirtió en eterno e imprescindible de la música brasileña y latinoamericana.
21 de julho de 1970: um Brasil mexicano e um Vinicius portenho, por ...
jornalggn.com.br
Enquanto o Brasil se tornava tricampeão no estádio Azteca, na cidade do México, em 21 de julho de 1970, Vinicius de Moraes, junto com Toquinho e Maria Creuza, comemoravam o título em um show na boate La Fusa, em Bueno Aires, na Argentina.
Discogs
Vinicius de Moraes en La Fusa – Discogs
discogs.com