Marisa Monte compensates for imperfections in her previous album with an artist’s album captured on the ‘Portas’ concert tour

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Even without being the imposing singer of yesteryear, the artist reiterates her refinement by giving voice to songs by Lupicínio Rodrigues, Luiz Gonzaga, Dominguinhos, Caetano Veloso and Cassiano. Cover of the album ‘Portasrares (ao vivo)’, by Marisa Monte Leo Aversa Album review Title: Portasrares (ao vivo) Artist: Marisa Monte Edition: Phonomotor Records Rating: ★ ★ ★ ★ 1/2 ♪ Since it started releasing original albums in 1991, the year in which she presented the album Mais, Marisa Monte almost always included in the repertoire of these albums at least two old songs by other composers, selected in a always surprising way. These tracks were vehicles for followers of the Rio artist to appreciate the talent of the performer who took Brazil by storm 34 years ago with the release of her first album, MM ao vivo (1989). The exceptions were the albums Infinito particular (2006) and Portas (2021), entirely copyrighted. This last studio album came with 16 original songs and left the feeling that it could have been more cohesive if it had at least one composition written by someone else. Album released today, November 23rd, Portasrares (live) compensates for this imperfection of the Portas album with seven songs captured throughout the Portas tour (2022 / 2023), whose show has been traveling around Brazil and the world since February last year and, towards the end, it already has more than 140 presentations in almost two years. Two of the seven songs on the album Portas Rares were written by the artist herself, but Seo Zé (Carlinhos Brown, Marisa Monte and Nando Reis, 1996) – a song featured on Carlinhos Brown’s second solo album, Alfagamabetizado (1996) – had never won an official recording by the artist (there was only one recording of the song with Marisa and Brown in the documentary video Barulhinho bom, from 1996). Because Seo Zé reappears with vigor on the album Portasraras in a recording steeped in tropical Latinity that highlights the firm pulse of the metals of the trio formed by Antonio Neves (trombone and brass arrangements), Eduardo Santanna (trumpet and flugelhorn) and Oswaldo Lessa (saxophone and flute ). Situated on the border between album and EP as it has seven tracks, the album Portas Raras precedes the full recording of the show Portas, announced on October 26th by the single Docevamvam and scheduled for December 14th. For Marisa’s followers, the album is pure delight. Special mention deserves the melodious approach of Felicidade (Lupicínio Rodrigues, 1947), a song suited to the softer vocal register adopted by Marisa in recent years. The siren song is irresistible on the track. The ballad A lua e eu (Cassiano and Paulo Zdanowski, 1975) also flows well in the form of a melancholic romantic pop song, but without the soul accent impressed by Cassiano (1943 – 2021) in the original recording presented on the soundtrack of the soap opera O Grito ( TV Globo, 1975 / 1976). With the accordion player and singer from Ceará Waldonys, Marisa performs a duet in A vida do vento (Luiz Gonzaga and Hervê Cordovil, 1953) – played with tenderness – and in Lamento sertanejo (Dominguinhos and Gilberto Gil, 1973), both numbers punctuated by the playing of the accordion of the instrumentalist. With the verses “Sou como rês desgarrada / “Nessa multitude cattle walking haphazardly” evoking the arid route of Segue o seco (Carlinhos Brown, 1994), Lamento sertanejo is made in a serene tone in a recording that gains a rhythmic pulse at the end. The little lion (Caetano Veloso, 1977) roars softly from start to finish in a duet between Marisa and Jorge Drexler captured at a performance in Lisbon, Portugal. Completing the selection of the album Portasrares (live) is the least valuable recording of Pernambucobucolismo (Marisa Monte and Rodrigo Campello, 2006), music that the singer had already captured live for the CD included as a bonus on the DVD Infinito ao meu surround (2008 ). Finally, with the official edition of these songs absent from the original script of the Portas show, Marisa Monte offers a treat to her followers and, even though she is no longer the imposing performer of other times, she reiterates her vocal refinement and shows it with the album Portas gerars (live ) who still appears on the first team of singers in Brazilian music.

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