Estudando o Pagode

Editorial Reviews

All Music Guide - J. Scott McClintock
Tom Zé has always had a knack for mixing rural, back-porch compositions with whatever technology was available to him -- giving his music a distinctive spice of the avant-garde. His tunes may be centered around the strumming of his battered acoustic guitar, but his production and mixing techniques often take his songs into a weirder world. A self-described "musical journalist," Zé isn't concerned with making you boogie as much as he is concerned with telling you what the deal is. "Socially conscious performance artist" might be a more accurate (if slightly demeaning) description of Zé's trajectory, but there's even more to it than that. He's whip smart and puckish, ...
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Editorial Reviews

All Music Guide - J. Scott McClintock
Tom Zé has always had a knack for mixing rural, back-porch compositions with whatever technology was available to him -- giving his music a distinctive spice of the avant-garde. His tunes may be centered around the strumming of his battered acoustic guitar, but his production and mixing techniques often take his songs into a weirder world. A self-described "musical journalist," Zé isn't concerned with making you boogie as much as he is concerned with telling you what the deal is. "Socially conscious performance artist" might be a more accurate (if slightly demeaning) description of Zé's trajectory, but there's even more to it than that. He's whip smart and puckish, literate and reverent, wry and wily, tender and motherly, and utterly without boundaries -- either musical or artistic. Zé embraces the regimented hierarchy of classical mythology with the same gusto he affords the irreverent deconstructions of Marcel Duchamp -- placing himself somewhere between Wagner and Captain Beefheart, but showing an allegiance to neither. In keeping with that (seemingly) disparate artistic view, Zé's latest offering, Estudando o Pagode, juggles the stodgy constraints of the operatic form, the barroom machismo and lively improvisation of samba-pagode, a healthy dose of feminist empowerment, and a smattering of Greek, Catholic, and Shakespearian tragedy. The operetta unfolds in three acts and time travels, wildly, throughout history -- giving glimpses of men's desires, fears, and misconceptions regarding women through a series of leapfrogging scenes. As a Zé project goes, Estudando o Pagode isn't atypical. There are more personnel on board here than usual, but his singular vision remains undiluted. High moral ideals mix with low-tech instrumentation (his use of ficus leaves as primitive reeds, for example), and complex ideology mixes with economical arrangements to yield a work that is greater than the sum of its parts, without being the least bit overblown -- over the top at times, but never grandiose simply for the sake of ornamentation. To Zé's credit, the concept never overshadows the songs, which, at their heart, are pop songs. They exist, both within the context of the operetta and as their own entities. This is not the kind of heady, impenetrable concept schlock that plagued the heyday of progressive rock, with that genre's predilection for instrumental wankery and pomp at the expense of sincerity and clarity. No, Zé's always been too cool for that, and too keen on making sure the listener knows exactly where he's coming from -- and where he's going.
The New Yorker - Sasha Frere-Jones
One can only hope that an American benefactor will be brave enough to mount this merry disquisition on a stage here and coax Zé into performing again.
Pitchfork
Estudando o Pagode certainly sprawls, but it does so in the same way Rio, São Paulo, and Brasilia sprawl: Alternately in patterns and haphazardly, overflowing with humanity at all points, and messy at the edges.

Estudando o Pagode certainly sprawls, but it does so in the same way Rio, São Paulo, and Brasilia sprawl: Alternately in patterns and haphazardly, overflowing with humanity at all points, and messy at the edges.
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Product Details

  • Release Date: 4/11/2006
  • Label: Luaka Bop
  • UPC: 680899006224
  • Catalog Number: 90062
  • Sales rank: 152,810

Album Credits

Performance Credits
Tom Zé Primary Artist, Bass Guitar, Vocals, Voices, Human Whistle, Choir, Chorus, Bottle, Comb, Baritone (Vocal), Alto (Vocal), Metal Objects
Gilberto Assis Bass, Guitar
Lauro Lellis Drums, Group Member
Jarbas Mariz Percussion, Viola, Vocals, Cavaquinho, Group Member
Edson Cordeiro Vocals, Voices, Baritone (Vocal), Soprano (Vocal), Guest Appearance
Zélia Duncan Voices, Alto (Vocal), Guest Appearance
Marietta Benevente Choir, Chorus
Patrícia Marx Voices, Soprano (Vocal), Guest Appearance
Vange Milliet Voices
Suzana Salles Voices, Choir, Chorus, Soprano (Vocal), Alto (Vocal)
Luciana Mello Voices, Alto (Vocal), Guest Appearance
Webster Santos Guitar, Cavaquinho, Bandolin
Jair Oliveira Acoustic Guitar, Bass, Guitar, Percussion, Bass (Vocal), Electric Guitar, Keyboards, Vocals, Voices, Human Whistle, Choir, Chorus, Baritone (Vocal), Tenor (Vocal), Soprano (Vocal), Alto (Vocal)
Guilherme Kastrup Percussion, Drums
Edmilson Capelupi Cavaquinho, Guitar (7 String Acoustic)
Sérgio Caetano Acoustic Guitar, Bass Guitar, Electric Guitar, Vocals, Group Member
Cristina Carneiro Keyboards, Vocals, Bottle, Group Member
Paulo Lepetit Bass, Guitar, Percussion
Rodrigo Sanchez Vocals, Track Performer
Luciana Paes DeBarros Choir, Chorus, Track Performer
Dona Amália Choir, Chorus
Dra. Mara Behlau Vocal Director
Rezedeira Amália Costa Choir, Chorus
Benzedeira Eloísa DaSilva Choir, Chorus
Doctor Osiris Camponês DoBrasil Vocal Director
Dona Eloisa Choir, Chorus
Márcio Forte Percussion
Mônica Fuchs Mezzo-Soprano (Vocal), Track Performer
Daniel Maia Bass, Vocals, Guitar (7 String Acoustic), Group Member
Dona Marieta Choir, Chorus
Technical Credits
Tom Zé Arranger, Liner Notes, Artwork, Project Support
Gilberto Assis Composer
Joao Marcello Boscoli Executive Producer
Marcos "Golden Ears" Eagle Mastering
Elifas Andreato Artwork
Fernanda DiLiello Advisor
Pedro Luis Advisor
Jair Oliveira Arranger, Programming, Producer
Andre Szajman Executive Producer
Cláudio Szajman Executive Producer
Paulo Lepetit Arranger, Programming, Engineer
Rodrigo Sanchez Engineer, Sound Design
Luciana Paes DeBarros Art Direction
Augustinha Casting
Tatiana Lima Biographical Information
Neusa S. Martins Sound Effects, Presentation
Arthur Nestrovski General Supervisor, Casting
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