Noites Do Norte

Editorial Reviews

Barnes & Noble - Mark Schwartz
Who better captures Brazil's lethal combination of fulsome sensuality and florid intellect better than the poet laureate of Tropicália, Caetano Veloso? At age 59, his voice is as supple as ever and his musical and literary appetites omnivorous and insatiable. After settling into an elegant chamber-pop groove with albums such as Livro and Prenda Minha, Veloso takes a Bowie-esque turn into art rock with Noites do Norte. Opening with a stark, sexy "Zera a Reza" -- inspired, he says, by D'Angelo's Voodoo album -- he sets a decidedly stripped-down mood on songs that nearly all touch upon Brazil's complex racial history. The title track, Veloso's reading of a text from ...
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Editorial Reviews

Barnes & Noble - Mark Schwartz
Who better captures Brazil's lethal combination of fulsome sensuality and florid intellect better than the poet laureate of Tropicália, Caetano Veloso? At age 59, his voice is as supple as ever and his musical and literary appetites omnivorous and insatiable. After settling into an elegant chamber-pop groove with albums such as Livro and Prenda Minha, Veloso takes a Bowie-esque turn into art rock with Noites do Norte. Opening with a stark, sexy "Zera a Reza" -- inspired, he says, by D'Angelo's Voodoo album -- he sets a decidedly stripped-down mood on songs that nearly all touch upon Brazil's complex racial history. The title track, Veloso's reading of a text from Brazilian abolitionist Joaquim Nabuco, is poetic and stirring as Bob Marley's "War" an excerpted speech by Haile Selassie, but soft and melancholic. It's followed by "13 de Maio," commemorating the date slavery was outlawed in Brazil and arranged and performed largely by Caetano's son Moreno. "Zumbi," Jorge Ben's 1973 classic retelling of the legend of Brazil's runaway slave hero gets a relaxed samba-funk treatment. In his own consummately artistic way, Caetano balances his country's European, African, and indigenous identities musically as much as thematically: A string consort sighs above the muted rattle and thud of samba percussion; jazz textures appear in the orchestral salute to Italian director Michelangelo Antonioni; another homage, to rocker Raul Seixas, invokes growling guitars to deliver the lament of a Brazilian artist with a "son-of-a-bitch desire...to be American." Engaging on so many levels, Noites do Norte proves that Veloso is only getting better and that he remains as unpredictable as ever. It's another treasure from a singular voice -- and singular vision.
Barnes & Noble - Mark Schwartz
Who better captures Brazil's lethal combination of fulsome sensuality and florid intellect better than the poet laureate of Tropicália, Caetano Veloso? At age 59, his voice is as supple as ever and his musical and literary appetites omnivorous and insatiable. After settling into an elegant chamber-pop groove with albums such as Livro and Prenda Minha, Veloso takes a Bowie-esque turn into art rock with Noites do Norte. Opening with a stark, sexy "Zera a Reza" -- inspired, he says, by D'Angelo's Voodoo album -- he sets a decidedly stripped-down mood on songs that nearly all touch upon Brazil's complex racial history. The title track, Veloso's reading of a text from Brazilian abolitionist Joaquim Nabuco, is poetic and stirring as Bob Marley's "War" an excerpted speech by Haile Selassie, but soft and melancholic. It's followed by "13 de Maio," arranged and performed largely by Caetano's son Moreno and commemorating the date slavery was outlawed in Brazil. "Zumbi," Jorge Ben's 1973 classic retelling of the legend of Brazil's runaway slave hero gets a relaxed samba-funk treatment. In his own consummately artistic way, Caetano balances his country's European, African, and indigenous identities musically as much as thematically: A string consort sighs above the muted rattle and thud of samba percussion; jazz textures appear in the orchestral salute to Italian director Michelangelo Antonioni; another homage, to rocker Raul Seixas, invokes growling guitars to deliver the lament of a Brazilian artist with a "son-of-a-bitch desire…to be American." Engaging on so many levels, Noites do Norte proves that Veloso is only getting better and that he remains as unpredictable as ever. It's another treasure from a singular voice -- and singular vision.
All Music Guide - Chris Nickson
Veloso continues to show his pre-eminence as a singer and songwriter with Noites Do Norte. He may be almost 60, but he's far from set in his ways, still chipping away at lyrical and musical boundaries. But where he looked outward many years ago, getting inspiration from the rock music of Britain and America, these days he looks inside, at Brazil, making songs like his version of Jorge Ben's "Zumbi" a cinematic journey across Brazil. The title track delves back into history, its words taken directly from the writing of 19th century abolitionist Joaquim Nabuco. Inevitably, samba and bossa nova remain the musical touchstones, but they're also the jumping-off point for experimentation, such as the hip-hop drumming up front in the mix on the opener, "Zera a Reza," or "13 De Maio," where son Moreno Veloso offers his own idiosyncratic approach to the playing and engineering. "Ia" uses electric guitar and drums to make a swirling soundscape that's almost modern psychedelia behind Veloso's instantly recognizable voice. Never content to tread ground he's already covered, Veloso continues to go off the map.

Veloso continues to show his pre-eminence as a singer and songwriter with Noites Do Norte. He may be almost 60, but he's far from set in his ways, still chipping away at lyrical and musical boundaries. But where he looked outward many years ago, getting inspiration from the rock music of Britain and America, these days he looks inside, at Brazil, making songs like his version of Jorge Ben's "Zumbi" a cinematic journey across Brazil. The title track delves back into history, its words taken directly from the writing of 19th century abolitionist Joaquim Nabuco. Inevitably, samba and bossa nova remain the musical touchstones, but they're also the jumping-off point for experimentation, such as the hip-hop drumming up front in the mix on the opener, "Zera a Reza," or "13 De Maio," where son Moreno Veloso offers his own idiosyncratic approach to the playing and engineering. "Ia" uses electric guitar and drums to make a swirling soundscape that's almost modern psychedelia behind Veloso's instantly recognizable voice. Never content to tread ground he's already covered, Veloso continues to go off the map.
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Product Details

  • Release Date: 4/24/2001
  • Label: Nonesuch
  • UPC: 075597963120
  • Catalog Number: 79631

Tracks

Disc 1
  1. 1 Zera a Reza (5:08)
  2. 2 Noites Do Norte (2:46)
  3. 3 13 de Maio (3:36)
  4. 4 Zumbi (4:56)
  5. 5 Rock 'N' Raul (5:16)
  6. 6 Michelangelo Antonioni (3:44)
  7. 7 Cantiga de Boi (4:47)
  8. 8 Cobra Coral (4:15)
  9. 9 Ia (3:52)
  10. 10 Meu Rio (4:32)
  11. 11 Sou Seu Sabiá (4:43)
  12. 12 Tempestades Solares (3:01)
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Album Credits

Performance Credits
Caetano Veloso Primary Artist, Acoustic Guitar, Vocals, Hand Clapping
Lulu Santos Vocals
Domenico Percussion
Zeca Assumpção Bass
Nara Gil Vocals
Carlos Malta Bass Flute
Armando Marçal Tambourine, Tamboura, Rattle
Pedro Paulo Trumpet, Flugelhorn
Alceu Reis Cello
Arthur Maia Bass
Rick Amado Violin
Moreno Veloso Percussion, Cello, Conga, Drums, Tambourine, Surdo, Bumbo
Paula Morelenbaum Vocals
Michel Bessler Violin
Paschoal Perrota Violin
Bernardo Bessler Violin
Marcelo Costa Percussion
Walter Hack Violin
Jose Alves Violin
Luis Brasil Acoustic Guitar, Guitar, Conductor, Vocals, Talk Box
Joao Daltro Violin
David Ganc Alto Flute, Piccolo
Milton Guedes Harmonica
Eduardo Hack Violin
Marcelo Sabóia Recorder
Jessé Sadoc Trumpet
Zélia Duncan Vocals
Pedro Sá Bass, Electric Guitar, Vocals
Antonella Pareschi Violin
Jorge Gomes Percussion
Ronaldo Silva Percussion
Belo Veloso Vocals
Du Bass Drums, Timbales, Hand Clapping, Timpani, Rattle, Drum Sticks
Vittor Santos Trombone
Flávio Melo Trumpet
Katia Pierre Flute, Piccolo
Carlos Prazeres Alto Horn, Oboe
Márcio Victor Bass Drums, Horn, Timbales, Triangle, Atabaque, Darbouka, Hand Clapping, Rattle, cowbell, Sabar, Tambor, Drum Sticks
Technical Credits
Caetano Veloso Arranger, Producer, Vocal Arrangements
Jaques Morelenbaum Arranger, Producer, String Arrangements, Brass Arrangment
Antonio "Moogie" Canazio Engineer
Moreno Veloso Arranger, Mastering Consultant
Max Pierre Art Direction
Luis Brasil Arranger, String Arrangements, Brass Arrangment, Musical Supervision
Marcelo Sabóia Engineer
Luiz Zerbini Art Direction
Pedro Sá Arranger, Mastering Consultant
Ricardo Garcia Mastering
Carolina Hermeto Assistant Hair Stylist
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