"Don de Fluir"

Bossa nova's day as the Brazlian style-du-jour has long since passed. The cool, jazz-tinged, romantic genre had its heyday in the 60s, but it never really went away, and now enjoys a new life in its own, revered niche of "world music," mostly thanks to new work by the offspring of its progenitors, such as Bebel Gilberto, and also superstar acolytes, like Caetano Veloso. Still, it is hard to think of any artist who has brought as much freshness and verve to bossa territory as guitarist, producer, and singer/songwriter Celso Fonseca does on his brilliant second album, Rive Gauche Rio. A follow-up to his 2003 debut Natural, this set of twelve songs--nine of them Fonseca's own compositions--amount to an affectionate musical meditation on two cities, Paris and Rio, and also the best contemporary bossa this reviewer has heard in years.

Even great bossa nova can be fly-away light, and with so much genius gone before, it is difficult for a relative newcomer to make a difference in the genre. But Fonseca manages to make bossa nova seem consequential and relevant in the age of hip hop. To start with, Fonseca masters the basics. From the unaccompanied vocal intro on the opener, "O Ria Para Trás," we get a voice in deep relax, whispery but not breathy, rich and clear, a bit Joao Gilberto, a bit Caetano. The backing is spare, lithe, muscular, a masterful appropriation of tradition with subtle differences. As the tracks play on--"Por Acaso Pel Tarde" animated by lovely, fat-toned bass playing and pumping, percussive guitar; "Feriado," upbeat and verging on samba; and "Perdi," which morphs bossa into gentle psychedelia--Fonseca's brilliance as a melodic composer emerges as a consistent strength, casting a spell again and again. His musical lines unfold like fine story telling, each word and phrase luring you on to the next, and each conclusion perfectly satisfying.  Very quickly, these songs seem as familiar as old friends.

There are two songs sung in English, "Delicate" (by Damien Rice), another great melody interpreted with unusual, rootsy drum orchestration, and "My Broken Heart," a sweet, classic-sounding guitar and vocal piece. There is also a casual guitar and vocal duo with Jorge Drexler, "Don De Fluir," its spontaneity a welcome change from careful, perfect arrangements. Fonseca brings out the moody, pensive side of bossa, another thing that makes his work feel so contemporary. On the haunting "Altântico," berimbau and cuica percussion sideline the brooding guitar part and a low frame drum grounds out with the ominous, periodic suggestion of explosions in the distance.  Rive Gauche Rio confirms Fonseca's bona fides as a truly great contemporary Brazilian artist, not merely a gifted songwriter or bossa revivalist. 

Contributed by: Banning Eyre for www.afropop.org