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Obrigado Brazil

Heitor Villa-Lobos (Composer), Antonio Carlos Jobim (Composer), Cesar Camargo Mariano (Composer), Format: Audio CD

4.6 56 ratings

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Track Listings

1	Cristal
2	Chega de Saudade
3	A lenda do caboclo
4	Doce de coco
5	Dansa brasileira
6	Apelo
7	Dansa negra
8	1 x 0 (um a zero)
9	Menino
10	Samambaia
11	Carinhoso
12	Alma brasileira
13	O Amor em Paz
14	Bodas de Prata & Quatro Cantos
15	Brasileirinho
16	Salvador

Product details

Product Dimensions ‏ : ‎ 1 x 14.2 x 12.5 cm; 93.27 Grams
Manufacturer ‏ : ‎ Sony Music Classical
SPARS Code ‏ : ‎ DDD
Label ‏ : ‎ Sony Music Classical
ASIN ‏ : ‎ B000093I5K
Number of discs ‏ : ‎ 1

Best Sellers Rank: 197,608 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- 31,927 in Classical Music (CDs & Vinyl)
- 84,180 in Pop

Customer reviews:
4.6 56 ratings

Customer reviews

4.6 out of 5

56 global ratings

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angus wong

received and in good quality

Reviewed in the United Kingdom on 4 June 2023

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received and in good quality

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C B

Four Stars

Reviewed in the United Kingdom on 3 August 2016

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Strange and wonderful

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Pat

Magic!

Reviewed in the United Kingdom on 17 February 2010

Obrigada Yo-Yo! I love Brazilian music of all sorts - from chorinho to frevo, from bossa nova to Villa Lobos and somehow Yo-Yo Ma succeeds in creating a sort of marriage in heaven - a fusion of the melodious and sexy aspects of the best of Brazilian music with the deep magical mystery of his wonderful cello. So is Yo-Yo now an honorary Brazilian? and/or are his Brazilian collaborators honorary Japanese? Whatever - this is definately among my top favorite discs: I don't think I will ever grow tired of it - it carries me off into some other world...

2 people found this helpful

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Bob Zeidler

Yo-Yo's best "classical crossover" CD yet.

Reviewed in the United Kingdom on 1 September 2003

It's been enjoyable for me to experience Yo-Yo Ma's excursions into "not quite classical" music, and to take note of how much better he gets with each such foray, and how those forays have introduced me to other great musicians.
It was through Yo-Yo's first such foray, "Appalachia Waltz," that I initially became familiar with the fiddling of Mark O'Connor and the bass playing of Edgar Meyer, two artists I've since become well-acquainted with, collecting all of their works. And, if this early foray of Yo-Yo's was somewhat tentative on his part, in terms of adapting to new styles of playing, he has only gotten better – measurably better, in fact – since then.
"Obrigado Brazil" is the sequel to Yo-Yo's wildly successful "Soul of the Tango" album, and I think it surpasses it in every respect, not least of which is his constantly improving skill at absorbing and subsuming "world music" genres and styles. Moreover, the variety of Brazilian music on this album is far wider – and the music itself much more laid-back – than the tangos of that earlier effort. (There is a near-monochromatic tension in the rhythms and sharp accents of the tango, as a musical form, that can tend to give the music a sense of "sameness"; a little can go a far way. This is hardly the case for the mellower range of styles present in Brazilian music, which is much more of an amalgam of the many cultural styles of Brazil than the more restricted – and heavily stylized – tango form.)
For this project, Yo-Yo has brought along a few artists who collaborated on the "Soul of the Tango" project: Kathryn Stott, the pianist on both, and Oscar Castro-Neves, the great Brazilian guitarist who not only got in some of the best guitar licks on "Tango" but produced that album as well. Other well-known Brazilian and world music artists include Cyro Baptista, Paulo Braga, Romero Lubambo and Nilson Matta (who collaborated with Oscar and with Paul Winter on their "Brazilian Days" album), the guitarists Sérgio and Odair Assad, Rosa Passos (a wonderful Brazilian vocalist seemingly the equal of Astrud Gilberto or Luciana Souza), Paquito D'Rivera on clarinet, and, last but far from least, Egberto Gismonti, a phenomenally gifted composer and instrumentalist, here offering up two of his own works in duets with Yo-Yo (one on piano and one on guitar and flute).
With sixteen great tracks (not a one of them less than outstanding), it is very hard to play favorites. But there are a few that stand out above the others for me, so I'll say a few words about these. First would be "Chega De Saudade" by the great Antonio Carlos Jobim, with Rosa Passos on vocals and guitar. "Saudade" is a uniquely Portuguese word for "longing" that has no direct English equivalent; the music, however, says it all.
Second would be the well-known Heitor Villa-Lobos tune "Alma Brasileira," arranged as a duet for cello and piano (Kathryn Stott). Anyone familiar with the work of Villa-Lobos, Brazil's greatest composer, would recognize this track even without referring to the track titles.
Third, simply because it is simply "great fun," would be "Brasileirinho," a "street samba" (common at Carnival time), arranged for cello, clarinet, piano, guitar, bass and lots of riotous percussion. A typically joyous Carnival "romp."
And finally, what I believe to be the very best track on the album, "Bodas De Prata & Quatro Cantos," an extended (nearly 10-minute) work by Egberto Gismonti for cello and piano (with Gismonti on keyboards). I first ran across the music of Gismonti when a friend, knowing that I liked Brazilian music, "gifted" me with a few of his albums acquired while he was in Brazil. Gismonti is a prodigiously talented composer and instrumentalist who needs to be better known in the U.S. Perhaps this track on "Obrigado Brazil" will be the key that opens the door for American listeners. The work is virtuosic in every respect (Yo-Yo and Egberto pull out all the stops in performing it), and it certainly engaged my "classical" side for its full duration.
"Obrigado Brazil" samples all of the multicultural styles of Brazilian musics. But, if there is a "spiritual godfather" overlooking the artistic efforts and the perfecting of Yo-Yo's Brazilian styles, so that he is "at home" with the genres (particularly Bossa Nova and samba) in this project, I think that godfather is Oscar Castro-Neves. I sense his artistic influence throughout, most particularly in Yo-Yo's very Brazilian way with phrasing and articulation. And why not? They worked so closely together on "Tango" that such a relationship is both understandable and natural.
In an earlier review, of Regina Carter's "Paganini: After a Dream" album, I had offered up the opinion that Ms. Carter had the best inside shot at a "best classical crossover" Grammy. Hmm... Now I'm not so sure. But I'm sure that the Grammy race for this category will be interesting, with both Yo-Yo and Regina having such great albums for the event.

17 people found this helpful

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J. P. Vieira

The best off both worlds . Cello and Brazil music

Reviewed in the United Kingdom on 22 May 2006

It was a gift. When I fist listened to it, I could no beleave in what I was listening. Brazilian music played on a, or accompained by a cello. Yo-Yo MA achieves the hard task to put together the cello with one of the most rich music in the planet. I neve get tired to listen to it. You should try it to.

4 people found this helpful

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