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Canta Mais

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Album Review

Vânia Bastos is one of the most expressive singers in 2000 in Brazil. A highly skilled professional, she also has remarkably good taste for choice of repertoire and instrumental backing. This album makes evident one of her passions: the magnificent orchestral work where her voice is another instrument. On the opening track, Tom Jobim/Vinícius de Moraes's classic "Canta Mais," over the exquisite, haunting orchestration that coherently evokes Villa-Lobos' "Bachianas," serves as support for some non-virtuosic, simple, and expressive voice improv. Following are three disposable tracks with a pop treatment, based in ska and hip-hop drum machine loops. Next there is a jazz-swing ballad, very sensitively interpreted, a jazz bolero groove over her version of the old bolero classic "El Reloj," and there is a wonderful selection of sambas in the next four tracks, containing a Jobim hit and other newer, excellent compositions by other remarkable composers, João Bosco and Eduardo Gudin. Follows are a frevo by Edu Lobo and three more orchestral tracks, full of the most modern spirit in orchestration and melody.


Born: Brazil

Genre: MPB

Years Active: '80s, '90s, '00s

Vânia Bastos is a privileged interpreter who appeared in the '80s. She became an amateur singer in her teens, in church choirs. She moved to São Paulo in 1975 to study sociology, but Arrigo Barnabé's successful show and album Clara Crocodilo (1980) changed her mind. Barnabé's Tubarões Voadores (1983) confirmed her as a singer of immense possibilities. Besides being a chorus member in recording sessions and performances, she sang for other names of the vanguarda paulista, like Itamar Assumpção. Her...
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Canta Mais, Vânia Bastos
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