Though a prolific sideman,
Chama
marks the first album to appear under composer and master percussionist
Cyro Baptista
's name in seven years, and his
Ropeadope
debut. It was recorded in seven different studios over several years. As one might expect, it offers a fluctuating lineup on each cut. Among its players are old friends and collaborators including
Laurie Anderson
,
Jamie Saft
Brian Marsella
, and guitarists
Todd Clouser
and
Romero Lubambo
.
Baptista
composed and arranged all but one track.
Opener "Fast Forward" is a jaunty carnival number driven by
Felipe Hostins
' syncopated accordion grooves and a samba beat from drummer
Gil Oliveira
plays berimbau, driving a second rhythm under the squeeze box as
Jorge Continentino
paints the melodic vamp with his fife. "Gato Morto ... Gotta Move" is a rangey, exotic blues with
Clouser
Kevin Breit
on guitars; its pulse is driven by
Batista
's surdo (a large bass drum) and berimbau, highlighting
Aaron Cruz Leona
's bassline, which is framed by the band's ghostly vocal chant and
Cruz
's moaning harmonica. "Afrisky" is a set highlight offered completely solo.
weaves a beat-laden spell from the soils of West Africa, Brazil, and Cuba. He plays nine percussion instruments, offering a hypnotic groove that perfectly foreshadows the proceeding title cut that weds cumbia, flamenco, and afoxe. He plays an army of percussion (including a glass shaker and whips).
John Lee
's acoustic guitar and
Breit
's mandola join accordion, bass, and drums under a tender lyric chant from the bandleader and
Carlos Eduardo Costa
. "A Drop in the Ocean" is like a film score, with dramatic, extended tones and episodic musical changes. It flows directly into the Mexican standard "La Bamba," delivered with rhythmic accordion pulsing under
Lubambo
's guitar and
's bajo sexto. The ethereal chorus vocals by
Pamela Driggs
add another worldly dimension making it sound old world and contemporary at the same time. "Annuntiato" is an almost ambient duo performance by
(strings) and the percussionist. He creates modes and an implied melody on his plethora of instruments while she adds effects and layered violins. "Constellation" commences inabstractionn. Joined by
Marsella
on keys and pan flute, and
Franck Villard
on drums, the chaotic yet essential jam flirts with industrial, jazz, samba, and Andean folk with an infectious melody. A homemade berimbau is the centerpiece of "CandomBlues," its single string and bow duel with hand percussion and chants from
Sergio Krakowski
. The funky, percolating "Paramaribo," with its shifting polyrhythmic palette, sets four singing voices against interlocked cumbia, rocksteady, descarga, and mariachi rhythms, all entwined by rhythms from
Oliveira
, and
Clay Ross
' stinging electric guitar and
's
Gregg Rolie
-esque organ exchange heated lines before the vocalists chant it out.
has never released a substandard album.
not only sustains his streak, but its wildly creative, deep groove-laden compositions are simultaneously exploratory and celebratory. Despite the long wait, this album stands with his best work. ~ Thom Jurek