Ever since Carmen Miranda came to the US in the 1930s, Brazil seems to have had an incessant supply of young artists, going from the bossa invasion in the mid-sixties (Jobim, Joao Gilberto, Astrud Gilberto) to modern voices like Bebel Gilberto, Ceu and Marcio Local—to name a few.
Like Ceu, Luisa Maita hails from the industrial city of Sao Paulo, a metropolis that is home to more than twenty-million people that include both migrants from other parts of the country and also first-, second- and third-generation immigrants from all over the world. Such diversity—and a bustling nightlife—has clearly influenced the region’s pop music. Listening to Maita’s debut CD “Lero-Lero” (Cumbancha), you notice that she takes in that sonic blend to make it her own. Like Ceu, she is heavily influenced by samba, funk and rock. She does, however, seem to rely less on electronics, emerging with a more organic sound that throws back to a more nineties-inspired sound without sounding retro.
For instance, in the title track (which loosely translates as “bullshit”), percussion and electric guitar form a melodic base that is the perfect frame for her soprano, while “Alento” has more of an urban-acoustic feel. She might be well on her way to find an audience stateside, considering her talent and also the history of her many predecessors. (Ernest Barteldes)
November 13 at Logan Square Auditorium, 2539 North Kedzie, (773)252-6179, 8pm. $15.
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