DWITZA

Dwitza represents if not the end, then in any case a radical breaking point, in the career of Ed Motta as we know him. Out goes the effective, sophisticated, but accessible pop composer and enters does the experimentalist, the young student of black music giving vent to its rich sonic culture. The repertoire of the album is basically instrumental (except for two tracks), in which the voice of Ed Motta serves as a background, through the jazzy vocalisation he has been using since Entre e Ouça (92). The themes were conceived as a triple showcase – demonstrating the versatility of Ed Motta as a composer, his erudition in terms of musical references and his capabilities as producer, instrumentalist and creator of arrangements. The result is ambiguous. On the three points cited above, the bulky artist does very well. Jazz (above all of the “Afrocentric” school of the USA), cinematographic soundtracks, progressive rock, soul, funk, samba-jazz – all this and a little more makes up the sonic cauldron of this record, that contains rich and surprising compositions. Vintage tones and instruments put focus on the arrangements, and lend the album the atmosphere of a 1970’s soundtrack. But Dwitza, assumably conceived as a “difficult” album, is harsh to the listener, especially to those used to the usual brand of pop music displayed on Ed Mottas earlier work. It is the kind of album that is hard to listen to, even for someone – and those are few – who is capable of digesting and distinguishing all the influences and references that are spread out on the album. Ed Motta nearly falls for the temptation of vainly wasting his musical knowledge – which would have transformed this album into a tiresome exposition of sounds. When he lowers his pretensions though, Dwitza offers some nice finds. In midst of all the citations, some of which are quite obvious (Amalgasantos to Moacir Santos and Um Dom pra Salvador, homage to the Brazilian pianist), and some are obscure, there is space for the music to speak for itself. As for example the swinging Lindúria and the already mentioned Um Dom, both with elements of Hollywood soundtracks and samba-jazz. The onomatopoetic Malumbulo and Papuera pulse with Afro rhythms, alternating with the cool sway of Cervejamento Total (fusing jazz and batucada). The two only tracks with lyrics, Doce Ilusão and Coisas Naturais shows a refined and thrifty, but at the same time accessible composer. Let’s hope that Ed manage to unite his thirst for “serious” musical exploration with his inborn talent for popular music. (Translated from Portuguese by Philip Jandovský.) (Marco Antonio Barbosa)