Lula Côrtes e Zé Ramalho ‎"Paêbirú" 1975****

This collaboration of Brazilian artists Lula Côrtes and Zé Ramalho was recorded in 1974, released the following year and remained virtually unheard for 30 years due to a warehouse fire that destroyed almost all of the existent copies. A curiously fitting fate for an album dedicated to the four elements: earth, air, fire and water, each of which dominates one side of this double LP. When it finally emerged, people were surprised with how difficult it is to categorize. The obvious link with the Tropicalia movement is there, but "Paebiru" travels much further than that familiar mix of jazz, psychedelic rock, samba and avant garde. Sometimes it brings to mind the experimental Kraut rockers of the 70's like Amon Duul and Can, other times it sounds like the work of 21st century hipsters with a vast library of sounds and highly advanced mixing software. Now that I think about it, I could tell you it's Brazilian stoned hippie jam music and describe it as completely as I can in 2000 words. But it wouldn't be fair: "stoned jams" implies there isn't any melody or structure when in fact these exist, if only to provide the framework within which the musicians freely chase their muse. The Earth side starts with the almost conventional "Trilha de Sumé", a percussion-driven psychedelic samba with fluttering flutes and relaxed vocals not unlike Giberto Gil's early sides. This is followed by the almost cacophonous "Culto à Terra" with tribal drumming, chants and fuzzed out electric guitar, and the charming and melodic "Bailado das Muscarias" with its flute, piano and acoustic guitar. The Air side consists of the beautiful and introspective "Harpa Dos Ares" and "Omm" and the more experimental "Não Existe Molhado Igual Ao Pranto" with its chanted vocals and bebop sax. The Fire side starts with "Raga Dos Raios" shattering the quiet with acid fuzz guitars howling on a backdrop of Indian sounds. The rocking "Nas Paredes de Pedra Encantada" tries to lure us to the dancefloor with its propulsive beat, soul vocals and organ. That vibe continues with an experimental piece with a dancing beat called "Marácas de Fogo". The Water side opens with African-style chanting on "Louvação a Iemanjá" and continues with the psychedelic guitar improvisations of "Regato da Montanha". "Beira Mar" is an acoustic folk guitar interlude, followed by the joyous "Pedra Templo Animal" and instrumental coda "Trilha de Sumé part2". This album is a rare treat for the musically adventurous, but also has enough moments of pastoral beauty and exhilerated fun to hook in the casual listener. One can hardly believe that there are any "lost masterpieces" left in the world, but from time to time a record like "Paêbirú" emerges and proves us all wrong. Here's hoping there are more surprises like that to come...

***** for Bailado das Muscarias, Nas Paredes de Pedra Encantada

**** forTrilha de Sumé, Harpa Dos Ares, Omm, Raga Dos Raios, Marácas de Fogo, Louvação a Iemanjá, Regato da Montanha, Pedra Templo Animal

*** forCulto à Terra, Não Existe Molhado Igual Ao Pranto, Beira Mar, Trilha de Sumé part2