Bleep

Mr Bongo concluded a long-running project in 2016, releasing the long-awaited reissue of Arthur Verocai’s storied 1972 self-titled debut. Now past its 50th anniversary, the label has kept the album’s romantic strings, percussive jazz verve, and touch of synth ingenuity in generous circulation. Initially snubbed by critics upon release, the album has taken on the mystique of cult status over the years, not least for its enigmatic creator, a singularly talented, self-taught musician and arranger who imbued the bossa nova and música popular brasileira styles of his native Rio de Janeiro with the fusion sensibilities of Miles Davis and Frank Zappa.

Three decades after its release, Arthur Verocai garnered a rarefied reputation. Artists from Madlib to Khruangbin and pretty much everyone in between cite its influence, while Verocai’s resurgence has resulted in collaborations with Quantic, Hiatus Kaiyote, and BADBADNOTGOOD, and even a return to making solo records. The dynamic thrust of the opening sequence on ‘Na Boca Do Sol’ lends itself to the number of hip hop samples it’s gotten, namely from Metal Fingers MF DOOM, leading 21st century listeners to the cathartic vigour that lies ahead.

‘Caboclo’ is an instant melange of sounds and styles: swirling psychedelic effects, anticipatory paced out plucks and strums, crisp, clear details of glistening piano and synthesiser notes. It introduces those emotive, elegant strings that flow through the album’s phases, glueing together the assortment of instruments tapping into sky blue colours on ‘Sylvia’, the funky wah guitar and anthemic splashes of brass on ‘Presente Grego’, panned wide for that panoramic view. Heartfelt expressions of vocals, saxophone, and virtuosic piano chords alike rise over the grooves, converging in a kaleidoscope of solos from just about every performer on the finale ‘Karina (Domingo No Grajaú)’.

We're still finding it hard to grow tired of this one, after many spins. At long last back in print and completely essential in every collection.