 Badi Assad Badi Assad's brand of Brazilian music is rooted in the classical tradition but springboards into contemporary styles much too diverse to be called traditional. The younger sister of Sergio and Odair Assad (classical guitarists of some renown), Badi has definitely forged her own path in the guitar world, showing off chops that would make your local metalhead crack open a beer with envy but never staying on a straightforward path. Perhaps the best way to describe her approach is something like Michael Hedges plays Jobim. Solo, recorded in 1993, is probably the best way to enjoy Badi Assad's music, as it doesn't have the almost smooth-jazz trappings of some of her other albums. By stripping things down to solo guitar with occasional vocals and percussion, the producers have provided a perfect context for Badi's technique. Sonically, the disc is audiophile-clean, as with most Chesky releases. However, also like most Chesky releases, this CD suffers a bit from "good, boring album" syndrome. At times the music veers off into the sort of thing you hear on NPR when they're segueing between features: kinda cool, but also annoying in its preening "cultured-ness." But NPR isn't to blame for everything. The majority of this album is interesting, thoroughly listenable music that blends baroque classical and contemporary samba styles, played brilliantly. But it never really catches fire, just sitting there sounding pretty and clean. It's the sort of disc "plugged in" 50 year olds would get when they want a new flavor of jazz that doesn't get too out there. That doesn't make it bad, of course, but unless you're the sort of person who gets excited when you see someone playing didgeridoo on a college campus, this won't be your bag. I'd recommend it for guitarists seeking a new style; it's undeniably great playing. Hard-core fans of Brazilian music are also invited. But this will likely prove too much of a test of patience for most people under 40. Highlights inlcude "Joana Francesca," a tiny little Chico Buarque composition that shows of Badi's vocal expressiveness as well as her playing, and "Palhaco," an Egberto Gismonti composition that outshines the other instrumentals on the album in its delicate grace. I doubt that very many people's favorite song of all time will be from this album, but more power to anyone in that category. I feel compelled to mention that the Assistant Producer on Solo is Steve Guttenberg, and if it's "that" Steve Guttenberg, I could not be more baffled. I'm sure it must be a different Steve Guttenberg, right?
Review by Marcus O'Reilly |