Brazilian legend Caetano Veloso continues to evolve his country’s music with a new record that is indisputably rock ’n’ roll
Despite a career spanning from the 1960s, Caetano Veloso has lately been trotting the globe and playing for what amounts to a brand new audience. To be sure, thousands invariably pack auditoriums in Argentina, Mexico, Portugal and points beyond to watch the Brazilian legend at work. But as has often been the case, Veloso keeps everyone guessing by reinventing himself every few years. A recent release, Cê (Nonesuch Records, 2006) provides the framework for his latest incursions into the unexpected. From the first angular riff of “Outro” to the hip-hop-esque cacophony of “O Herói,” the provocative songwriting and cerebral lyrics are unmistakably Caetano Veloso. But the record’s overall aesthetic is indisputably rock ‘n’ roll. Many diehard fans have shown a mixed response to their hero’s departure from the Bossa Nova and Tropicália that made him famous. Anticipating a more positive U.S. reception, Veloso remarks: “I can tell critic reaction to the album was a lot warmer in America than in Europe.” He explains, “this new show is not full of known songs, so it has to count on its own intrinsic qualities.” Ever since his earliest professional work, Veloso wholeheartedly committed himself to a life in music. A precocious affinity for guitar and vocals enabled him to collaborate with many of his own inspirations, including Gilberto Gil, Gal Costa and of course, João Gilberto. In fact, just after making Gilberto’s acquaintance in 1965, two of Veloso’s original compositions were released by RCA records. His seemingly overnight success only gained momentum as his sensibilities matured. Fusing samba, avant-garde and rock to create a compelling new genre known as Tropicalismo, he quickly became a controversial figure. While much of the first world was reeling amidst a cultural revolution, Brazil’s fragile government fell into the throes of a military dictatorship. Veloso’s work was censored and he was ultimately arrested on trumped-up charges, including “disrespecting the national anthem.” His release two months later came with the stipulation that he refrain from performing or making public declarations. The writing was on the wall; Veloso and his wife left Brazil for political asylum in London. It would be many years before they could safely return. But this period of exile significantly contributed to Caetano’s international celebrity, as well as that of other Brazilian musicians that he helped bring to worldwide attention. Throughout the ‘70s, the scope of his efforts expanded to include record production and intellectual criticism on a number of artistic matters. In the decades hence, his fan base has increased exponentially. As the century turned, fame within the U.S.A. led to his first all-English release, A Foreign Sound. The record encapsulated his all-encompassing sense of eclecticism with interpretations ranging from Gershwin to Cobain. Although now at a period of life in which many artists would relax and enjoy the fruits of their labors, Veloso shows no sign of letting up anytime soon. Just back from a European foray that included stops in Portugal, Spain, Greece, Italy, Belgium, France and England, Caetano loves his audience, and the sentiment is mutual. “(There are a large) number of people who are interested in what I do, enough to fill an 8,000 (capacity) auditorium and recognize the songs,” he confides. Veloso surmises that the universality of his nation’s music should come as no surprise; “Brazilians have adored popular music for more than a century…people have created a rich repertoire throughout the decades. Eventually it became noticeable from afar.” Caetano Veloso’s keen sense of Brazil’s cultural history makes its way into each and every one of his cathartic compositions. His critical insights have indelibly affected the evolution of world music besides. In the words of his beloved progenitor Joao Gilberto, “Caetano added an intellectual dimension to Brazilian popular music.” Caetano Veloso performs as part of the UC Santa Cruz Arts & Lectures Series at 8 p.m. Friday, Nov. 16 at the Civic Auditorium, 307 Church St. in Santa Cruz. For more information call 459-2159 or visit artslectures.ucsc.edu . Tickets range from $31.50 to $68.25.
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