‘Orfeu’ Offers the More Eclectic Sounds of Brazil

Brazil’s official submission for the 1999 Academy Awards is a new version of what is probably the most widely known and admired film associated with that country--1959’s “Black Orpheus,” actually a French-Brazilian picture directed by Marcel Camus.

The current version, “Orfeu,” was directed by Carlos Diegues (who also directed the hit “Bye Bye Brazil”). Diegues insists, however, that his version is not a remake of Camus’ classic rendering, even though both are based on poet and playwright Vinicius de Moraes’ play “Orfeu da Conceicao.”

Although “Orfeu” has opened internationally, U.S. audiences will not have the opportunity to make a decision about the similarities between the two versions until the picture opens in this country in June. But Nonesuch Records’ release of the soundtrack album, assembled by Brazilian musical giant Caetano Veloso, produces a number of insights into both the contrasts and the seemingly unavoidable connections.

The most obvious is the music. For many U.S. listeners, “Black Orpheus” provided a powerful introduction to Brazilian music in general and the samba and bossa nova in particular. As a result, Luiz Bonfa’s “Manha de Carnaval” and “Samba de Orfeu” and Antonio Carlos Jobim’s “A Felicidade” became international hits.

Perhaps recognizing their appeal, Veloso has included “Manha de Carnaval” and “A Felicidade,” in considerably different renderings, in the new soundtrack. But he has also taken a much broader, far more eclectic view of Brazilian music than was present in the original film, with tracks that range across contemporary pop sounds as well as bits and pieces from earlier eras. In addition, he has written (and sings) a new ballad, “Sou Voce,” added Jobim’s “Se Todos Fossem Iguais a Voce,” contributed his own vocal to the 1970 song “Os Cinco Bailes Da Historia Do Rio” and provided a group of marvelously atmospheric orchestral segments.

Rough Sounds: “The Rough Guide to World Music” has been the primary source for information about global sounds since it was first published in 1994. A new edition is now on the horizon, expanded to two volumes. The first, scheduled for publication later this month, will cover Africa, Europe and the Middle East. The second is due later this year.

Meanwhile, the World Music Network, in association with Rough, has released a set of 10 medium-priced CDs that can serve as the foundation for a small but thorough world music record collection.

The first, “World Music: Africa, Europe and the Middle East, Vol. 1,” is a companion disc for the book. Its 17 tracks are remarkably inclusive, with material from Ethiopia’s dynamic Aster Aweke, Cape Verde’s Cesaria Evora, Zimbabwe’s Oliver Mtukudzi, Israel’s Meira Asher, Portugal’s Antonio Chainho and Hungary’s Muzsikas.

Three of the other albums are essentially samplers: “The Rough Guide Music Sampler” is a highly eclectic set reaching beyond world music to include tracks (by everyone from Thomas Mapfumo to Bessie Smith) from other Rough Guide collections. “The Rough Guide to World Roots” is a global overview with selections from Baaba Maal, Marlui Miranda, Marta Sebestyen, Nusrat Fateh Ali Khan and others. And “Rhythm-Time: World Percussion” explores the infinite variety of global drumming.

The remaining titles all deal with specific geographic or stylistic musical areas: “Music of the Gypsies,” “Calypso and Soca,” “The Music of Africa,” “Salsa Dance,” “Irish Folk” and “Tex-Mex.”

Global Sounds: St. Patrick’s Day is still a month and a half away, but there’s already a bundle of new Irish music recordings. Here’s a pair of attractive entries:

Altan, “Another Sky” (Narada). Altan’s elegant music is centered around the voice of Mairead Ni Mhaonaigh, one of the most sinuous sounds in Celtic music. Also present as guest artists are Bonnie Raitt, Jerry Douglas, Donal Lunny, among others, and one of the most fascinating tracks is a lovely, traditional-style rendering of Bob Dylan’s “Girl From the North Country.” The album won’t be in stores until the end of the month, but Altan puts in an appearance Feb. 18 at UCLA’s Royce Hall.

Liz Carroll, “Lost in the Loop” (Green Linnet). The Irish-American--an All-Ireland fiddle champion and National Heritage Award winner--has named her first album in more than a decade after a landmark in her Chicago hometown.

Blessed with a personal sound and a traditional approach to melodic articulation, she plays superbly, accompanied by Solas musicians Seamus Egan, John Doyle and Winifred Horan, and Altan’s Daithi Sproule.