Hot, hot samba on a chilly L.A. evening

Leading Brazil’s own carnival season by a week, the Southland’s “Brazilian Carnaval 2003” took over the Palladium on Saturday night to celebrate the last few days before the abstinence of Lent with a wildly extravagant musical party.

Starting at 8 p.m. and roaring on into the early morning hours, a packed-house crowd filled the dance floor, inventing its own versions of the samba, twisting and turning virtually nonstop to the music of the G.R.E.S. Unidos da California Samba school and the spectacular drumming of the veteran Bahian percussion ensemble Olodum.

For those unwilling (or unable) to maintain a high aerobics level for hours at a time, there was plenty of visual distraction in the form of the sequined and feathered Made in Brazil dancers, vigorously demonstrating the correct way to do the samba.

But the stars of the evening were the talented members of Olodum, an ensemble whose 25-year career has included collaborations with, among others, Herbie Hancock, Wayne Shorter and Paul Simon. Now a musical institution, it has become one of Brazilian culture’s most inter- nationally visible representatives.

Not that the audience -- fully primed for action by the time Olodum arrived on stage at midnight -- cared much about institutions. The first thunderous rumble from the front line of large, powerful surdo drums triggered an instant cheer, followed by churning, mass movement from the crowd.

Turning up the heat with each number, the talented Olodum players spun around, dancing playfully as they tossed their drums in the air, flipping drumsticks back and forth, maintaining their infectious samba-reggae rhythms -- and bringing a convincing taste of sunny Bahiato to a chilly Los Angeles evening.