4 Rosinha, Essa Menina (Paulinho da Viola) feat. César Faria 1:42
5 Ruas Que Sonhei (Paulinho da Viola) 1:59
6 Sinal Fechado (Paulinho da Viola) 2:43
7 Chora, Cavaquinho (Waldemar de Abreu) feat. César Faria 2:02
8 Carinhoso (João de Barro / Pixinguinha) feat. Marisa Monte
9 Pra Fugir da Saudade (Elton Medeiros / Paulinho da Viola) feat. Iris, Julieta, and Eliane Faria 2:24
10 Filosofia (Noel Rosa) 2:39
11 Pot-Purri: De Paulo da Portela a Paulinho da Viola/Foi Um Rio Que ...
(Monarco / Francisco Santana / Paulinho da Viola) feat. Velha Guarda da Portela 4:21
12 Conflito (Marcos Diniz, Barbeirinho de Jacarezinho) feat. Zeca Pagodinho3:29
13 Retiro (Paulinho da Viola) 1:09
14 Coisas Do Mundo, Minha Nêga (Paulinho da Viola) 3:17
15 Um Sarau Para Raphael (Paulinho da Viola) feat. Nó em Pingo d'Água 4:38
16 Argumento (Paulinho da Viola) 0:37
I haven't done a blog post in over a week so in a way this is a "filler" post. Of course nothing Paulinho has done deserves to be called 'filler' even if it isn't a major entry in his huge body of work. This is a soundtrack record; I highly recommend the film, which is not so much a biopic as a musical portrait of one of Brazil's national treasures. On this record, as in the film, Paulinho performs alongside old friends and new as well as a few solo pieces. A purist to the core, he works through some classic samba and a little bit of choro with guests like Zeca Pagodinho, Cristina Buarque, and Elton Medeiros (with whom he started his career). The only thing keeping this record from being perfect is the presence of Marisa Monte - a robot built by scientists working for the music industry - who sings an utterly forgettable version of "Carinhoso." I am also of the opinion that a moratorium should be declared on that song as well as Garota da Ipanema, with all due respect to Pixinguinha, Jobim and Moraes. But this is also why God invented the "skip" button. Feel free to use it.
There is a relaxed, unrehearsed quality to a lot of the songs here that is very charming. A couple songs feature family members: "Rosinha, Essa Menina" and "Chora Cavaquinho" feature his father, César Faria, one of the founders of the Época de Ouro band along with Jacob do Bandolim, and who would pass away a mere four years after this recording, while "Pra Fugir da Saudade" features his daughters. A high point of the record is Zeca Pagodinho's appearance, which injects a needed bit of energy into this otherwise nostalgic retrospective. Not that nostalgia or saudades are bad: the medley with Elton Medeiros (who rocks out on the matchbook) is a bit sloppy but putting "O Sol Nascerá" (co-written with Cartola) next to "Jurar Com Lágrimas" works really well, and the medley with the Velha Guarda da Portela is also nice. A few of these tracks sound like they came straight from the folio microphones used on the film and so have an almost field-recording quality (you can hear birds chirping outside the windows during "Retiro"). The questionable acoustics of the "room sound" oddly draw your attention to the intimacy of Paulinho's renditions on those songs, but I'm still glad for the richer studio textures of Noel Rosa's "Filosofia" and his own "Sinal Fechado."
If it wasn't for his head full of gray hair, you wouldn't know Paulinho had aged a day since his first recordings in the mid 1960s. Granted, this record is now 10 years old (the minimum for being featured on this blog...) but he still sounds this good today. For fans who already love and respect the walking reservoir of samba who is Paulinho da Viola, this is a nice record to add to your collection, as is the film. For newcomers, this little splash should inspire a deeper dive.