The album opens with a huge surprise: fuzzed-out guitars and drum machines. Could it really be a Moraes Moreira album? His recognizable voice comes in, bringing the certainty. The track "Aroldo Jungle" utilizes the English dancing rhythm to express the urgency of dissolving frontiers -- even within Brazil. But "Felicidade No Ar," almost a recreation of "Preta Pretinha," restores the acoustic delicacy, continued in the beautiful percussion and accordion of "São Francisco." The Afro beat introduction for Lupicínio Rodrigues' "Felicidade" gives room to a mixture of carimbó and reggae. "Beber Na Fonte" again has the acoustic percussion of Bahia. "Caranguejo Dance," a tribute to Chico Science and his mangue beat, is another mix of Bahian grooves (maracatu), drum machines, and overdriven guitars. Unprejudiced to the point of exposing himself to the controversial axé music, he performs "Praça Dos Independentes," where a part in that rhythm is substituted by the old frevo in the bridge. Frevo is also the rhythm of "Sinal de Vida," a jingle sold to Bahia's department of transit, an effort to stop traffic violence. "A Raposa E O Boi" is a rap over a swinging percussive set. "Ditos Eruditos" quotes several classical composers (Beethoven, Ravel, and others) over a choro groove. "Ares Populares" brings the baião to the picture. "Brasileiro Jazz"'s chosen rhythm is bossa, over which Moreira develops his lyrics, a tribute to Brazilian musicians with instruments in their stage names. "Passo A Passo" again has the frevo. At the end of the listening, one agrees with Moraes: It is possible to keep an open mind and be a sincere artist.
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AllMusic Review by Alvaro Neder