Brazil's most distinctive instrument, the acoustic guitar (which, incorporating some indigenous characteristics of that country, became known there as violão) is already a difficult and irrational instrument to play (the same tones can be obtained in different strings and arm positions). In Brazil, it brings additional difficulties because, together with the demanding functions of harmonizer and melodist, the violão becomes also a rhythmic, percussive tool.
Turíbio Santos, an internationally awarded violonista, faces an exigent task here: to mix in his classical playing the hot, swinging, percussive quality of the Brazilian violão. It can be said that he responds to the challenge successfully. Sure, he doesn't have the "uneducated" quality of popular musicians, the crackling tones, the ability to extract poetry from the noise. But, helped by the fact that all rhythms were previously devised and written (with exception of four arrangements by Santos himself, interpreted with an welcomed help of a percussion set), he successfully bridges the gap between the classic and the popular.
The album comprises the spirit of two Brazilian regions: Northeast and Southeast. Gnattali's "Suíte Nordestina," dedicated to Santos, is a wonderful Northeast moment. The Carioca spirit of choro is exposed through one of the most important composers of this genre for the violão: João Pernambuco. Bossa nova lovers can learn through this record the revolutionary compositional style of Garoto, certainly the most important bossa precursor.