Edson Cordeiro

Terceiro Sinal

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AllMusic Review by

Always an eclectic artist, Edson Cordeiro brings his characteristic counter-tenor voice to a varied repertory. The novelty here is a restrained tone, and the use of a chamber-like group, accentuating the preciousness of his interpretation. The album opens with an stylized samba, whose percussion is discretely pushed to the background. "Super-Homem (A Canção)" (Gilberto Gil) receives a delicate kalimba treatment. "Mamãe, Coragem" (a Tropicalista classic by Caetano Veloso and the late poet Torquato Neto) opens in a melancholic setting which gives room to the energetic baião groove propelled by accordion and berimbau. This is Cordeiro's most Brazilian work, where he visits classics by the Paulistano (from the city of São Paulo) sambista Adoniran Barbosa, the Vanguarda Paulistana member José Miguel Wisnik, the master of Northeastern coco Jackson do Pandeiro, and caipira (redneck) paulista (from the state of São Paulo) music ("Saudade da Minha Terra," Goia/Belmonte). Also sings tango as bolero ("Fumando Espero," Masanas/Garso), and other songs. The best surprise is the abandonment of the easy clichés of the pop opera in favor of a dense and faithful rendition of two of Häendel's arias ("Ombra Mai Fu" and "Lascia Ch'io Pianga"), accompanied by Orquestra Barroca de Campinas. A strong and decisive step towards a deserved recognition as a major MPB interpreter, instead of the circus feature which was becoming his mark.

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