Badoque by dossel

Dossel releases his second album, entitled “Badoque”, into the sea of 2023 news. As has already been demonstrated in his previous work, his compositions clarify a way of seeing the world and feeling it that seems to come, perhaps, not from a port, but from the top of a lighthouse. In the first track, “Filho da Aldeia”, a partnership with Jam da Silva and Pai Guga, talks about a “child who devours us”. Rebirth comes from within, along with a sense of communion. The initial greeting made to the native peoples of the forest sounds a little naive, but it contains an incontestable truth: it is not tomorrow, it is today that the future asks us to think about it through the past, through ancestry. And so the foundation is laid that borders not only the lyrics, but also the range of rhythmic references on the album.

The musical immersion of Dossel,a project by the composer and cultural and musical producer Roberto Barrucho, dives into fine-grained Afro-Brazilian instrumental jazz in “Marimba” featuring Vasconcelos Sentimento and into the existential and full of hope question in “Lembrança de Céu”. This first half of the record puts you on a spin with “Odé” and “Capoeira e sal”. The homage (or prayer) to the hunter orixá is an essential part of the work, since his instrument gives the album its name and illustrates the cover art. In addition to featuring Lucas Barata. The song that follows is an update of the ginga of capoeira singing that creates yet another way of portraying this form of cultural expression born of slavery, showing another path based on the way the Afrosambas treated it. Here, it's the beats and programming that weave its musical clothing.


“Transpasso” is an interlude that precedes the most pop track on the album, “Deixa”. Sung by Silvia Machete, the song is an engaging and contemporary electronic bolero. “Porto” is the most recent single released that precedes the debut of the album and features singer Micah, a prominent figure in independent music from the West Zone of Rio de Janeiro. The poetic allusion to the space that connects land and sea is both literal and allegorical - just see that the cover that illustrated the single features a photograph of the Rio docks.

According to Barrucho himself, the penultimate track, "Clarão", is the song that most represents the intensity of the path traced in the work, which walks through moments of light and shadow. And he himself assumes his vocal interpretation alone, but counts on the accurate flute of Diana Nascimento, musical partner of the first album, over the percussion.

According to Barrucho himself, the penultimate track, "Clarão", is the song that most represents the intensity of the path traced in the work, which walks through moments of light and shadow. And he himself assumes his vocal interpretation alone, but counts on the accurate flute of Diana Nascimento, musical partner of the first album, over the percussion.

The track that closes the disc is doubly exciting. “É Possível, Djalma” is a tribute to one of the most important percussionists in Brazilian music, Djalma Correa, made to him while still alive. It features the participation of Mulambo Jazzagrário (project conceived by Fernando Grilo), drummer Thomas Harres and percussionist Rodrigo Maré, one of the master's main apprentices, who played with Djalma and replaced him in his last show. Djalma passed away at the end of 2022, aged 80, but here his story and his touch gain dimension and historical record. Not by chance, at the end of the album we return to the fundamental call to ancestry announced in its opening, fulfilling a cycle that will give birth to new lives.

brazilan music collective based on rio de janeiro

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