Cantoria 1

There have been events in Brazilian music history when the usual voice-and-guitar arrangement turned into something sublime. One of these events, “Cantoria 1,” is the result of a show that, in 1984, gathered Elomar, Xangai, Geraldo Azevedo, Vital Farias, and their four respective guitars — yes, their guitars deserve special attention. On “Cantoria 1,” these instruments are so versatile, astute, and unpredictable that they seem to have a life of their own. But beyond the guitar virtuosity, these four (not so well-known) masters of the Música Popular Brasileira share a griot-like ability to describe the mysteries, hardships, and enchantments of the hinterlands from Northeastern Brazil (where all of them come from). Representative of this semantic and sound universe are the opening track, “Desafio do Auto da Catingueira,” a conversation between the four artists, marked by modulations and unexpected divisions; and “Cantiga do Estradar,” which narrates the odyssey of a wandering troubadour. The big gems are “Kukukaya,” where Xangai experiments with different octaves and unconventional vocal techniques; and “Violêro,” an ode to love, freedom, and art, where the cello of Jaques Morelenbaum — the only other instrument on the entire album — performs as a magnificent second voice.