If you know Brazilian musician Ricardo Dias Gomes, it’s probably through his judicious bass playing on Caetano Veloso’s wondrous 21st century run of albums: Cê, Zii E Zie, and Abraçaço. Like his former employer, Gomes is a minimalist at heart, adept at conjuring up intimate worlds from the sparest of gestures. “Fllux” entrances with just a distorted bass, as does the distorted taffy of “Transição.” But such spartan sounds can also pivot and go heavenward, as when Gomes’ close-mic murmurs and walking bass transform into a beautiful full bloom on “Não ver onde se vê.”