ONÁ

TRACES OF BRAZIL VOICES OF TORONTO

Duas Trompas

Andre Valério, guitar/compositions; Rich Brown, bass; Alan Hetherington, drums/percussion; Colleen Allen, soprano saxophone/flute/clarinet; Sheba ThibIdeau, bassoon; Victor Prado & Olivia Esther, horn.

“Oná” is a Canadian chamber-jazz ensemble founded by musicians who achieved international recognition in various genres including jazz, European classical, chamber and world music. Oná formed in 2024, quickly becoming a distinctive and artistic cultural voice in Canada. They are made up of a unique combination of instruments, featuring two French horns, a bassoon, saxophone, flute, clarinet, guitar, bass and percussion.  However, I felt the production of these Andre Valério original compositions presented lower energy and excitement than I expect to hear in Brazilian music.

They open with “Pro Olmir” a composition to tribute guitarist and living legend of Brazilian guitar, Olmir Stocker.  The arrangement features an urban orchestrated sound, where samba meets collective energy.  Colleen Allen is featured, presenting her woodwind power and fluttering above the track with energy. Because this was a tribute to a guitar player, I found it odd that Valerio did not take a guitar solo.

A year ago, they posted a YouTube video to celebrate their song “Chorinho de Gafieira” which has more Brazilian energy with just four of the ensemble members participating than what I’m hearing on this new album.

Track #2, on their newly released album titled “Sem Vocé,” has a lovely melody and horn arrangements that show off their silky-smooth harmonic approach to the original music.  The ensemble quietly moves into a slow, romantic choro called “Sentimental” once again featuring Allen’s flute. Sheba Thibideau’s bassoon also adds a stunning featured solo.

At last, on “Sambado” (the group’s signature piece) their musical identity connects both past and present of Brazil and Canada, infusing the arrangement with traditional Brazilian rhythms and energy, along with the more classical, Canadian chamber music approach. This is an easy-listening experience. However, I miss the burning fire and joy that Brazilian music is so famous for integrating into their musical message. The addition of the band voices at the end of this tune became a sort of chant, meant to recall the washerwoman’s songs that are an integral part of Brazilian culture and tradition. Unfortunately, the voices were lack-luster and not at all joyful.

Reviewed by Dee Dee McNeil

 

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