The music industry, this unintelligent mechanism that lives off labels – since it understands categories and not music – ended up creating, as far as international classification is concerned, the concept of “latino jazz”, which means absolutely nothing, since it places several different things into the same bundle.

It is important to remember that this concern in relation to classifying instrumental Brazilian music in the global market is very recent. It began in the late fifties, when the first instrumental groups were introduced to the general public. They merged our many rhythms (and there are several) with those of the European and American jazz groups. “Bossa Nova” further consolidated this tendency.

This gave rise to great pianists, drummers, flutists, double bassists, guitar players – and time brought the offspring of those pioneers. Such offspring appeared with their regional rhythms and made national creation so rich and diverse that… … their offspring and their offspring’s offspring are (and will be) even better and more creative. All that is written above is applicable as a very honorable introduction to talk about the young and extraordinary acoustic guitar player, guitar player, mandolin player and composer Edu Negrão, a superlative talent whose face can be seen in window shops thanks to the release of his second album, “Vem Ver”, an independent production.

I do not wish to speak about Edu’s technical characteristics. Technical characteristics describe any professional, from any professional field. . Edu Negrão, a professional, has gone beyond the phase of technical evaluation. What makes this young man different from other young men, from other musicians, is the sensitive quality of his touch, the inspiration of his compositions, the specificity of the timbre he extracts from the instrument in accordance with the topic being dealt with. The mandolin may sound like an Andean “charango” to enhance Yuca’s Latin-American atmosphere.

The steel strings sound like slowly dropping raindrops in “Depois da Chuva”, the guitar glides by as does the “Maria Fumaça” that the flutes announce on the curve and the drums from Minas that are heard after the train has gone by. It is all about atmospheres, circumstances, poetical intentions that Edu Negrão translates into notes, intensifying them, generously dividing them with his listeners. Author of the album’s twelve songs, Edu proves to be a composer of broad horizons, immense worlds, universal backgrounds.

It is mandatory that we salute Edu Negrão as the great revelation in Brazilian music. In fact, the support this CD has already been shown confirms this. Gilson Peranzzetta, Zeca Assumpção, Carlos Malta, Lena Hora, Paulo Russo, Mamão and other fantastic musicians take part in this album. One of the greatest double bass players in our history, Yuri Popoff, is responsible for the production and arrangements.

Beth Dau is the precise and exciting singer heard on both songs (lyrics by Flora Figueiredo). It is possible to write treatises about each of the singles in “Vem Ver”; about the correct intervention of each instrument, the composite compasses, about the intelligence of the intervention of each instrument, about the presence of the chords in the exact moments. One can learn a lot from “Vem Ver”. Edu Negrão touches the heart and enlightens pathways.

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