VIFF Review: Brasileirinho

Brasileirinho [BRASI] is the story of the oldest Brazilian musical style, choro. I use the term "story" loosely as really there was no story, just the barest narrative about the history of choro and a showcase of musicians and their amazing performances. The best way to explain choro is to experience it and that's what this film does.

The first performance is by Trio Madeira Brasil who give you enough of a taste of choro for you to want more. Three guys on six string guitar, seven string guitar, and mandolin put out a seamlessly interwoven sound that just hooks you, and hints at the possibilities ahead.

Starting with this trio other musicians are added to build up the choro sound. Brass and wind instruments like the clarinet, trumpet, and trombone are included. The most surprising addition to unfamiliar ears is the tambourine. While everyone is familiar with the simple use of the tambourine as basic rhythm, in choro it is peer to any other instrument. In the right hands, that complexity of sound and performance is possible on the tambourine as well.

By far my favorite performances were by 25 year-old Yamandu Costa on seven string guitar. Both his solo performances are so compelling and virtuoso that the movie audience claps in appreciation.

There are many hopeful Costas in the school of choro in Rio de Janeiro. Musicians of every age attend classes. The living continuity of musical tradition is handed down in person from teacher to student. The students are intent on their instruments in class, and everyone jams together in the school courtyard afterward.

Choro is not just an instrumental music, it is a popular music to sing and dance to. It accommodates singing styles from the aggressive growl of the voice of Elza Soares to a more romantic sound from Teresa Cristina. In the dance hall, on the street, and on stage, dancers step and twirl to its driving rhythm.

To my ears, choro is very much like jazz. It probably shouldn't be surprising that the marriage of African and European music in South America and the marriage of African and European music in North America should produce such similar sounding cousins.