Ed Motta
Dwitza

Ed Motta is probably still an unfamiliar name for many. Despite having a dozen albums, some of them truly outstanding, with the first dating back to '88, and a large number of collaborations with notable artists including Roy Ayers, Gilberto Gil, Marisa Monte, Incognito, Morelembaum2/Sakamoto, he continues to remain in the shadows. He is one of those whose songs no radio station plays; whose videos are and will never be aired on MTV; who will never fill stadiums or be invited to participate in alternative festivals or "mass gatherings" like on May 1st.

However, contrary to what some might think, Ed is not a fan of obscurities or avant-garde and elitist experiments. Since the beginning of his career, he has composed a lot of sunny, enjoyable, and even danceable music, spiced, airy, full of references especially to jazz-fusion, soul, and funky, stateless yet profoundly Brazilian.
An impressively talented artist; a multi-instrumentalist, whose skill prevents you from pinpointing his primary instrument, with a vocal range as colorful as a rainbow, akin to the best Al Jarreau, yet with a greater affinity for lower tones. In his voracious body, vaguely resembling the figure of our Galeazzi, with the notable difference that the Lazio commentator's elephantine figure is almost entirely occupied by flatulence, are many souls, many personalities, many virtuosos, not least a classical and opera enthusiast.

"Dwitza", an album dating back a decade, is in my opinion, the one that best showcases this richness, this overflowing creative vein, this lightness akin to a small airship, allowing him to effortlessly glide over the ever-blurring boundaries between genres. Just listen to the first two tracks, "Um Dom pra Salvador" and "No Carrão Eu Me Perdizes Na Consolação", to realize the artist's true value and get an idea of some of the "ingredients," skillfully blended: vocalese and scat, '70s fusion à la Return To Forever, jam session solos.
For those tempted by the delectable hors d'oeuvre (by the way, our Ed is also a gourmet and record collector, having been a film critic), it's worth lounging in a deckchair to take in, like on a Carioca beach, the firework display.
With "Sus-Tenta", a lustrous funk takes over, our Ed, also being the nephew of Tim Maia, an undisputed Brazilian authority in this genre, engages in high-pitched tones and falsettos reminiscent of Philip Bailey.
"Doce Ilusão" follows, tracing the shining path of the masters, mainly Jobim, a ballad that could help win over a slightly shy partner. "Lindúria" alone is worth the ticket price: echoes of Steely Dan, tropicalist percussion, and blues guitar served alongside a Batida de coco.
But Ed intends to astonish you and delivers on his promises: with "Valse ao Beurre Blanc", you'll find yourself, as if by magic, on the Champs Elysées with him in a horizontally striped T-shirt (XXL, of course...) as a new chansonnier supporting two opera singers; while with "Amalgasantos" he showcases another example of his extraordinary vocal gifts, chasing brass high notes and gently playing a xylophone during breaks. "Coisas Naturais" is the track Incognito hasn't managed to write in a while, a syncopated acid jazz with the regulation Hammond (guess who plays it...).
More high-level fusion in "Malumbo", with a dissonant saxophone giving off nearly free reverberations. The passion for cinema and soundtracks becomes apparent in "Madame pela Umburgo", an instrumental piece inspired by the Italian compositional tradition, particularly Piccioni and Maestro Morricone. In "Papuera" scat and trumpet become the main protagonists. The album closes with the poignant "Instrumetida", where another love, for band music (that good old bass tuba...) is confessed.

"Dwitza", as you've likely gathered, is not an album for minimalists, low-calorie diets, or fans of nouvelle cuisine. Here you sit at the table with full intent and do justice to the gargantuan menu prepared by the voracious chef. Sometimes, it's okay to overindulge; in fact, it's essential.