Rhythms of Brazil Propel Carnaval 2001

With its cavernous space, awkward lighting and terrible sound system, the Hollywood Palladium was a defining factor in evoking the intrinsic gaudiness of the Brazilian carnival at its splendid best during Saturday’s Brazilian Carnaval 2001, a faithful replica of the real thing.

At the core of the Brazilian carnival lie two fascinating elements: the hypnotic murmur of the batucada drums and the realization that the festivities will sooner than later come to an end, bringing a return to the misery and struggle of life in a Third World country. With all its sweet relentlessness and carnal abandon, the joyous carnival is, in fact, something of a melancholy affair.

This tinge was present in the effervescent music of the Saturday’s main act, the trio eletrico of virtuoso guitarist Armandinho, who was accompanied by singer and former collaborator Moraes Moreira, the composer of timeless carnival hits such as “Festa do Interior.”

The guitarist’s group is actually a septet. The trio eletrico nomenclature describes the ensembles that perform on sound trucks riding the streets of Salvador in the state of Bahia. This is raucous music, borrowing bits from a thousand styles, with the sole purpose of enticing your feet to move all night long.

With the help of three percussionists, Armandinho built a crescendo of smoldering polyrhythms, on top of which he delivered sharp, lacerating notes with a small guitar known as the guitarra baiana. Think of Armandinho as a Brazilian cousin of Queen’s Bryan May, with a touch of ELO’s classic pomp thrown in.

In typical prog-rock fashion, the band has a weakness for transposing nuggets from the classical repertoire into eletrico territory. An excerpt from Bizet’s “Carmen” was especially effective. But Armandinho’s poignant instrumental version of the Beatles’ “Something” was one the evening’s most emotional moments.