Heloisa Fernandes – Fruto

Even without the team of dynamic percussionists and fine string accompaniment, Fruto is a masterpiece of arrangement and composition.
Brazilian pianist Heloisa Fernandes can tickle both the hearts of those with a taste for a quieter, more elegant classical palette and those whose survival is based upon jazz in their blood.
Vocal beats in “Colheita” create an epic, fundamental sound featuring only piano and multiple musicians creating choral rhythms together.
Bottomless, dark violin tones change the character of Fruto during the fourth number. Assuming the entire record will be set in a cheerful scene becomes a fleeting thought. A string duo stabs away with sorrow before Fernandes re-enters and stylishly brings spirits back up again in “Crianca,” interestingly spiraling through nine minutes.
Pounding her way along the keys and through the record’s most apocalyptic track, “Trilhos Urbanos” is the only song not written by Fernandes. Caetano Veloso gets credit for this tune, one that lets loose and devastates the quite casual sound of the album.
Two drummers, a percussionist and a guest percussionist (Nana Vasconcelos) do get their rest time, allowing for Zeca Assumpcao (contrabass) to guide the pianist to another level – one of a jazz duo. After a challenging, genre-splitting ride, a 90 second finale called “Rita” is simple goodbye in conclusion.
Tracks eight through 14 move quickly along through entirely improvisational material and juxtaposed against a creatively crafted first half of the CD, they create an atmosphere needing to hear more.
A solo recording is in the air, one can hope. Alone, her arrangements stand-up strongly but with this group of musicians behind her the sound is determined and complete – making for magnificent Brazilian flavored modern music with jazz in it’s soul.