by Chris NicksonA veteran of the Brazilian samba scene, Morelenbaum has an impeccable pedigree in the music. But for this album, she's chosen as a common thread songs by the great Vinicius DeMoraes, whether as sole or co-composer. It makes for a great theme, with so much quality work to choose from. What makes this so fascinating are the arrangements used to frame the pieces, like the light Brazilian funk used on "Tomara" and "Berimbau," for example, which both float, lighter than air, over truly imaginative drum programming and instrumental performances. Morelenbaum's glorious voice sets the standard throughout, breathy but gloriously melodic (she also deserves great credit for her production work here). Even brass sounds feather-light, gliding by the songs. And yet it retains a real groove, a toe-tapping funk that's irresistible and does full justice to the songs themselves. Even a bossa ballad like "Insensetaz" is given quirky little touches, like the irresistible cello line by Morelenbaum's husband, Jacques. It's an album of details and quirks in the melodies and rhythms, gentle and lulling, but still constantly pushing forward, and rewarding no matter how many times you listen to it.