Pedro Mariano
Voz no Ouvido
Trama

Pedro Mariano's second solo album is an incredible follow-up to his debut CD of 1997. If you believe the old saying about "like father, like son," you can imagine what Voz no Ouvido (Voice in My Ear) is like. You will not be disappointed with this release. Besides being the son of Cesar Camargo Mariano, one of Brazil's greatest arrangers and keyboard players, Pedro Mariano also inherited the wonderful musical genes of the late Elis Regina, who has been compared to France's Edith Piaf and other world legendary singers.

In Voz no Ouvido, Mariano continues his strong affinity with Brazilian soul music and showcases a more solid repertoire with a definite edge in his renditions. Performing a well-balanced repertoire, including songs by Jairzinho Oliveira, João Bosco and Aldir Blanc, Baden Powell and Vinícius de Moraes, and, of course, the godfather of Brazilian soul music Tim Maia, Mariano is at ease with the material in this album. Mariano himself was in charge of production along with Otávio de Moraes. Arrangements were given to none other than Cesar Camargo Mariano, who also masterfully played acoustic piano and all keyboards in the album. It is interesting to note some of the musicians involved in the album. Jairzinho Oliveira, a fine guitar player and song writer, is also the son of Brazil's samba performer Jair Rodrigues, who recorded a series of albums with Mariano's mother in the 60's. Another guest artist is Djavan's son, Max Viana. Of course, Mariano's own brother Marcelo Mariano plays bass in several tracks.

One of the most remarkable features of Voz no Ouvido is the harmonious choice of ballads and up tempo songs. The album opens with a short instrumental track that leads into the CD title track. A soft, romantic ballad, Voz no Ouvido sets the mood for the other ballads in the album. In some of the high-energy tracks, Mariano exhibits superb command of funk music. He is daring and overwhelming in his rendition of Bosco and Blanc's Profissionalismo É Isso Aí (That Is Professionalism). When Mariano switches from funk to ballads, his voice is like raindrops softly falling on a cool spring day. The album atmosphere is silky and smooth and emanates sensuality. Some of the best ballads are Jairzinho Oliveira's Grande Amor (Great Love), Cassiano's classic Postal (Postcard), and Powell and de Moraes' Tem Dó (Have Mercy), where Cesar Camargo Mariano's piano solos provide the perfect accompaniment for Mariano's calming vocals.

It is easy to see that Mariano's musical upbringing could only lead to albums with the caliber of Voz no Ouvido. Pedro Mariano is his own master and bound to become a household name with Voz no Ouvido, a serene and high-powered release.

Copyright © 2000 Egídio Leitão