From prominent members of Sao Paolo’s underground music scene, Mauricio Takara and Carla Boregas, comes Grand Massa D’Agua (Great Body of Water), an experimental jazz record. Per its name, the record is inspired by water, and all of the things that water is, this album is, too. Fluid, harsh, soft, abrupt, competing, beautiful, rapid, transcendent. The list goes on.
D’Agua wastes no time making its titular homage. The album starts with various sounds that imitate water, those and the rest of the record’s noises courtesy of drums, synth, electronics, gongs, field recordings, and harpsichord. Throughout the album, we’re taken on a journey, and whether that journey is through the same body of water or to different bodies of water entirely is up to each listener.
Musically, this album is daring, and the risks are best exemplified in “Desenho #5,” the album’s longest track that combines styles, instruments, rhythms, and sounds for a unique experience. But tracks like “Desenho #7” and “Principo” are just as satisfying to experimental jazz enthusiasts. Like water, this album has lots of movement, whether it be through genres or individual sounds. The instrumentation is vast as the sea, and the execution is as clean as a fresh creek.
There’s a lot thematically built into Grande Massa D’Agua, and part of the brilliance is the duo’s reluctance to specify anything but rather name the album for its inspiration and leave it at that. We’re all able to dissect the album ourselves and find deep meaning in the music. But maybe all Takara and Boregas are saying with this album is that to them, like to so many of us, music and water are one and the same: vital, life-sustaining, and one of Earth’s greatest gifts.