Burnier & Cartier
“Fotos para capa do LP”
Released 1976 on EMI/ODEON
1 Minha mãe não sabe de mim (Claudio Cartier, Octávio Burnier, Wrigg)
2 D. João (Octávio Burnier, Reinaldo Pimenta)
3 Recreio (Octávio Burnier, Wrigg)
4 Elogio da loucura (Octávio Burnier, Wrigg, Strunck)
5 À beira de nada (Octávio Burnier, Wrigg)
6 Catarina Canguru (Claudio Cartier, Paulo Azevedo)
7 Dia ferido (Claudio Cartier, Octávio Burnier)
8 Lenda das amazonas (Octávio Burnier, Wrigg)
9 Ecoline (Claudio Cartier)
10 Sítio azul (Claudio Cartier)
11 Pedra pintada (Octávio Burnier)
Here is a nice and warm record that I first heard about through the blogosphere, through our friend JThyme’s blog I do believe, who in turn got turned on to them via Loronix if I’m not mistaken. Burnier & Cartier were a duo from Rio de Janeiro who recorded three albums between 1974 and 1978 and then seem to have dropped out of music. Octávio Bonfá Burnier (son of Luiz Bonfá) and Claudio Cartier had actually been composing together since 1968, and their first album, for RCA-Victor in 1974, featured musicians like Novelli, Bebeto, Paulo Mouro, and Chico Batera. As far as I can tell, none of this people played on THIS album.
The duo were signed to Odeon records at the recommendation of Milton Nascimento, and thus we see a couple former collaborators of Milton on the album — drummer Paulinho Braga and Luiz Alves on bass, both of whom would record a whole bunch of people (many of them very famous) during the 1970s and beyond.
Before I even knew this, the album reminded me a bit of the Clube da Esquina collective, but still different enough to have its own identity. All the songs have two acoustic guitars as the base of their arrangement, and their sound blends jazz-rock, mellow psychedelia, classical music, folk-rock, and some artsy, progressive baroque string arrangements. Um, I guess this might make them “fusion”? I dunno. Don’t be frightened. But in fact the last ten minutes of the album (composed of three overlapping tracks) is entirely instrumental (which has a certain Egberto Gismonti quality to it, although probably less adventurous).
In spite of having a name like a French-Canadian fur-trapping company, and looking like a Brazilian version of Seals & Crofts, these guys made some incredibly intriguing music. Although completely accessible, there is something tenaciously un-commercial about their sound that perhaps explains why these albums are very hard to find. I am not certain if the first one is on CD (I found a copy a long time ago on a well-known blog). THIS title is one of the shoddier reissues on the 100 Anos de Odeon series, in terms of packaging — the good news is that the sound is actually very warm and nice. But not only is the album title not listed on the CD tray (leading it to be replicated in lots of published discographies as simply ‘Burnier & Cartier’ which is partly why I left it like this in the folder name), but the back tray card actually states that the album was released in 1968 (in the booklet, it is correctly stated to be from 1976). So much for giving such a beautiful album the care and attention it deserves when all a label like EMI cares about is its bottom-line. Good to know they were paying attention…