UNITY QUARTET, Samba of Sorts

Though the four Brazilian born musicians comprising the Unity Quartet migrated – or more accurately, musically gravitated – towards NYC at different times, it was only a matter of time before they would meet via the city’s expansive and quite active network of musicians from their home country and playing with one another on various projects.

Interestingly, though they meld seamlessly and fashion complementary vibes on their intensely rhythmic, improvisation filled, ear-poppin’ debut Samba of Sorts, each hails from different parts of Brazil and brings his own individual flair to the project. Helio Alves (piano) and Alex Kautz (drums) are from Sao Paulo, while Guilherme Monteiro (guitar) moved from Rio and Gili Lopes (bass) from the southern town of Porto Alegra via London.

Finding common ground in everything from 60’s samba to the contemporary fusion energies of MPB (Música Popular Brasileira), they created the Unity Quartet in 2021 to play originals and covers with an adventurous flair that blended their love for 70s and 80s Brazilian popular music with jazz. A little over a year after starting their “incubation” period at Brooklyn’s Bar LunAtico, they brought the best pieces and arrangements they had developed to the sessions that evolved into Samba of Sorts.

Starting with an intoxicating, lyrical and slightly rock-tinged spin on Milton Nascimento’s “Viola Violar” and Monteiro’s seductive, folk-jazz romp “Lucena,” it’s a loose, freewheeling set full of vibrant melodies and harmonies, fiery, bustling percussion patterns  and intense improvisational action by Alves and Monteiro, whose balance of jazz intricacy and rock-edged distortion is transcendent.

Perfectly showcasing the way the quartet eases from inventive “covers” to compelling originals, they follow the lightning paced dazzle of “Hermeto Pescoal’s Baião-centric “Santo Antonio” with Alves’ perfectly titled, just as fast-paced and rhythmically complex “Frenzy” – a true one two punch capturing the quartet’s explosive energy. They balance the intense energy of pieces like these and Luis Gonazaga’s traditional-flavored baiao- forro blend “Pau de Arara” with the delightful, laid back original waltz (penned by bassist Lopes) that closes the set in grand style.