| Latin Jazz |
Catina DeLuna and Otmaro Ruiz Reimagine the Soul of Brazilian Music in an Exquisite New Album.
Brazilian music possesses a quality that defies easy imitation. Deeply rooted in a specific cultural consciousness, it resists mere technical replication by those outside its native landscape. More than just rhythms and melodies, it is a lived experience, a fusion of language, emotion, and memory. That’s precisely why tribute albums, especially those that revisit the classics of Música Popular Brasileira (MPB), often fall flat. But this is not one of those albums.
In the hands of pianist-arranger Otmaro Ruiz and vocalist-pianist Catina DeLuna, we are given something rare: a work of reverent homage and daring reinvention. Their new album is not merely a collection of covers, it is a vivid, cinematic journey through the emotional and harmonic landscapes shaped by giants such as Antonio Carlos Jobim, Ivan Lins, and Paulo César Pinheiro. This project stands as a testament to what can happen when two masterful musicians bring their full creative selves to the interpretation of a tradition they have deeply internalized.
Born in Campinas, in the Brazilian state of São Paulo, Catina DeLuna’s life has been steeped in music from the very beginning. Her father, a devoted music lover and advocate for local artists, and her mother, a classical music enthusiast, fostered an environment where sound and artistry were omnipresent. At home, musical gatherings known as saraus filled the house with melodies that stretched long into the night. These formative experiences were more than entertainment; they were, in essence, her first conservatory. It was within these communal, improvisational spaces that the foundations of her musical language were laid.
By adolescence, DeLuna was already captivated by bossa nova. Her love of jazz soon followed, and by the age of sixteen she was performing professionally, playing solo piano sets in local venues and working in high-level studio sessions, not just as a pianist, but also as a vocalist. Her command of both performance and arrangement was evident early on, and it has only deepened over the years.
Listening to this album, one is struck by its cinematic depth. DeLuna does not approach these songs merely as a singer interpreting lyrics, but as a fully-formed musician channeling the emotional architecture of each piece. Her phrasing is agile, expressive, and effortlessly attuned to the subtleties of the genre, a timbre as warm as it is precise. Whether singing or at the piano, she brings to each track a sophisticated sense of musical storytelling that speaks to her years of compositional and arranging experience. There is an authenticity here that only a native speaker of the language, and a lifelong listener of the form, could possibly offer.
Otmaro Ruiz, her collaborator and husband, is equally compelling. Born in Venezuela and long considered one of the most sought-after keyboardists in the jazz world, Ruiz brings a breathtaking harmonic vocabulary and rhythmic finesse to the project. His path to international acclaim was shaped in part by his tenure with the legendary Alex Acuña, with whom he began performing in 1989. His stylistic versatility, from Latin jazz to classical to contemporary fusion — makes him an ideal partner in this ambitious exploration of Brazilian songcraft.
Together, DeLuna and Ruiz achieve something extraordinary. Their partnership is not merely one of convenience or shared cultural affinity; it is a meeting of two visionary artists with a shared devotion to nuance and depth. Their work is occasionally reminiscent of the emotionally rich, cross-cultural soundscapes crafted by artists like Spanish guitarist Juan Carmona, yet their voice remains distinctly their own.
For lovers of jazz, this album will strike a chord as well. The lush production values, the intricacy of the arrangements, and the interplay between improvisation and structure are all hallmarks of exceptional jazz recordings. Ruiz, who continues to be a force in the jazz world, whether through his teaching, film scoring, or recordings, brings with him a catalog of critically acclaimed projects, including Otmaro Ruiz Plays Ryuichi Sakamoto, Distant Friends, Nothing to Hide, Latino, and Sojourn, his 2008 release with his own quartet featuring Jimmy Branly (drums), Carlos Del Puerto (bass), and Ben Wendel (saxophone and bassoon). Sojourn, like this latest effort, showcases his gift for harmonic sophistication and melodic clarity.
This is not an album that tries to mimic the past. It lives, breathes, and reimagines it. It is the product of two artists who are not only skilled interpreters but also thoughtful creators, capable of reshaping tradition without losing its soul. Their 2016 release, Catina DeLuna & Lado B Brazilian Project featuring Otmaro Ruiz, was rightly nominated for a Grammy Award, and this new work only deepens their legacy.
In an age of fast consumption and superficial tribute, this album is a rare gem: profoundly rooted, impeccably performed, and emotionally resonant. It is, without a doubt, one of the finest contemporary Brazilian jazz albums in recent memory, and one that deserves a place of honor in any serious music collection.
Thierry De Clemensat
Member at Jazz Journalists Association
USA correspondent for Paris-Move and ABS magazine
Editor in chief – Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, August 5th 2025
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Musicians:
Catina DeLuna – vocals
Otmaro Ruíz – piano, accordina & synths
Larry Koonse – guitars
Edwin Livingston – bass
Derek Oles – bass (9)
Edu Ribeiro – drums
Guests:
Fabio Cadore – vocals (5)
Gregory Beyer – percussion & mallets
Bob Sheppard – saxophone, clarinet & alto flute
Bruno Mangueira – acoustic guitar (4 & 5)
Carol Robbins – harp
Jimmy Branly – udu clay pot (6)
Tracklist:
Passarim
Mar E Lua
Na Volta Que O Mundo Dá
Requebre Que Eu Dou Um Doce
Choro Das Águas
Águas De Março
É Luxo Só
Aluvião
Meu Silêncio (Velho Companheiro)
Vatapá